Caroline Wright is an artist and academic, with research interests in loss, territory and the discourse around altering values and invested memory. Working site responsively, her approach is that of a conceptual archaeologist, trying to uncover and both question and take control of the past and present, by transforming, enacting or undoing. In so doing, she is interested to explore the relationships we each have within the world, with each other and with the objects that surround us. Wright’s current work involves investigation into home-making/home-marking through the domestic artefact.
Recent experiments to identify place out of memory garnered through the practice of walking, cement flawed information into flimsy resolution, where constructed narratives locate and affirm common ground between [un]known territory and recalled action.
Wright’s past works include Out of Water, a performance commissioned London 2012/Cultural Olympiad Festival, touring to Edinburgh festival as part of East to Edinburgh and PSi Conference, Stanford University, San Francisco USA; My Home is My Museum, examining domestic object collections in performance, pubic collection, publication and symposium ; respond/reply, a research project into the relationships between drawing and writing; Sawdust and Threads, a project which took deaccessioned museum objects aa its material to explore materiality, value and hierarchy working with three significant UK collections.
Caroline Wright studied at Norwich University College of the Arts (MA Fine Art, 2002) followed more recently by a PG Certificate in HE Learning and Teaching at University of the Arts, London. She is a Senior Fellow of the Higher Education Academy and co-editor of the OCA/UCA Journal of Useful Investigations in Creative Education (JUICE). Having contributed to widening participation initiatives throughout her academic career, Caroline Wright’s longstanding interest and belief in open access to education chimes directly with OCA’s mission. Her pedagogical interests lie in issues around professional development for artists, assimilation and synchronicity between teaching/creative practice. She is particularly curious about the process of making as a shared learning experience and the dialogue surrounding production.