Ian Vines

Much of my work over the past couple of decades has grown out of an interest in spatial ambiguities, trompe l’oeil effects, double images, optical distortions and all sorts of visual trickery. Earlier photographic collages were based on the vase-head motif, or images of strange rocks, suggestive of human heads. More recently, photographs of buoys, beaches or bridges are often rotated or inverted, resulting in more abstract images. Many of these works feature photographic images and actual objects, illusion and reality. Other works use optical devices to distort and reflect objects, text or images. In a series of photographic collages, painted and unpainted copper disks mimic circles painted on a wall, or float across the picture. The intention with all these works is to engage the spectator in the process of looking.

I have also worked in various galleries and museums, devising and organizing a wide range of thematic exhibitions, one person shows, tours, residencies and installations. Partnerships have ranged from projects with the Tate and the Contemporary Art Society to the British Ceramics Biennial. I have been a selector for the British Ceramics Biennial Award exhibition and open shows in the Midlands and the North West. As an independent curator, I have also been involved in organizing various contemporary projects.

With my wide experience of exhibitions, I hope that I will be able to contribute to future projects with Plastic Propaganda. I have always regarded curating exhibitions as a creative process in its own right, whether it’s devising thematic shows or working with artists. Moreover, a collaborative approach has underpinned the projects I have worked on, ranging from contemporary shows in Stoke-on-Trent to arts trails in the North West.