Writing (MA)
Judith A. Hagan
b.Scotland
ARTIST /// WRITER /// TUTOR
Royal College of Art, MA Writing, 2020; Royal Drawing School Postgraduate Programme, Drawing Year 2017; Glasgow School of Art, BA(Hons) Printing & Printmaking 2015
PAST /// PRESENT /// UPCOMING
2020 w/Jessica Higgins & Rebecca Wilcox (covid postponed), NewBridge Project, Newcastle; 2020 Writing for Under the Hill w/ Mary Herbert & Holly Mills (covid postponed), Art Hub Gallery, London; 2020 ATTENTION launch w/ RCA Writers 2020, Morocco Bound, London; 2019 Presentation for Why do you like me? Friday Late, V&A, London; 2019 Le Grand K – (exhibition & readings) Gossimer Fog, London; 2019 Playing Houses (exhibition & readings), Flat Time House, London; 2018 It’s difficult to put a painting in the mailbox: new models of artists’ publishing, Libby Leshgold Gallery, Vancouver; 2018 Long Time No See, Bow Arts, London; 2018 New writing accompanying launch for Guilding by J Higgins,The Bower, London; 2017 Effort: GIFT SET, Dada Post, Berlin; 2017 Drawing Year, Christies, London; 2017 Royal Soc. of Painter-Printmakers, Bankside Gallery, London; 2017 Ping Pong, Kings Mall Hammersmith, London; 2017 PENDALINO, New Glasgow Society, Glasgow; 2016 DUSK, w/ Ewan Murray, Frank Dobson, Hospitalfield Arts,Scotland; 2016 Grab a Chair, Flinch!, The Glue Factory, Glasgow; 2016 Stoke a Few Cinders, CELINE, Glasgow; 2015; 50 Million Painters Can't be Wrong, New Glasgow Society, Glasgow.
RESIDENCIES & AWARDS
The Bower, Writer in Residence w/Jessica Higgins & Rebecca Wilcox: London 2019; Flat Time House, Writer in Residence w/ MA Writing: London 2019; Derek Hill Foundation Grant: 2018; Royal Drawing School, Pignano Residency: Italy 2017; Hope Scott Trust Grant: 2016; Hospitalfield Arts Interdisciplinary Residency: Scotland 2016
PUBLICATIONS
Issue 2: You be me and I’ll be Janet, ThePluralist, RCA: London 2020; Issue 1: Performance Notes (Richter/Reich review) , The Pluralist, RCA: London 2020; meld / blueprint w/Jessica Higgins & Rebecca Wilcox, MAP: London 2019; Noit Issue 5: Flitting (contributor & editor), Flat Time; House:London 2019; Attention! An anthology: ‘Maupassant’s Trees’, RCA, London 2019; meld / blueprint w/Jessica Higgins & Rebecca Wilcox, The Bower: London 2019; Le Grand K: 'An amount of stuff' & other texts, Gossimer Fog: London 2019; It’s difficult to put a painting in the mailbox, Publication Studio:Vancouver 2018; Tactics of Reading, The Bower: London 2018; A Plume Annual Volume.1 (co-editor), Museums Press: Glasgow 2018; The future is a carrot on a stick, Good Press: Glasgow 2017; The Spectre of Language, Glasgow School of Art: Glasgow 2015; Boundless Arena (contributor), Fold Magazine: Glasgow 2015; Drawings and Poems, Self published Zine: Glasgow 2015
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Working between writing and painting, and with a growing attention to sound and moving image, I am interested in exploring materially the shape, processes and patterns of thinking; in the borders of self and of sense making, and in attempts to transgress the processes that lead there. My work develops through layering, deletion, and improvisation. It begins often with an image, thought or phrase arrested in the process of its thinking. I apply the process overlaps between the acts of writing and painting (such as attention to form, pattern, surface and texture), both physically and cognitively to each developing work. This allows Form to take precidence, and allows the shape of a thought to grow from itself, sculpted and fashioned into stories, essays, drawings, paintings; a scope of results that derive from some route, or personal auto-form.
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My Final Major Project, Rooms, is a 20,000 word work with potential for expansion. Using the figurehead of Rooms as a device to explore form, voice and theme, it acts like a quadrat (one of those squares used in biology), a subject to toss around different aspects of the world, recording and narrating the results of what lies within.
This page consists of ten excerpts from different chapters, each excerpt arranged as a new selection. It also contains two seperate works relevant and significant to Rooms. Each of the twelve has been kindly read and recorded by a great cohort of readers, to whom I say, TA! (Really, thankyou.) Each reading has the accompanying text arrangements below.
Had a pandemic not put such aspects of the world on hold, I had planned on having an edition of printed copies of Rooms available for purchase. If you are interested in buying a copy, in full or digest form (as seen below) please get in touch and I will give you details when more of the world is in place.
All accompanying images are my own.
♦ READERS ♦
♦ Jane Hartshorn ♦ Herb Shellenberger ♦ Nancy Haslam-Chance ♦ Sally Hackett ♦ Jamie P McNeill ♦ Emma Carey ♦ David Roeder ♦ Morag 'Mama' Kennedy ♦ Stefano Pia ♦ Maris Di Monda ♦ Jess Gunn ♦
Size:
...A note on the text
The three sections—Maupassant I, II, and III—are comprised of every mention of trees in the first volume of The Complete Short Stories of Guy de Maupassant. Individual excerpts are separated either by semicolons or full stops, and have been rearranged in order to allow narrative to emerge.
Size:
...BOOK GIF SMALLERST RGB
Contribution to NOIT 5: Bodies as in Buildings, an edition of Flat Time House Gallery’s journal produced by RCA MA Writing students as a collaborative publication.
FLITTING: INHABITATION, INHABITANT, INHABITED, HABIT