Sue Gollifer

Basic Info

Name: Sue Gollifer
Country of Origin: GB


Research interests
As someone who works as a practicing artist, curator, academic, researcher, board member and chair, I feel I am the embodiment of the intersection across many venues. As a pioneer of early computer art, I have continuously explored the relationship between technology and the arts for over thirty years, both within my own fine art practice, research and my teaching curriculum. My primary research is on ‘the impact of new technology within the practice of ‘Fine Art’. Particularly focusing on innovative and creative use of technology for creativity, learning, teaching, enterprise and research.

Supervisory Interests
A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. Her primary research is on ‘the impact of new technology within the practice of Fine Art’ and ‘Art and Science’.

Sue has Supervised one student to completion (2017) and was the external for an final examination team at another University and is currently a Superviser for 1 student internally.

Scholarly biography
She is ICT and Art Connect Expert panel member for the EU Framework Programme for Research and Innovation EU European Science & Technology; EU- funded project- FEAT- Future Emerging Art and Technology 2016 – Advisory Board, and the EU- funded project- START- Appointed by the European Commission, Ars Electronica in cooperation with BOZAR and Waag Society 2017- Prize Advisor; The Assistant Editor of ‘Digital Creativity’, published by Taylor Francis and Routledge, and Editor of accompanying ‘Art Space; Editor of ‘TRACEY’, an electronic journal dedicated to the presentation of drawing and a Leonardo – Manuscript reviewer . A Board member for the Computer Art Society (CAS) and the ACM Siggraph Digital Arts Community (DAC). The ACM SIGGRAPH Chair of the ‘Distinguished Artist Award for the lifetime achievement in digital art’.

Sue has recently exhibited her work in the UK, 2017 in an Exhibition of ‘Pioneering Women Artists’ working in the Field of Digital Art – Technology Is Not Neutral. Most recently as at LCB Depot, Leicester amd Phoenix Brightonas part of the Computer Art Society – CAS50 Exhibition 50 years and more of computer-generated art92019) .

She has been the instigator and the curator of a number of other International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 – 2007 and the SIGGRAPH Art Gallery Exhibition’04: Synaesthesia and the “Intuition and Ingenuity” art exhibition to celebrate the Alan Turing Centenary 2012 and the William Latham Exhibition Mutator 1 & 2 as part of Brighton Digital Festival 2013. The Creativity and Cognition 2015 Exhibition Glasgow June 2015 and the Curator of the British Human Computer Interface Conference 2016 at Bournemouth University, UK, Fusions- ‘Performing Interaction: Space, Place and Time’.

Currently she is the Director of ISEA International and ISEA (International Symposium on Electronic Art), which fosters and promotes high quality creative and academic work and exchange in art, science, and emergent technologies through its nomadic, annual international interdisciplinary symposia hosted by a different country every year.

Of paramount importance is to encourage and promote creative interchange between diverse cross-generational groups and to acknowledge different backgrounds, cultures, perspectives, practices and experiences that contribute to the advancement of art, science and emergent technologies.

She has made valuable worldwide contacts through her activities, and has contributed to the development of an international community of artists and scholars with a shared interest in new technology. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her ‘Exceptional Services to the International New Media Community’.

Approach to teaching
In her academic capacity she is a trained PhD a supervisor and an examiner for a number of PhD students, plus an external Examiner at three Universities, Digital Media and Games Arts courses. Plus the course Leader in MA Digital Media Arts. The course supports an interdisciplinary approach that enables the students to develop existing skills and experiences in an environment that encourages both innovation and high-quality production. Live project work in modules throughout the course help them gain direct experience and develop valuable links in the digital media industries and wider cultural industries.

Externally ln 2018 she was sponsored to visit China last year as part of ‘Sino-British cooperation Program’ between Tianjin Academy of Fine Arts. To talk to their Professors and to the students about the ‘Creative uses of Digital Technology’.

Knowledge exchange
She is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (DACs) the ACM SIGRAPH Digital Arts Community. She is also been a member of a number of SIGGRAPH Art Gallery subcommittees (from 1998 – 2015). In 2004 she was appointed Art Gallery Chair, for that year. More recently she has been a member of the onsite Art Gallery committee for SIGGRAPH Asia. This included Shenzhen, China 2014, Kobe, Japan 2015, Macao 2016, and Tokyo 2018. Los Angeles 2019.

She is a regular reviewer for a number of Digital Art Exhibitions and Conferences/Symposiums: including reviewing art research papers, panels and art works and digital performances, including organisations such as; ISEA Symposiums, SIGGRAPH Art Papers, SIGGRAPH Asia, and online exhibitions for DACs plus various EU ICT projects. She is also on the Review Panel for the Leonardo Journal and on the Editorial Board of Digital Creativity, a referred journal published by Routledge, and is the art editor and curator of the visual section ‘Artist Space’, which examines the work of artists using digital technology.

Explore Artworks By Sue Gollifer

Untitled C95

signed and dated in graphite lower right numbered 1/20 and titled in graphite lower left signed on the back of the chine colle paper