Victoria King
Victoria King's English and Australian artwork and links to her writings on place, displacement and perception can be seen at:
https://www.victoria-king.com
https://victoriakingplaceart.blogspot.com
A selection of photographs that she took in India in 2018 and 2019 are at:
https://findingjoy-openheart.blogspot.com/
Contact email: [email protected]
Victoria King has a BA (Hons) 1st class degree and Masters degree in Fine Art. Her paintings, sculptures, essays and poetry explore themes of place, displacement and the power of nature. In 2005, a major curated solo retrospective of 30 years of her English and Australian paintings was held at the Lewers Bequest/Penrith Regional Art Gallery and travelled to Braemar Gallery, NSW, Australia. Since 1982 she has had fourteen solo exhibitions of her artwork and exhibited in over 40 group shows. A solo retrospective of 45 years of her paintings and sculptures was shown at the Stockport War Memorial Art Gallery in 2021-2022.
Victoria was born in northern Kentucky in 1951 and studied at the University of Cincinnati and the Art Academy of Cincinnati, and privately with the artist Paul Chidlaw. She lived in New York City and San Francisco before moving to England in 1972 to work with the spiritual philosopher J.G. Bennett until his death in 1975. She remained in England and collaborated with British Abstract Expressionist painter Gerald Wilde. Her son Zachary was born in 1976 and she became a Senior Lecturer in Fine Art at John Moores University, Liverpool and a visiting lecturer throughout the UK. In December 1993, she moved to Australia and lived on three acres in the Blue Mountains for 12 years. During that time she worked with Aboriginal women artists at the outstation of Utopia in the Northern Territory, and at their request transcribed and published their stories. She received a PhD at the University of New South Wales, Sydney, for her thesis 'Art of Place and Displacement: Embodied perception and the haptic ground' which included her research at Utopia and case studies of the art practice and life of Canadian-American artist Agnes Martin whom she spent time with in Taos, New Mexico.
In 2005, she moved to 'Blackstone', a remote water-front homestead on 55 acres that she discovered on Bruny Island, Tasmania while canoeing. After the birth of her granddaughter, she bought a home in Cheshire, England in 2011 to spend six months each year near her son and his family, and she returned to live and make art in England full-time in 2018. In 2023 she began another full-time MA in Design / Craft at Manchester Metropolitan University and is currently creating sculptural ceramics and installations.
As well as being the author of numerous published essays on art, place and displacement, she has published two volumes of illustrated poetry: Memento Mori (Black Stones Press, 2015) and Black Stone Birds (Black Stones Press, 2012), has created limited edition, hand-bound art and poetry books: Journey/Return (2010), In/Sight (2009), Things I Didn’t Say (2009), Small Prayers (2009), Re/membering (2008), Lineage (2008), Taboo (2007) and Beginning Again (2007). She was arts editor and a contributor to Birdsong: A Celebration of Bruny Island Birds (40 Degrees South, 2014) and her artwork has been chosen to appear on many book covers.
Address: https://www.victoria-king.com
https://www.victoria-king.com
https://victoriakingplaceart.blogspot.com
A selection of photographs that she took in India in 2018 and 2019 are at:
https://findingjoy-openheart.blogspot.com/
Contact email: [email protected]
Victoria King has a BA (Hons) 1st class degree and Masters degree in Fine Art. Her paintings, sculptures, essays and poetry explore themes of place, displacement and the power of nature. In 2005, a major curated solo retrospective of 30 years of her English and Australian paintings was held at the Lewers Bequest/Penrith Regional Art Gallery and travelled to Braemar Gallery, NSW, Australia. Since 1982 she has had fourteen solo exhibitions of her artwork and exhibited in over 40 group shows. A solo retrospective of 45 years of her paintings and sculptures was shown at the Stockport War Memorial Art Gallery in 2021-2022.
Victoria was born in northern Kentucky in 1951 and studied at the University of Cincinnati and the Art Academy of Cincinnati, and privately with the artist Paul Chidlaw. She lived in New York City and San Francisco before moving to England in 1972 to work with the spiritual philosopher J.G. Bennett until his death in 1975. She remained in England and collaborated with British Abstract Expressionist painter Gerald Wilde. Her son Zachary was born in 1976 and she became a Senior Lecturer in Fine Art at John Moores University, Liverpool and a visiting lecturer throughout the UK. In December 1993, she moved to Australia and lived on three acres in the Blue Mountains for 12 years. During that time she worked with Aboriginal women artists at the outstation of Utopia in the Northern Territory, and at their request transcribed and published their stories. She received a PhD at the University of New South Wales, Sydney, for her thesis 'Art of Place and Displacement: Embodied perception and the haptic ground' which included her research at Utopia and case studies of the art practice and life of Canadian-American artist Agnes Martin whom she spent time with in Taos, New Mexico.
In 2005, she moved to 'Blackstone', a remote water-front homestead on 55 acres that she discovered on Bruny Island, Tasmania while canoeing. After the birth of her granddaughter, she bought a home in Cheshire, England in 2011 to spend six months each year near her son and his family, and she returned to live and make art in England full-time in 2018. In 2023 she began another full-time MA in Design / Craft at Manchester Metropolitan University and is currently creating sculptural ceramics and installations.
As well as being the author of numerous published essays on art, place and displacement, she has published two volumes of illustrated poetry: Memento Mori (Black Stones Press, 2015) and Black Stone Birds (Black Stones Press, 2012), has created limited edition, hand-bound art and poetry books: Journey/Return (2010), In/Sight (2009), Things I Didn’t Say (2009), Small Prayers (2009), Re/membering (2008), Lineage (2008), Taboo (2007) and Beginning Again (2007). She was arts editor and a contributor to Birdsong: A Celebration of Bruny Island Birds (40 Degrees South, 2014) and her artwork has been chosen to appear on many book covers.
Address: https://www.victoria-king.com
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Papers by Victoria King
In turn, historic-preservation planner Jeremy Wells considers the need for preservationists to incorporate the lived qualities of historic places in methods of evaluation, and architect Reza Shirazi examines architectural phenomenologist Christian Norberg-Schulz’s critique of Japanese architect Tadao Ando’s Vitra Conference Center in Germany.
Shirazi’s essay is especially provocative because it demonstrates how different phenomenologists can interpret the same buildings differently in terms of their experiential dimensions. Such variations in phenomenological understanding raise the important matter of interpretive accuracy and trustworthiness—always a difficult issue in phenomenological and hermeneutic research.
This issue includes the regular EAP features of “comments from readers,” “items of interest” and “citations received.” The issue also includes:
A tribute to phenomenological psychologist Bernd Jager, who passed away in March, 2015. In memoriam, we reprint passages from two of his most noteworthy writings, “Theorizing, Journeying, Dwelling” (1975) and “Theorizing the Elaboration of Place” (1983).
A “book note” that reproduces a portion of an interview with phenomenological philosopher Edward Casey, published in the recent volume, Exploring the Work of Edward Casey, edited by Azucena Cruz-Pierre and Donald A. Landes.
A book review of archaeologist Christopher Tilley’s Interpreting Landscapes, by Northern Earth Editor John Billingsley.
A commentary that philosopher Dylan Trigg presented at the special session on “Twenty-Five years of EAP,” held at the annual meeting of the International Association for Environmental Philosophy (IAEP) in October.
Independent researcher Stephen Wood’s “Moving: Remaking a Lifeworld,” in which he offers a first-person phenomenology of moving to a new house, including the lived significance of embodied emplacement.
Anthropologist Jenny Quillien’s “Wordless Walkabouts on a Chinese Campus,” which discusses the “sense of place” Quillien experienced while spending three weeks in the South Chinese city of Guangzhou.
Artist Victoria King’s “The Imprint of Place,” which considers how King’s sense of artistic creativity has shifted over time, partly because of maturing personal experience and partly because of changes in her lived geography and a deepening understanding of place.
Architect Gary Coates’ “Reinventing the Screened Porch: Bioclimatic Design in the American Midwest,” which presents an experiential analysis of a porch Coates designed for his Kansas home.
EAPs by vol (1990-2016) by Victoria King
In turn, historic-preservation planner Jeremy Wells considers the need for preservationists to incorporate the lived qualities of historic places in methods of evaluation, and architect Reza Shirazi examines architectural phenomenologist Christian Norberg-Schulz’s critique of Japanese architect Tadao Ando’s Vitra Conference Center in Germany.
Shirazi’s essay is especially provocative because it demonstrates how different phenomenologists can interpret the same buildings differently in terms of their experiential dimensions. Such variations in phenomenological understanding raise the important matter of interpretive accuracy and trustworthiness—always a difficult issue in phenomenological and hermeneutic research.
This issue includes the regular EAP features of “comments from readers,” “items of interest” and “citations received.” The issue also includes:
A tribute to phenomenological psychologist Bernd Jager, who passed away in March, 2015. In memoriam, we reprint passages from two of his most noteworthy writings, “Theorizing, Journeying, Dwelling” (1975) and “Theorizing the Elaboration of Place” (1983).
A “book note” that reproduces a portion of an interview with phenomenological philosopher Edward Casey, published in the recent volume, Exploring the Work of Edward Casey, edited by Azucena Cruz-Pierre and Donald A. Landes.
A book review of archaeologist Christopher Tilley’s Interpreting Landscapes, by Northern Earth Editor John Billingsley.
A commentary that philosopher Dylan Trigg presented at the special session on “Twenty-Five years of EAP,” held at the annual meeting of the International Association for Environmental Philosophy (IAEP) in October.
Independent researcher Stephen Wood’s “Moving: Remaking a Lifeworld,” in which he offers a first-person phenomenology of moving to a new house, including the lived significance of embodied emplacement.
Anthropologist Jenny Quillien’s “Wordless Walkabouts on a Chinese Campus,” which discusses the “sense of place” Quillien experienced while spending three weeks in the South Chinese city of Guangzhou.
Artist Victoria King’s “The Imprint of Place,” which considers how King’s sense of artistic creativity has shifted over time, partly because of maturing personal experience and partly because of changes in her lived geography and a deepening understanding of place.
Architect Gary Coates’ “Reinventing the Screened Porch: Bioclimatic Design in the American Midwest,” which presents an experiential analysis of a porch Coates designed for his Kansas home.