I was recently asked to contribute to the Newcastle University Institute for Social Renewal’s blog where I question, what is participation?

In many of my projects, I parody business and organisational structures in order to disrupt expectations and call for reflection. A forthcoming essay examines this trend in artistic practice. Read my article in Organizational Aesthetics, Professional Parody: An Examination of Artist Practices Parodying and Disrupting Business Models to New Ends

Anthony Schrag and I suggest the need to examine ‘(re)locating the artist’ in regards to cultural policy- making, the institution, and ultimately as facilitator of dialogue and change within the physical and online communities in which they work. This paper was presented at ISEA2014 Dubai.

Mellor_Schrag_Locating the Artist (2014)

Anthony Schrag and I address the role of artist residencies in contemporary practice as part of Northern Film and Media’s Connect/Exchange project. Where Are We Now-AM_AS_Connect Exchange 2014

Artist statements suck. Kirk Amaral Snow and Andrea Sherrill Evans asked me to ponder the notion of artist statements for their contemporary art blog, Temporary Land Bridge.

A {Digital} Stitch in Time, an essay published in Media-N: Journal of the New Media Caucus Fall 2012: v.08 n.02: Found – Sampled – Stolen – Strategies of Appropriation in New Media

“From laser cutting, to computer-controlled embroidery machines and Arduino-enabled clothing, artists employ technology and craft practices to new and exciting ends, challenging our imaginations and preconceptions of craft. However, there is another trend within visual art that deserves attention: artists using needlecraft techniques to explore digital technology, not as a tool, but as the subject matter of their practice. No longer reserved for our grandmothers, needlecraft has become a subversive tool of counter-culture. Whether revealing the underlying relationship between computer coding and embroidery patterns, or documenting the digital landscape through portraits of cotton stitches, artists encourage an intimate participation with the digital through the laborious, and social process of needlecraft, questioning the meaning of “social networks” and participatory production while exploring collective meaning and ownership in the digital age.”



Alexia Mellor as co-founder of WRMC Collaborative will be presenting Playing in Place Nowhere: Creating an Open Source Country at ISEA2011 Istanbul at Sabanci University, September 2011. The paper uses our open source country, Lokönenie, as a means to address issues of nationality and place-bound identity in a world that is becoming increasingly corporatized and digitized. Playing in Place Nowhere will be published in the Leonardo journal.




Rules of Engagement: Creating a Feminist Aesthetic of Humor and Play, part of part of LivingGallery.info’s project of feminism in the art of artists born after 1970:


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