About

 

Owen G. Parry (b.1983, Wales)

 

My expanded art practice in theatre, live art, visual arts and digital processes is collaborative and research focused, synthesising avant-garde, popular and occultist practices. I create situations and experiences (often with others) for the production of new, pseudo-imaginary languages, communities, worlds and images, set inside but against the oppressive or dominating myths of the present.

 

I established Fan Riot (www.fanriot.tumblr.com) in 2015, a multi-disciplinary collaborative project exploring art practice and fandom across digital networks, which includes a fan club series, publications, artworks and performances. I completed a funded Post-doctoral Fellowship (Digital Scholarship) at IASH University of Edinburgh (2018-19), exploring the aesthetic productions of anti-fandom and haters. This followed my AHRC funded PhD in visual cultures at Goldsmiths (2009-13) with a thesis titled 'Trashy Tendencies in Contemporary Art and Performance Practice', exploring trash and waste as a logics of cultutral production. My project was developed through my coinciding role as Lead PhD Researcher on Performance Matters, a collaboration between Live Art Development Agency, Goldsmiths and Roehampton. I have held associate lecturer posts in Fine Art, Theatre and Performance studies at Central Saint Martins (2015-present); Queen Mary (2019-2020) and Goldsmiths (2016-2018) and others.

 

My work has been included in shows and programmes internationally including National Theatre Wales, Cardiff; The Junction, Cambridge (2020) Castlefield Gallery, Manchester; Pleasuredome, Toronto, Canada (2019); Transition Gallery, London 2018; Fierce Festival, Birmingham UK, Tansin Talo, Helsinki Finland (2017); Queer Gestures at Barbican, Steakhouse Live, Jerwood Visual Arts (2016); The Show Room, Artsadmin, Latitude Festival (2015); Wellcome Collection, South London Gallery (2014); ANTI Festival, Finland, National Portrait Gallery, Reactor Halls (2013); Hayward Gallery; Duckie; Trouble Festival, Belgium (2012) and more.

 

Publications include chapters and articles in Fandom as Methodology (Goldsmiths Press, 2019); Theatre & Fandom (University of IOWA Press, forthcoming 2021); The Creative Critic (Routledge, 2018); The New Inquiry (2017); Contemporary Theatre Review, General Fine Arts (2016); Performance Research, The New Inquiry (2015); Live Art Almanac 3 (2013); Performing Ethos (2012); and co-editorial of Dance Theatre Journal (2011)