Faculty of Arts, Humanities and Cultures

School of Fine Art, History of Art and Cultural Studies

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Louise Adkins

PhD Candidate

School of Fine Art, Art History and Cultural Studies

My art practice investigates the relationship between cultural, historic narrative utilizing performance, film and text. The appropriation and (re) visioning of historic cultural events are an on-going theme in my work which often feature (re) enactment, as a way of reading and understanding the past.


Current work is concerned with constructed histories and the documentation of historic events identified in archives, libraries and gallery collections. The practice is responsive to situations, mainly the institutions history, location and archival information identified as part of the research process. My work is concerned with the performative possibilities of these histories, events and moments and the narrative potential inherent in (re) visioning them.

I am the founder, working as artist and curator of ‘Between’ a programme of performance art commissions established in 2012 in association with the International3 gallery in Manchester. 
The ‘Between’ programme was concerned with how contemporary performance can utilize the interstitial space of the gallery programme as a creative lab for performance art practice.



Research Interests

In 2016 I was awarded the Amanda Burton scholarship at the University of Leeds to study a PhD by practice titled: ‘Re-Visioning Histories and the Gaps Between’ in the School of Fine Art, Art History and Cultural Studies.

My practice-based research is concerned with (re) visioning the unknown in relation to historicity. I use methodologies of (re) enactment, screen writing and choreography to interrogate our understanding of historic authenticity and in particular our ability to reflect and imagine the past. The performance and film works use material and narrative tropes of ‘Pastness’, manifest in film and theatre, to re-imagine unknown histories. I work with archives and collections to develop (re) imagined moments and events within the cultural institution in order to understand how performance can embody an alternative history of the cultural institution.



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