AHRC Centre for Doctoral Training Students by start year


  • Crystal Bennes (PhD, Northumbria) Indirect observations and cultural translations: contemporary art, particle physics, hidden nature and scientific objectivity
  • Laura Yuile (PhD, Northumbria) Infrastructural Cosiness: Financialized housing and the aesthetics of exclusion
  • Ben Evans James (PhD, Sunderland) Towards a Curatorial Notation for Filmmaking: Space as matter and method in the filmic post-production process
  • Theo Harper-Davis (PhD, Sunderland) 3D Printing Backwards; Enabling the digital to be touched
  • Matthew Gansallo (PhD, Sunderland) Digital and traditional art curatorial practice: connectivity and distribution in postcolonial Museums/Art Galleries in West Africa and Europe
  • Dena Bagi (PhD, Sunderland) Clay Works? Can a ‘clay pedagogy’ be designed, which utilises maker-methods, to have a specific value in addiction recovery?


  • David Blamey (PhD, Northumbria) The Perfect Moment: Dreaming India in Art That Aspires to Ordinary Life
  • Jessica Weisner (PhD, Northumbria) 
  • Henry Collingham (PhD, Northumbria) A Design-Led Enquiry into Parametric Product Design for Dementia Care
  • Clair Aldington (PhD, Northumbria) Drawing a Line; the Meaning of Making, Gifting and Solidarity in Restorative Justice Processes
  • Janine Sykes (PhD, Sunderland) 
  • Riikka Haapasaari (PhD, Sunderland) Glass taking the lead: glass-informed filmmaking in creative practice


  • Alexandra Tinning (PhD, Northumbria) The worth of critical design in mental health care
  • Alex Frost (PhD, Northumbria) The Outsider Inside (Contemporary Art and the inside/outside dichotomy)
  • Uma Breakdown (PhD, Northumbria) Becoming Ahuman: making it desirable to abandon certainty, including certainty of the self, and play in this chaotic situation
  • Jo Joelson (PhD, Sunderland) The Library of Light - a curatorial framework to explore light, material culture and social experience


  • Laura Harrington (PhD, Northumbria) Upstream Consciousness: an exploration of artists’ fieldwork through boggy knowledge
  • Helen Pailing (PhD, Sunderland) Recrafting Waste Using A Stich-Based Methodology: A Collaboration Between Makers And Matter
  • Ed Carter (PhD, Sunderland) Rhythm, Scale and Liminality: Sonic composition and interdisciplinary artwork developed in response to architectural contexts
  • Dawn Bothwell (PhD, Sunderland) Regional Intermedia: How Can Intermedia Approaches to Curating Art in 1970s North East England Inform Sustainable Strategies For Present-Day Small Arts Organisations?
  • Andrew Robson (PhD, Sunderland) Amber, the Workshop Declaration and Moving Image Distribution


  • Danielle Admiss (PhD, Sunderland) A World Beyond: How can World-Building Inform Curatorial Practice?
  • Robert James Djaelani (PhD, Northumbria) The value of axiological practices: Addressing the issues of implementing and sustaining participatory design within the UK’s health and social care system
  • Lyn Hagan (PhD, Northumbria) Trust Our Judgement: Dialogues in Art and Ethics on the Moral Valuation of Life
  • Liam Jefferies (PhD, Sunderland) 
  • Inge Panneels (PhD, Northumbria) Mapping the Anthropocene: an investigation of Cultural Ecosystem Services through artists' engagement with environmental change in Scotland' (2019)
  • Angela Thwaites (PhD, Sunderland) Towards Making the Unmakeable: How 3D Printing Can Inform Kiln Formed Glass Practice in the 21st Century

AHRC Block Grant Partnerships

The Northumbria – Sunderland Centre for Doctoral Training is a continuation of the relationship between the two Universities and its external partners established in 2009. Between 2009 and 2014, Northumbria and Sunderland Universities were partners in the UK's first, and at that time only, Collaborative AHRC Block Grant. The partnership continues to be an innovative and path-breaking project that builds upon existing strength within the area of practice-led visual art research at both universities.

AHRC Block Grant Partnership Students by start year


  • Chris Evans (PhD, Northumbria) What is the relationship between a notion of ethical indifference serving as the impetus for a lucrative practice
  • Clare Stephenson (PhD, Northumbria)Girl Gets Drunk and Goes Swimming'. A Shift in Means for the Female Sculptor
  • Pawel Pronobis (MA Conservation of Fine Art, Northumbria)
  • Stephen Pritchard (PhD, Northumbria) Can participatory arts support sustainable social change in the UK?
  • Rachel Welford (PhD, Sunderland) An Exploration of Space and the Ephemeral through the Creation of Glass Artwork


  • Kate Liston (PhD, Northumbria) What is the Relationship between the Deleuzian Idea of Mapping Space and Subject Formation through Narrative?
  • Jaqueline Donachie (PhD, Northumbria) Illuminating Loss; a study of the capacity for art practice to shape research and care in the field of inherited genetic illness.
  • Robert Hunter (PhD, Northumbria) Unknowledge Economies: Has Digital Discourse within the context of the online information explosion Rendered all Information Effectively Subjective?
  • Suzanne O'Hara (PhD, Sunderland) Collaborations between Arts and Commercial Digital Industry Sectors: A Curatorial Practice-led Investigation of Modes of Production
  • Claire Richenda Todd (PhD, Sunderland) Making and Movement: creating kinaesthetic narratives through applied art practice


  • Lucy Livingstone (PhD, Northumbria) Investigating the Threshold as a Location for Visual Research and the (re)Framing of Contemporary Critical
  • Pauline Murray (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Sarah Noble (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Daksha Patel (PhD, Northumbria) The Concept of Noise in Medical Visualisation s Perceived Through a Contemporary Drawing Practices.
  • Janine Barker (PhD, Northumbria) Henry Rothschild and Primavera: The Retail, Exhibition and Collection of Craft in Post-War Britain, 1945-1980
  • Erin Dickson (PhD, Sunderland) Looking through glass: The manipulation of light through digital design and manufacture in studio glass practice
  • Marialaura Ghidini (PhD, Sunderland) Curatorial variations of our time. Online practices and offline spaces


  • Sylvia Steven (MA, Northumbria) The Framing of British Prints 1700 – 1900
  • Rebecca Mathew (MA, Northumbria) Peeling back the layers; the history of sanitary wallpaper from the late 19th century to the early 20th century, and a brief overview of their conservation
  • Juliet Chenery-Robson (PhD, Sunderland) Portrait of an Invisible Illness: The Visualisation of Myalgic Encephalomyelitis Through Photography and Text with Participation From ME Sufferers
  • David Cushway (PhD, Sunderland) Expanding Ceramic Practice in the 21st Century
  • Chris McHugh (PhD, Sunderland) Community in Clay - Towards a Sunderland Pottery for the Twenty-First Century: Approaching Museum Collections


  • Joanna Blackburn (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Lucy Partridge (Professional Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Nick Renshaw (PhD, Sunderland) The European Ceramic Workcentre As Successful Model: Evaluating The Standing, Nature And Potential For Practice In Ceramic Art Residencies
  • Marianne Wilde (PhD, Northumbria) Seeing & Saying: Visual imaginings for disease causing genetic mutations
  • Penny Grennan (Research Preparation Masters, MA, Conservation of Fine Art, Northumbria)
  • Ken Wilkes (Research Preparation Masters, MA, Conservation of Fine Art, Northumbria)