I am a painter, associate lecturer and researcher in the Lancaster University Institute for Contemporary Arts (LICA). I lead my work as a practice-based research to artmaking. I work with non-representational approaches to abstraction in painting following a post-minimalist approach principally focused on the pictorial gesture and colour relations. I build my works through repetitive, reductive and performative strategies, which are aligned with repetitive practices such as hand weaving/knitting and meditation. Haptic properties of my paintings have an important role as I argue they can engage the audience in re-enacting the processes I perform during practice and immerse them into meditative states. I draw principally on a Deleuzoguattarian framework, in combination with an enactive approach to making, to analyse material creative processes. I also have a record of working with Professor Emma Rose in participatory art, health and wellbeing research projects, delivering workshops of painting to vulnerable groups such as refugees andsurvivors of torture. I have presented my work internationally in renowned exhibition venues and conferences as a scholar and painter.
Internal Examiner: Professor Judith Mottram, Director of LICA.
External Examiner: Dr Simon Morley, assistant professor at the School of Fine Art, Dankook University.
PhD Supervisor: Professor Emma Rose, LICA.
PhD Supervisor: Professor Beth Harland, LICA.
2014 – 18 PhD in Contemporary Art. Lancaster University, UK.
2012 – 13 MA Fine Arts. Anglia Ruskin University, UK.
2006 – 08 Postgraduate qualification (Hons) in Art Restoration and Conservation. Universidad de Chile.
2005 – 06 BA Digital Illustration. Duoc PUC, Chile.
2003 – 04 Undergraduate Exchange. Universidad Politécnica de Valencia, Spain.
2000 – 04 BA (Hons) Visual Arts. Pontificia Universidad Católica de Chile (PUC) Santiago, Chile.
2015 – 19 – Associate Lecturer in Contemporary Arts, Lancaster Institute for Contemporary Arts (LICA).
Feb-Sept 2019 – Research Associate in the project Art of Recovery, at FfT, Manchester and London. Project funded by Leverhulme Trust. Project leaders: Professor Emma Rose, Dr. Amanda Bingley (Lancaster University) and Kirsten Lamb (FfT Manchester), UK.
The teaching method at Lancaster University in studio practice is student-centred and takes the form of individual tutorials, lectures, seminars, group critiques of work, and technical workshops. I help students to realise their creative and imaginative potential in particular in relation to pictorial enquiry. The core of my teaching is through practical and technical work integrated with the development of knowledge and understanding of contemporary art and ideas, enabling students to develop creative and scholarly research, and to contextualize their practice within a wider field of practitioners. My aim is for students to develop creativity, transformative thinking, problem-solving and transferrable skills thought their practice.
2017 – 19 – Associate lecturer, leave replacement cover, BA Fine Arts, Lancaster University. I teach the following modules at undergraduate (UG) level:
LICA 130, 131, 132 – Studio Practice: 2units, 1.5units, 1unit modules – First year studio modules focus on students developing their own practice within a practical studio discipline: sculpture, installation, drawing, painting, digital art or a combination of these. Delivery of teaching, assessment and feedback through one-to-one tutorials, group tutorials, workshops, and peer-feedback. Tutors teach Studio Practice in discipline groups, I teach painting.
LICA 230, 231, 232 – Studio Practice: 2units, 1.5units, 1unit modules. – Second year studio modules focus on students developing and establishing their own practice within a practical studio discipline: sculpture, installation, drawing, painting, digital art or a combination of these. Delivery of teaching, assessment and feedback through one-to-one tutorials, group tutorials, workshops, and peer-feedback. Tutors teach Studio Practice in discipline groups, I teach painting.
LICA 330, 331, 332 – Advanced Studio Practice: 2units, 1.5units, 1unit – The third year studio modules are student-centred courses requiring students to direct their own research and to develop a self-reliant approach, increasing responsibility for the creative and conceptual direction of their studio practice.
LICA 100 – First year lecture about history, theory, and critical/technical aspects of Modern Painting with a focus on the work of Édouard Manet.
LICA 200 – Second year combined lectures and seminars, assessments and feedback, on Semiotics and Structuralism.
LICA 236 – Second and third year half module: Painting in the Expanded Field – co-delivered with Pip Dickens – Combined lectures and seminars, one-to-one tutorials, assessments and feedback.
LICA 300 – Third year dissertation module. 1unit. I supervise 10 students through one-to-one tuition on a 10,000 word dissertation.
2017 – 19 – Academic writing mentor – BA, MA and PhD Students. FASS Faculty, Lancaster University.
2015 – 19 – Associate lecturer – LICA 130/LICA 230 – Technical workshops: Introduction to Pictorial Materials and Methods; Stretching, Sizing and Priming Canvasses & Paper; Collage & Stencil; Colour Workshop; Surfaces and Mediums; Monoprint; and group critiques (year 1 & 2), Lancaster University.
2010 – Associate lecturer – Life Drawing course. Universidad Metropolitana de las Ciencias de la Educación (UMCE). Santiago, Chile.
2009 – Associate lecturer – Painting Materials and Methods. Escuela de la Artes y Oficios de Fuego. Santiago, Chile.
2001 – 05 – Teaching assistant – Basic Drawing, Life Drawing I and II. Lecturers: Dr. Danilo Espinoza and Juan Bustamante. PUC. Santiago, Chile.
I have a record of working with Professor Emma Rose in interdisciplinary art and health research projects working with vulnerable groups, such as refugees and survivors of torture. The aim of these projects is to advance knowledge in the benefit of participatory arts to impact health and wellbeing.
2019 – ‘Art of Recovery’ at FfT, Manchester and London. Project funded by Leverhulme Trust. Project leaders: Professor Emma Rose, Dr. Amanda Bingley (Lancaster University) and Kirsten Lamb (FfT Manchester), UK.
2017 – ‘Art of Recovery: Supporting Refugees Traumatised by Torture’ at FfT, Manchester. Project leaders: Professor Emma Rose, Dr Amanda Bingley (Lancaster University) and Kirsten Lamb (FfT Manchester).
2016 – ‘Migrating’. Exploring migrating in relation to wellbeing and social integration. Project leaders: Professor Emma Rose and Dr Amanda Bingley (Lancaster University). Liverpool, UK.
2015 – ‘Creativity and Connectivity’. Exploring successful ageing in relation to wellbeing and social isolation. Project leader: Professor Emma Rose, Lancaster University. Lancaster, UK.
Rose, E., Rioseco, M. and Bingley, A. (in reviewing process) ‘Artmaking in participatory migrant research: A Deleuzoguattarian perspective in narratives of recovery’, Journal of Action Research.
Rioseco, M. (2019). ‘Woven Brushstrokes’. Front Cover Image. In Villegas, I. and Espinoza, D. (2019) La creación artística en artes visuales en Chile, y sus formas de investigación: el caso del sistema universitario. Santiago, Chile: Facultad de Artes PUC.
Rioseco, M. (2019). ‘Minimalismo Gestual’. In Villegas, I. and Espinoza, D. (2019) La creación artística en artes visuales en Chile, y sus formas de investigación: el caso del sistema universitario. Santiago, Chile: Facultad de Artes PUC.
Rioseco, M. (2019). ‘Entropy’. Heading Image in Chapter. In Sholtsz, D. (2019). Deleuze and the Schizoanalysis of Feminism. Bloomsbury.
Rose, E., Bingley, A., Rioseco, M. and Lamb, K. (2018). ‘Art of Recovery: Displacement, Mental Health, and Wellbeing’. Arts. 7, 94.
Rioseco, M. (2018). ‘Atoms Waves’. Front Cover Image. Deleuze and Guattari Studies Journal. 12, 3 – 2018.
Rioseco, M. (2018). ‘Following Cotton Fabric, Oil Paint and Plastic Bags’. Proceedings of 9th SAR – International Conference on Artistic Research. 11-13 April 2018, University of Plymouth, UK.
Rioseco, M. (2018). Gestural Minimalism: Developing a Pictorial Model in Light of Deleuzoguattarian and Enactive Theories. Unpublished PhD Thesis. Lancaster University.
Rioseco, M. (2015). ‘Entramado Digital: La Imagen Digital como un Sistema Complejo’. (June 2015). Pensar en Fotografía. Digital Magazine. Photograph group Art UC. https://pensarenfotografia.wordpress.com/
Rioseco, M. (2013). Complexity in Art: Through the works of Marcel Duchamp and Maurizio Cattelan. Unpublished MA Dissertation.
Rioseco, M. (2008). Restauración De Tres Pinturas de Caballete en el Taller Tarea. Universidad de San Martin,Buenos Aires. Unpublished Post-grad Dissertation.
Rioseco, M. (2004). A sewing work as an Entropic System. Unpublished BA Dissertation.
Rioseco, M. (2019) ‘La pintura como un proceso intensivo para la actualización de registros afectivos y perceptivos de un espacio liso’. II Coloquio REELD&G. Palacio Baburizza, Cerro Alegre, Valparaíso, Chile (2-4 de Octubre).
Bingley, A., Rioseco, M. and Rose, E. (2019) ‘Displacement, Trauma, and Visual Art: Migrating Landscapes”. Conference paper abstract and presentation. The Tenth International Conference on The Image, Manchester School of Art, Manchester Metropolitan University, Manchester, UK. (5-6 September 2019).
Bingley, A., Rioseco, M. and Rose, E. (2019) ‘Art of Recovery: Migrating Art’. Conference paper abstract and presentation. ‘Building Bridges’ in Applied Arts and Health, Education and Community conference 2019. Wolverhampton University (6 -10 August 2019)..
Rioseco, M. (2019). ‘Painting as an intensive process for the actualisation of affective and perceptive registers of a smooth space’. Conference paper abstract and presentation. 12th Annual Deleuze & Guattari Studies Conference, Royal Holloway, University of London (8 – 10 July 2019).
Rioseco, M. and Rose, E. (2018). ‘Art of Recovery: Deterritorialisation and Transition’. Conference paper abstract and presentation.Ninth International Conference On The Image 2018.Baptist University, Hong Kong. (3rd – 4th November 2018).
Rioseco, M. (2018). ‘The war Machine: Teaching Art Non-representationally’. Conference paper abstract and presentation. Deleuze and Guattari Studies 11th Conference 2018. Campinas, Brazil.(25 – 28 Jun 2018).
Rioseco, M. (2018). ‘Following Cotton Fabric, Oil Paint, Plastic Bags and Tissue Papers’. Conference paper abstract, presentation and publication. 9th SAR – International Conference on Artistic Research. University of Plymouth, UK (11 – 13 April 2018).
Rioseco, M. (2017). ‘Chromatic Continuum: Painting as a Plane of Consistency’. Conference paper abstract and presentation. Deleuze Studies 10th Conference 2017. Toronto, Canada.(19 – 21 Jun 2017).
Rioseco, M. (2016). ‘From Form to Action: A Deleuzian Approach to Painting’. Conference paper abstract and presentation. Deleuze Studies 10th Conference 2016. Rome, Italy. (11 – 13 Jul 2016).
Rioseco, M. (2016). ‘Visualising an Ontology of Transformation’. Conference paper abstract and presentation. Lancaster Social Science Intellectual Party – Summer Conference 2016.(27 – 28 Jun 2016).
Rioseco, M. (2016). ‘Complexity & Deleuzian Philosophy Performed Through Painting’. Conference paper abstract and presentation.Lancaster Postgraduate Conference 2016. (7 May 2016).
2018 – Gestural Minimalism. The Storey Gallery, Lancaster UK. Exhibition part of a practice-based research project to obtain the degree of Doctor of Philosophy at the Lancaster Institute of Contemporary Arts. (6 – 11 July 2018).
2017 – Chromatic Continuum. ArtLife Gallery. Venice, Italy. (18 Feb – 10 March 2017).
2015 – Pixels. PhD Confirmation Panel. Bowland Anexes Building, Lancaster University UK. (20 – 25 Sept 2015).
2015 – Icons. Intervention with paintings and talk at the St Paul’s Church, Lancaster UK. (14 April – 9 Dec 2015).
2014 – Platonic Solids: Un/Folded. The Dukes, Lancaster UK. (4 – 31 August 2014).
2013 – Icons. Round Church, Cambridge UK.(30 Sept – 11 Oct 2013).
Selection of Group Exhibitions
2020 – Illuminating the Self. Hatton Gallery, Newcastle UK. (20 Jan – 10 May 2020).
2015 – Inbetweenness. Storey Gallery, Lancaster UK. (24 – 28 Nov 2015).
2014 – Fass Building Exhibition. Lancaster University, Lancaster UK. (Dec 2014 – to date).
2013 – MAMFAMA. MA Final Show at Anglia Ruskin University, Cambridge UK. (26 Aug – 13 Sept 2013).
2013 – Incunabula. In collaboration with Changing Spaces, Cambridge, UK. (29 Apr – 05 May 2013).
2012 – Golden Fractal. ScienceXchange fair, Cambridge UK. (27 Oct 2012).
2010 – Orgánica de la Materia. Centro Cultural Casona Nemesio Antúnez. Stgo, Chile. (08 – 30 Jul 2010).
2008 – Casa de lo Matta Studio. (20 – 23 Nov 2008).
2008 – Late Gallery. Buenos Aires, Argentina.(May 2008).
2007 – Norte Blanco Building. (06 Oct – 04 Nov 2007).
2003 – Colour Woodcut Workshop. Art Faculty PUC, Santiago, Chile.
2002 – Art Student PUC. Art Faculty PUC, Santiago, Chile.
2018 – FASS PGR Conference presentation grant 2017-18 – Funding for attending Deleuze and Guattari Studies Conference 2018, Campinas, Brazil.
2018 – John Moores Prize 2018 – Selected for Stage 2 with Painting Fractals: Atoms: Waves (triptych).
2017 – FASS PGR Conference presentation grant 2016-17 – Funding for attending Deleuzian Studies Conference 2017, Toronto, Canada.
2016 – William Ritchie and Friend’s Programme Travel Fund – Funding for attending Deleuzian Studies Conference 2016, in Rome, Italy.
2013 – Becas Chile – Grant fund for PhD at Lancaster University. Chilean National Scholarship Program for PhD Studies. Full scholarship.
2003 – Beca Fondart – Funding for student exchange in University Polytechnic, Valencia, Spain. National funds for the Arts and Culture, Chilean Government.
2018 – Tutor at The Brilliant Club Scholar Programme Summer Term – UK non-profit organisation. Working with 7 & 8 year pupils. Fulwood Academy, Preston.
2017 – Painting workshop for Students of Lancaster Royal Grammar School in the context of “Mirrors”. Pip Dickens Exhibition at the Storey Gallery. Lancaster.(17 Nov 2017).
2017 – Target Connect Sessions at Loreto High School in Manchester Lent Term. Preparation of A-Level students to apply to University. Lancaster University.
2017 – Policy School. Team Leader of 6 UG and MA students. Responding to Green Paper: ‘Industrial Strategy’, issued by the UK Government and Westminster. Cabinet Office, Lancaster University.
2017 – GCSE PLUS. Sessions on Stress Management and Study Skills at Ripley St Thomas High School. Target Connect, Lancaster University. (28 Feb).
2019 – Professional Associate Fellow of the Higher Education Academy. Associate Teaching Programme 2018-2019. Lancaster University. Designed in alignment with the UK Professional Standards Framework (UKPSF) to provide a structured approach to the academic and professional development.
2016 – Questioner Design. Lancaster University.(6 December 2016).
2016 – Using Turningpoint Personal Response System in Teaching. (15 November 2016). Lancaster University, UK.
2016 – Art and Science Masterclass. (5th July 2016). Lancaster University, UK.
2015 – Workshop: Exploring Artistic Practice Using Microbiological Systems. (25th & 26th March 2015). Lancaster University, UK.
2014 – Introduction to Teaching. Lancaster University. (22 October 2014).
2013 – Gilding Course, Theodoros Papadopoulos. 21 Hours. Larissa, Greece.
2012 – Binding Course, Amillo Binding Studio. 24 Hours. Madrid, Spain.
2012 – Gilding Course, Cuatrocenttro Studio. 45 Hour. Madrid, Spain.