Millie Brown


Looking through Goldsmith's large swirling metal rooftop sculpture to a skyline view of London

The Fear Journeys into Art

The thesis argues there are consequences within academia and the art field when intersectional methodologies are not taken seriously enough. The Fear Journeys Into Art is defined as a working definition of an intersectional methodological approach to practice that situates multiple divisions of difference as a creative tool.

The thesis is in two parts: a dissertation and a practice. The thesis consists of six chapters within two main parts.

Part 1 (chapters 1, 2 and 3) situates the social context of the study in response to the thesis problem; academia and the art world will continue to experience limitations and faulty outcomes when intersectional methodologies are not taken seriously enough.

Part II (chapters 4, 5 and 6) presents two case studies of different approaches to emerging practice as both academic and creative tool to answer the thesis problem.

The first is the artist/ researcher Hannah Catherine Jones’ testimony of her student experiences in two prestigious art education institutions, demonstrates an intersectional practice as the research method.

The second is an Autoethnographic account of my return to the learning environment where my fear journey into art began; a tapestry weaving project space in South London. I reflect on the consequences of cuts in adult learning budget on equal access of intersectional individuals like myself, at local community level, is not taken seriously enough.

The concluding chapter (Chapter 6) proposes the PhD as a performative model of an intersectional methodology; what contribution it makes as a whole, and what methods were deployed in order to answer the main argument in the dissertation and in practice.


Suhail Malik
Davis Mabb