Rebecca Meanley

Rebecca Meanley is an artist, writer, researcher and senior lecturer based in London. Rebecca is Senior Lecturer in Visual Art Practice and Course Leader in MA Art and Design at the University of Bedfordshire; she teaches in undergraduate Painting and Printmaking and in MLitt Art Writing at The Glasgow School of Art.  Having exhibited nationally and internationally and represented by London galleries for over a decade, Rebecca is currently undertaking her practice-based PhD at The Glasgow School of Art. Her research is concerned with how experiential encounters inside the making process of experimental, auto-textual forms of writing and expanded field painting become an enmeshed, expanded territory that must be navigated. Rebecca’s new writing features in the current edition of The Yellow Paper, the Journal of Art Writing at The Glasgow School of Art. Recent solo exhibitions include a Micro-Residency in the Drawing Room, Stow Building, GSA, July-August 2025; group shows include Salon des Refuses, Annex Gallery, GSA and at Salt Space Gallery, Glasgow in 2024; Encounters at London Art Fair in 2023 and The Aesthetics of Enchantment, London, 2022, both with Vivienne Roberts Projects. Rebecca has presented research papers at The Glasgow School of Art PGR Research Forum in September 2025 and at the Research Forum for MA Art and Design, University of Bedfordshire in March 2025.

Rebecca is currently studying for a PhD. 

"A Hyper-Present State: Experiential encounters in the process of making (in painting and in writing) towards an expanded territory".

My practice-based research is concerned with how experiential encounters inside the making processes of experimental, auto-textual writing and expanded field painting become an enmeshed, expanded territory that must be navigated. Autobiographical and auto-theoretical writing shift between the past, the present and the fear for the future, writing from within a state of being, tackling illness and the dysfunctional body. Painting has left the stretcher and canvas behind to become preoccupied with light, transparency, space and suspension, where visual encounters are activated by the moving body. These experiences become enmeshed, embodied and entangled, navigating the temporal shifts of consciousness as a re-experiencing of memory and a co-emergence with vibrant matter. This research is a call for a feminist, ecological approach to understanding our interconnectedness in ‘the mesh’ through interdisciplinary practices. How is temporality experienced inside the making process? How might an encounter with a hyper-present state shift our understanding of our interconnectedness?

• Expanded Field Painting
• Painting and Drawing
• Art Writing
• Creative Writing
• Critical Writing
• Creative Practice Research
• Interdisciplinary Art Practice

• Painting, Drawing, Sculpture
• Fine Art
• Art and Design