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A reflective journal of my practice, process, and thoughts.

Posts in Process
Mid-Point Review


The feedback I received during the crit session has already proved tremendously helpful and I’m grateful for everyone’s comments and insights - it’s so important to share work, and to ‘test’ it - is the work doing what you expected it to? This is one of the aspects I’m most enjoying about the course, being back in a shared environment with the framework in which that is an objective.

To a large extent and overall I feel as if the recurring themes throughout my crit align very strongly with my own feelings about where I am at right now, and some of the questions that would be constructive to consider. This is very encouraging.

The question of the extent to which my project is rooted in and weighted by personal history and identity, and how effective it might be in communicating something relatable on a wider scale is something I think is central for me to address, and it one of those continuous considerations that I am working to unravel. It was very valuable to hear how, for example, Betty read the project as being more concerned with a search for identity than an investigation into geography and change, and in response to this Ed said that he felt that identity was one of several subjects tied in together, being expressed through metaphor, and that the tricky part will be to communicate all of that in a way that each subject gives meaning to another. This is definitely a key objective for me now and something which I will focus on more as I work my way through the project - Aristotle describes what I am handling as a ‘phenomenal amount of data’ - and I do feel this. Identity is definitely a concern, and the way I have been approaching the project is from a point of this forming the basis, or the roots, of it and everything that follows or is overlaid or extruded from personal narrative, into something that I intend to speak more of our collective experiences in today’s geological context, and something that works outside of the confines of my own geography, or my home. More and more I am treating this project as something which is so multi-faceted that I do not, in one way, want to impose borders on it, but rather begin to focus in on one metaphor or ‘dimension’ at a time. I will be revisiting and reworking the globe-shaped project map, in order to begin working into it - the project - now, rather than reading around it. I hope to develop something compelling in that multi-faceted way, in which connections that at the moment feel like hints or confusions might emerge more thoroughly as the result of working on this for years to come.

Action Points / Development

Consider the potential of both writing, and verbal description, as a branch of methodology in the communicative behaviour of the project

Pav commented that he felt the quality of the spoken narrative in the video was more important and effective than the visual communication. This is one of a few comments that surprise me - it is intriguing and I am very eager to engage with this. I did not write a script for the video presentation. I made the video piece in a way that was possibly much less efficient than I could have, and I think that this is actually an example of my continuous approach and nature to labor over something, which often results in research dominating time I could be utilising more carefully in making. I developed the video in a very linear way, beginning to end, adding visuals and making mental notes for what I might say as I worked my way along the timeline, then made two sound recordings for the narration - a hiccupy and stumbling rough edit and then something a little better. However, I did greatly enjoy this and this is important actually in a couple of ways - I love writing and research and I have often gravitated towards those modes over visual communication. In this case, I spent much longer processing the visual work I had made and images I had collected along the way via the research than the text. This feedback is helpful also because it suggests to me that the text or the ‘non-visual’ research is at a point where I have something I can begin to articulate and make sense of in terms of a basic framework, so now I can really push forward with that framework more into visual/aural. Having said that, there is something about the spoken element which I, though I do not necessarily in any way enjoy listening to own my monotone drone, think might be worth pushing or at least reminding myself of as I work because it could inform part of the communicative behaviour of the project. Alexis provided a connection to the work of Stephen Jay Gould, explaining how “his essays sweep ideas together in classic form taking one through a disclosure of idea that eventually settles as a sedimentary bed in ones mind, creating a geology of thought”. In response to Alexis’ question, I have considered writing previously, and the feedback he has offered encourages me to revisit it in this context, and indeed how writing could form a dimension of the project in itself, in relation to the thread of historical constructs and reconstruction.

Explore the soundscape, and evaluate it’s potential relationship to the aesthetic of the project

For the Mid-Point Review video piece I wanted to record a very simple soundscape, and something that echoed the time-bound aspect in connection to the research; deep time, memory, life-span. I slowed down and amplified a recording I made of ice cubes cracking in warm water, and this together with one piano chord formed the basis of it. I did enjoy this, and I am thankful for the feedback I received as regards how the sound worked; Aristotle commented that it was significant in his reading of the project, and this seemed to be a shared interpretation amongst others in the group. The development of soundscapes in correlation to the environments that I am imagining each of those metaphorical dimensions within my project to ‘look’ like is definitely something I intend to pursue - I will continue experimentation, and I plan to make field recordings to enrich the process moving forward.

Continue to investigate: extrusion, depth maps, interaction

As I state in the video, testing and trialling methods and techniques of making the project immersive and experiential is a key objective of the project. Christopher suggested the concept of being able to navigate through the embossed landscapes in real-time, which certainly speaks to the thoughts I have regarding experimentation I plan to begin this week in connection to perceptions of the past. On the subject of the embossed landscapes, I’m grateful to Ed for pointing out that those I included in my presentation look very similar to satellite recordings of the breaking up of ice sheets in the Antarctic - this is a useful reference point. Kelda spoke about the way in which I’m currently switching between digital and physical and how that is intriguing and this is something which I have thought about quite a lot; generally I imagine this as actually being a comment within the work somewhere about the two, and about formats - I’m thinking back here a little bit to Daria Martin’s show at the Barbican which I discussed in my previous blog post, and also I am always quite mindful of, for example, the fluency of Joseph Beuys’ interdisciplinary process. I’m also very interested in Kelda’s reading that my work “has a gritty monotone approach a bit like a black and white documentary, which looks real but is a representation of the real.” Documentary is very important to me… there are a few very distinct qualities concerning direction, narrative, and truth (Werner Herzog’s pursuit of the ‘ecstatic truth’ comes to mind) which I have always been fascinated by in that field that deals with negotiating representations of the real - and persuasion. I’d like to pay some more attention to this. Dannii and Jonathan referred back to the concept of extrusion as a device which should be investigated further, and core samples as frozen records of previous events and environments, lifeforms, being literally pulled from within the earth, the question of how our behaviours will be defined in future samples - layers of plastics, the ‘unnatural’… These are certainly reflective of, and valuable extensions of, my thought process. All of the feedback I have received is beginning to inform my planning and direction, and the weight of the focus I give to certain questions that directly affect the experience of viewer.




Mining for Material - Mappleton (Nov 18 - Jan 19)
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‘The muddy cliff morphed into thousands of dragons’ teeth, then concrete-filled oil cans; a slipway staggered past, atop it a compound of caravans reached by a rusty iron flight. The cliff slid on, and now up above me lanced the spars and beams of structures recently undermined. Drainpipes thrust up from the mud, together with coils of wire, dead-birds’ wings of polythene… To the west, unseen, the sun was setting into this clay, the sky silvered, then grieged.’ - Will Self, ‘Spurn Head’

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Emily and I decided to try breaking down and processing the boulder clay we collected, to purify and wedge it for some experimental firings. The clay is beautifully plastic and fires to a bright red terracotta with flecks of mica that glisten. The process of breaking down, reshaping, ‘fixing’ that shape through a kiln firing felt very thorough, and now that I understand the properties of the material a little more I can consider the potential of using it in different ways. Something I have in mind is to fire a clump of unprocessed clay, rocks and all, in a sagger, maybe as less a piece of design - this is something which I wrote about in October in relation to my specific questions I have surrounding ceramics work.

At the Edge of the Humber

In September I attended an interesting lecture by historical and cultural geographer Dr. Briony McDonagh, during the British Science Festival at University of Hull. The lecture traced the histories of settlements on the River Humber, beginning with an examination of the intercommoned wetland marshes of Wallingfen which resisted drainage and agricultural development until the eighteenth century and parliamentary enclosure, working along to the mouth of the river via the remote Sunk Island in Holderness, all of which was also waterlogged until the Middle Ages, and has more in common geologically with the Netherlands than other parts of Yorkshire. I am much more familiar with Sunk Island, living nearby and aware of it’s strange, fractured and lonely beauty, and did not previously know of the existence of Wallingfen, but figments of the soft Holderness clay and the way I visualised the Norfolk Fens in my reading of Graham Swift’s Waterland came to mind, which is probably quite an obvious and reductive reference to make at first. Incidentally, a couple of years ago I traced my mother’s family back a few generations to living in Norfolk. One of the reasons for them moving north and settling in Holderness might have been connected to a more widespread migration of labourers from Norfolk to Yorkshire in the early 1800s as the result of an excess of agricultural workers in a region feeling the effects of increased mechanisation. Nonetheless, it made me consider the winding rural psychogeography Swift developed; the drenched landscape an active witness slowly shifting and churning the past into the shared present, reshaped - reclaimed, and present back beneath, eventually out to the river and lost into the sea. “That's the way it is: life includes a lot of empty space. We are one-tenth living tissue, nine-tenths water; life is one-tenth Here and Now, nine-tenths a history lesson. For most of the time the Here and Now is neither now nor here.” 

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image credit - Andy Medcalf

Collapsed WWII gun emplacements exposed as the cliffs wear away at Kilnsea.

Read The Draining of the Marshlands of South Holderness and the Vale of York, June A. Sheppard, 1966

This Is_Land / Process & Print


I am still deliberating over the ‘success’, at least in terms of having positively communicated some ideas and questions, of a project I exhibited earlier this year at Artlink Hull, and carried through to the Hull Print Fair last Sunday. ‘This Is _ Land’ grew out as a branch of my research last year, when I realised that my interest in social ecology in relation to migration was very much interwoven with my concerns about geological change, and a number of broad questions bloomed from that: how do we respond to climate change or resource driven migration in humanitarian ways in an age of rising nationalism and an intoxication with borders?

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

The Banksy piece on Scott Street Bridge in Hull which appeared back in January. To me, it feels gesturally powerful in it’s location at the end of Hull’s City of Culture year, a city in which the majority of voters in the EU Referendum opted to Leave, something which still does not quite correlate with my experience of the general values of the people I have grown up with and around. Maybe this vote was both a decision given to the public and taken away at the same time; personally, I wonder to what extent the result was a demonstration of the stranglehold of right-leaning press and mainstream media power, and rising populism on opinion, promoting experiences of the past lived vicariously, because none of us were there when we knew economic harmony; ‘It didn’t used to be like this’, so the headlines ‘remind’ us. Fear the unknown, for it is worse than it ever was.

Part of my objective with the project was, possibly, to have more of an objective. It is part of the nature of my process as it stands, that I simultaneously try to distill, while naturally abstract information. This is perhaps not especially unique, but my aim here was to explore a slightly more ‘direct’ aesthetic - to utilise saturation in order to comment on saturation, and I wanted to play with a type of visual counter-point reflective of the binary modes we are conditioned to process feeling through politically, with at least reductive and at worst catastrophic - and unwanted - results, as a way of opening up questions on what we are being fed by sensationalist news feeds and agendas. The idea of, on some level, subverting convenience was present in this as well. This began to take the form of screenprints from digital manipulations. I am always interested in the suggestion of the halftone as being a mediator, and the screen as a mechanism for processing and transferring information, conferring emotive material, the basis even of an agenda, through the code of black dots (or something like that). This is obviously ingrained in the ‘press’. In parallel to the physical work, I created a separate instagram feed for the project, and as I worked through a range of different combinations and churning of those into screens, it became increasingly clear to me, especially after the Artlink show and in evaluating that, that the digital work seemed much more potent and engaging in it’s digital form, and with the print based work I received better feedback for the pieces that were less busy, with fewer layers. In designing the digital manipulation layers for the screenprint series, drawing from sensationalist tabloid cuttings, screen grabs from pixelated propaganda films and news reports, iOS function symbols, I realise now that they became overwrought and slightly laboured, whereas the digital pieces did what I had originally intended much more effectively. This has brought about a real sense of question for me now as I move forward - what is the physical ‘stamp’ of the print doing that the digital representation isn’t. The question of what it means to digest print digitally is something which I am now thinking about a lot. This context might be creating an interesting ground for innovation in print. In an article from July 2009 on the site Printeresting, exploring a web-based program which allowed the creation of protest-poster style graphics, designed in reaction to the aftermath of elections in Iran of the same year, the term Metaprint was used to describe the generation of the work:

“At the risk of overusing the ‘meta’ prefix, the Internet seems to be creating an era of Metaprint. Historically, images had to be distributed by physical means to affect change. Now, distributed is executed through an electronic network and reaches the audience without a printed component. The print (if there is one) is the last step, a step farmed out to the audience as an optional souvenir.”

Selection of social media post collages, IG: thisis__land, 2018.

Selection of social media post collages, IG: thisis__land, 2018.

The word ‘souvenir’ connotes a number of things and if they tend to be keepsakes or tokens, then there is an element of souvenirs representing memories, or as being ‘reminders’. This is something that also fed into the act of participating in the Print Fair last weekend. Back in the lead up to my spotlight show earlier this year I labelled a number of pieces ‘Reminder’s - postcard size screen prints on reflective card representing geological change and excavation, and these were exhibited beneath larger, more densely layered collage pieces at Artlink. That particular choice of wording ‘souvenir’ in my reading of the article has a slightly negative tone which suggests that the physical piece would essentially be the inactive, obligatory object. This is interesting in itself, and while that’s not necessarily representative of how I feel at this point about print work (the physical piece can ask of a small investigation from the viewer, is a gestural communication, is a space, and is an important mode of presentation in so many ways whether this is referring to a mounted piece, a print in a smallholder’s display rack, a publication), the argument is compelling and something I intend to be mindful of in my process - the pursuit of making work engaging in a saturated environment, and using those platforms which are now very much a mainstream visual currency, inside and outside of the gallery; the screen.

In evaluating the project now, I can identify a few important action points for moving forward. The work I have made so far has bloomed into a broad collection - probably broader than I had originally intended, interrogating a range of visual sources from life rafts in online museum collections and tabloid articles perpetuating misinformed immigration hysteria, to technicolour renderings of oil spills and ecological catastrophe in 1970s National Geographic issues and photographs of thawed animal remains from the Siberian permafrost. This wide, exploratory approach both in terms of subjects and mediums has led me to reshaping my intentions. In a return to the basic questions I had at the beginning of the year, I have recently begun discussing social ecology and political myth with regards to nationalism and climate change, with Dr Jeremy F. G. Moulton, Associate Lecturer in Environmental Politics at the University of York, and these discussions are having a significant impact on my knowledge of the issues surrounding my concerns. In a collaborative spirit we are continuing to ask questions of one another’s concerns from the perspectives of our individual practices and experiences, and I am planning on publishing transcriptions of these conversations online soon, as part of a dedicated This _ Land __ site. The site will also feed from the project instagram account, and be a screen-based experience and space for continually developing visual work, as I learn more about the specific contexts I am addressing and how my experiences of those have been shaped, through related ideas and possibilities arising from collaboration.

What I stand for is what I stand on.
— Wendell Berry
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Questions and Decisions
still from ‘Worlds in the Making’, Semiconductor, 2011

still from ‘Worlds in the Making’, Semiconductor, 2011

I am three weeks into my MA, and so far each of the students in my group have taken turns to introduce our practices to one another, and consider connections, advice and possible ways forward. This has resulted in some interesting shared ground between many of our concerns as individuals; geography and time, identity and absence amongst those. I am thankful for the questions I received in relation to my presentation, particularly that of what it is I am trying to communicate about the past in the context of technological advances, which are helping me to push forward at a point in which I am overwhelmed with possibilities for development. Pav’s question relating to technological advances, and Alexis’ comment that my work seems to be “mining, excavating and bringing forth constructs from the past that inform a future world” have tied themselves together in my thought, and the notion of ‘pointing towards a future landscape’ is something that could become a really useful pivot point. This also relates to a project I have been working on exploring political myth in the Anthropocene (more to follow in a separate post). For a while now it has been one of the primary aims of my practice to consider how to make my work current, and engaging. The mining for information and historical sources is something I have become ‘confident’ with, and this actually unsettles me slightly because there may be a danger of becoming stuck in reflective repetition. I want to explore active physical and mental processes that lay at the roots of my concerns now, and will this week begin to make enquiries with university departments, geological and neurological researchers and practitioners so as to begin communications that will hopefully inform my understandings.


A couple of Sundays back, Emily and I took the train to York to visit the Ceramics Fair (Emily is a ceramicist and I am constantly amazed by the intricacies and hazards of ceramic process), and also the ‘Strata - Rock - Dust - Stars’ show at York Art Gallery. The day was full of serendipity, and really confronted me with identifying the properties and potentials of different media and disciplines at this crossroads in my work. There is a slight conflict in me at the moment about making objects, and whether this is something I want to continue, at least in terms of the idea of making work that seems ‘concluded’ - I think the nature and properties of print are really helpful for me as the constant in my process, because print allows me to work sequentially and feels like moving forward in a way that sculptural or assemblage based works I’ve made have not - and this is I’m sure entirely down to my individual approach. I’m trying to unravel this. Because of this, my interest in ceramics is an odd one: I have been hesitant to begin working with ceramics because I know that from my experience of observing and learning from Emily as she has been developing her practice that the discipline needs - and deserves - time, which I do not want to plough through insensitively in order to gauge it’s relative potential to my research, but I love the inherent and invoked geological aspect embedded in the foundations of making work with clay, and the work showed by various artists at the Ceramics Fair transfixed me. (Note: I think I have just decided in writing that last sentence that I should just try working with clay a little and stop overthinking. This, in combination with my tendency to be an archivist rather than an ‘activist’, might be one of my main stumbling blocks in everyday life. I’m sure Em would agree.)

^ Mitch Iburg, source: IG @mitchiburgceramics

I think the main aspect of ceramic work that grips me is that which makes accident and chance, and organic or unexpected results very visible, in contrast to and rather than controlled products which emphasise function, and obviously here I am talking about the spectrum of different intentions within the discipline. I was fortunate enough to be given two pieces made by Mitch Iburg for our wedding anniversary, and there are facets of his process which resonate very strongly with my feelings for geological history. Iburg investigates and collects from the clay deposits and natural resources inherent to specific regions, challenging practices related to the use of local materials in contemporary ceramics, and makes work from those. Aesthetically the forms he produces seem to be driven by a very honest and intuitive reverence for the inherent shape or design and character of the material, almost found-object-like as if discovered already formed, or frozen in state. A process of discovery, and recovery; reshaping an object with an abstract past. It also makes me curious about what the boulder clay from the Mappleton cliff stretch nearby would look like fired, and this is an experiment I intend to pursue. I also intend to research digital innovation and process in contemporary ceramic practices - 3D printing, clay work driven by data?

During my presentation last week, Friederike described the earth as being a collector of hidden memories made visible through fossils and studies, and that somewhere these memories “must also be present in a brain that does not remember”. Forms of memory, and the relationships between the surface (the landscape, the ‘present’, the visible) and the ‘beneath’ (the unseen, the subterranean, the ‘past’), are two immediate lines of inquiry for me as I begin to formulate my project proposal. Those relationships are interrogated in the work of the artist duo semiconductor, Ruth Jarman and Joe Gerhardt, currently exhibiting the 3 channel film piece ‘Worlds in the Making’ at the York Art Gallery show. In the film, a number of scientific processes are used to generate and translate sound and animations from seismic data collected from beneath volcanos, amplifying the shifting, invisible forces beneath us that determine the physical foundations of the planet. The piece has a slow-burning anxiety, and the properties of the installation - it’s cinematic projection scale, and the jittering time-lapse quality of the animation (see below for a snippet), evoke the feeling that the observational lenses we employ to monitor the changing landscape are always hostage to the rapidity of natural forces which perhaps slip away before we have chance to capture meaningful measurements and interpretations. The uncontrollable rate at which are affecting the geological structures of the earth is unquestionable, and an interesting facet of this piece in my interpretation is that we are now as much observers of our own self-destruction in the context of climate as we are investigators of natural processes, and slow even in the race to catch up with ourselves and unravel the damage the industrial damage that has been done over the past couple of centuries, to understand this in ways that can translate those effects into suggested ways forward. I am interested now in considering this in relation to the human biologic, to our internal structure and memory.

Best watched full screen! Semiconductor: ‘Worlds in the Making’ preview, 2011

^ Liz Orton, from series ‘The Longest and Darkest of Recollections’, & ‘This Connection Should Make Us Suspect’

Liz Orton’s work also explores ‘entanglements of land, vision and natural science’. Her intimate photographic works invite close inspection, and relationships between forms of measurement and our relationship to geological scale seem to be called into question. There is an immediacy to Orton’s work that I appreciate, and the ‘punctured’ photographs suggest the way in which print can be connotative of memory, returning to the idea of the ‘timestamp’, or the frozen frame. Friederike’s feeling that there is great power in slowness being counter-cultural relates to this, and this is something which I am thinking about a lot right now; how to be engaging and encourage reflection in the present. This might extend beyond the counter-cultural. Seth Denizen, contributor to Making the Geologic Now (Ellsworth & Kruse, 2012) describes that in relation to the pace of material physical change we are experiencing, “The world becomes defined not by a time, but by a speed. This is the point at which the world can no longer be merely an extension of our own, a difference in degree, but rather something which takes on a difference in kind: another sea, another wind, another world at right angles to our own.”

This exhibition really presented me with a lot of a different possibilities and pause for consideration of utilising techniques and processes, especially outside of print and sculpture, through which I might discover surprising connections and paths - I am so excited about this. Time to explore. Please, if you have any comments or would like to contact me in relation to my journey and process, please do so by emailing me at

unfold.alt RYOICHI KUROKAWA, 2016, 4K video | 2ch sound

As Above, So Below

animation from gelatin prints, fossils from east yorkshire coast, 2018

… because photographs trigger a memory reflex, the scene they depict takes on a personal significance that is like a shadow and cannot be fixed precisely. This is an unconscious mechanism, silently nagging the viewer (Where does this fit in my life? Was I there?) . The places are also, of course, points on the earth, coordinates in what we call our environment, that which envelops us. In this sense they are part of a different history, but one that is much harder to comprehend, the story of a planet that has existed for more than 4 billion years before humans. This too is part of our collective unconscious. - Saylor/Morris, ‘A History of the Future’.


One of the main threads of my practice is the idea that the only resource we have is the past, and the question of how this informs the production of visual work in relation to new technologies is something that lies at the roots for me. I am interested in the idea of the ‘time-stamp’ - fixing and unfixing a moment, and chasing the absence of a memory. This roughly began a few years ago when I decided to delve into some boxes of photographs my Nanna left behind. One in particular stood out to me, and has fixated me ever since, and this is the one you can see above. There is a shadow of a man visible in the shed, but I can’t quite see who it is. I realise that the threads of curiosity that are bound up in this can be traced back through my practice, more widely through an exploration of natural history as a field of accumulating agendas and constructs in parallel to the ‘true’ natural history of the earth, and back through my life and experiences of being a witness to various neurological diseases in my grandparents as a young person. These are perhaps both small chronicles of mystery, accumulation and loss. For these reasons the aesthetics of the archive appeal to me and sometimes I make use of this in the way I mine for historical visuals and found objects to form projections of the present, and is intrinsic to the properties of print in general. Joseph Beuys has been an influence on me in this area.

Prior to uncovering those photograph, I either actively or unconsciously avoided any personal material. The last thing I want to do is make work that is sentimental and I think this is maybe partly the reason why. More and more however I’ve realised that there is an emotive core to my practice which maybe bears potent relationships to geological process, and those threads of exploration into natural history and the archive make sense in terms of my interest in what is happening on the surface - on and between land, and below the surface - those shifting and mysterious stratifications of hidden matter which are largely absent from our active thought. Gradual change over time. I’ve spent a lot of time visiting and investigating the rapidly eroding cliffs which are eating into an agricultural area known as Holderness, on which my family lived and worked for decades and is pictured in those tiny polaroids fixating me. Thomas Sheppard’s ‘Geological Rambles in East Yorkshire’ (1903) served as a way of understanding some of the muddied and isolated locations, and became a starting point for a consideration of how this area of landmass which features the fastest eroding coastline in Europe, with bolder clay rich in fossilized life forms from ice age glacial deposits, is fragmenting and reforming like a society itself – the wear and tear of the people on the surface, the wear and tear of the crumbling clay and the shifting forces beneath our feet. I have begun to collect those fossils and make contact prints from them as an immediate visual starting point.

I am interested in the metaphysical, and the potential of the term ‘the fossil record’ as being a description of the recorded human memory of experiences of a landscape and relationships as much as it stands for a scientific collection of measurable and agreed historical evidence. The fossil record is, of course, notably incomplete. What does generation loss look like in the earth? Are there ways in which we gravitate towards anxiety in our psychological landscapes that might be reflected in the visualization of the gaps in the fossil record – in data and collections? Are there parallels to be drawn and associations to be unearthed between neurological disease, memory loss, and geological processes such as erosion and overprinting, at a point in time at which the geologic, biologic and technologic are becoming so much more tightly bound and blurred? These are all broad questions, which I seek to investigate, to distil, and push the boundaries of.

Returning to Beginnings

Thank you for visiting my journal. This week marked the beginning of my study on the MA Fine Art Digital course at Camberwell, and I am so excited to investigate a number of questions I’ve wanted to explore in my practice for a long time - to seek collaboration, and dialogue. I would like to use this journal not solely to document my process, but as a space in which I can ask questions of you, and you can ask questions of me and my practice.

Landscape in terms of both psychogeography and geology is occupying my mind a lot right now. ‘As above, so below’. I live and work in Hull and the surrounding area, which is situated on the River Humber, and the 'waterland' that my ancestors have farmed on for generations is working it's way back into the forefront of my memory, as the land itself crumbles rapidly into the sea here on the East Yorkshire coast. The gaps in those memories are the parts I'm maybe the most interested in…

My practice is interdisciplinary though this is something I am keen to develop. Primarily I utilise printmaking, often in it's broadest sense or pushing the notion of what could be considered print, to spark poetic associations between subjects. Subjects such as museology and the agenda of the museum as a voice and authority, and recently curious developments in relationships between geological change and migration politics, have become threads of my practice. The digital plays a huge role in my work in terms of design and manipulation of information, but I feel I can extend my knowledge of new digital technologies so much further, and this is one of my overall objectives, to explore entirely new ground, and question the nature of making in the digital age much moreso than I have to date.

Starting an MA now, ten years since I began my bachelors, is a wonderful feeling. I don’t know where those ten years went other than to know that I found my amazing wife and we found happiness, and without her I highly doubt I would be in the privileged position I am at in my life right now. I urge you to check out Emily’s practice on instagram - @effigypottery, doing so may also help give some context to the connections and activities I might discuss as time goes on.

I am ready to return wholeheartedly to my practice, which has returned to me the importance of questioning structures, parameters, and time - which is at the centre of my already sprawling MA mind map.