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It is difficult to make drawings while stretched out on a rock in high winds, holding down a large sheet of paper with your legs, whilst tracing the surface texture from the rock beneath you.

In my current practice I make drawings and installations in outdoor locations and in my studio. I use the processes of art making to feel, move around in, and engage with the environment and its materials. I take on the role of a human instrument experiencing this engagement with environments, with the aim of revealing the interconnectedness between landscape, place, creative practice and notions of self.

I use elastic bands, sticks and rolls of paper to assemble a practical working kit of materials which can be carried around in the environments where I work.  Some of the drawing or installation processes produce temporary features in the environment, others result in permanent drawings.  Videos, photographs and texts are also made to document the processes.

Movement is an essential part of my work. I run or walk outdoors, carrying my mobile working kit. When I make drawings in the studio, I respond to the environment by allowing the lines I make to be guided by the sounds that I hear, as well as changes of light, and the movements of other people. I correlate physical movement to drawing, because I see an analogy between making lines on paper when using a drawing implement and body’s movement in the landscape. I also draw analogies between landscape and practice, considering both as sites of permanent change and interaction.

The processes within my practice immerse me in environments and often create feelings of unfamiliarity, surprise and being challenged. The challenges might be of a physical nature, experienced through difficult environmental conditions, as well as the limits of my physical endurance or the unsettling of my habitual engagement with that particular environment and with art making.

As it is difficult to plan art making in complex environments and improvisation is perhaps the essential method of response. Together with movement, this brings a dimension of nomadism to the practice.

My work with the environments and my art making relates to embodiment and has a certain timbre, whereby each new experience resonates differently relative to previously work, re-writing new ‘experiential melodies’.

I endeavour within my work, through engagement with materials and environments, to reveal our habits and practices and how we use spaces and places. This also relates to other questions about ownership of land, materials and what ideologies we have about art making and other making practices.

Reference:

Brenneman, K. (1994). Chance in Art. Retrieved 18 October 2019, from https://www.dartmouth.edu/~chance/course/student_projects/Kristin/Kristi... Breton, A. (1969). Manifestoes of surrealism.