My art practice-based PhD in cultural geography (University of Exeter, 2016) was concerned with how, as an artist, I could work with ‘landscape’ that—in contrast to the more usual picture-postcard tourist image—is often environmentally eventful, and politically, violently, unsettled. Initially, through painting-as-installation then performance to camera, I focused on a moorland stream in Cornwall that violently flash flooded with loss of life. Using reflection drawing on new materialisms, I proposed that a renewed feminist engagement with landscape studies might account for the violence of vision that is never far from acts of landscaping and therefore contributes to recent developments bringing a more politicised inflection to landscape studies.
Broadly, this has now led to an interest in the way that images function as framing devices to entrench politics of identity and power relations. In particular, I am interested in how visual imagery is both produced by and productive of spatial politics, and the ways in which the unexpected collisions between things, practices, bodies of visual practices/intimate geographies might enact disruptive spatial connections.
As an artist, these interests are worked through an 'expanded' practice that incorporates performance, painting, installation, digital mediation, microscopy, project curation... It tends to be research-intensive, and usually immersed in exploration of a particular site or context. As cultural geographer, my practice is research-led and operates across disciplinary boundaries, using art to explore geographical concerns around the geologic, landscape, the body and geometries of power.
I currently split my time between Penzance and Bristol, but will be based in Bristol from Easter 2019.