August 2019 I was part of a two week residency in Brighton with artists of various disciplines to explore how we might explore and communicate our feelings towards the climate crisis. I made an audio book for the accompanying exhibition, that holds the Towards a Stranding soundscape.
More info on what we got up to in the residency is here, or you can just enjoy the pictures below.
Here you’ll find all the offline provocations for our One Day Plus Imaginarium.
The recordings are designed for you to write alongside them, with recorded silence in which to write. You can, of course, switch off the audio at any time, and set your own alarm, repeat a provocation that works better than another, or make notes towards a thing rather than write the thing itself.
Each provocation is timed to give you space to faddle before and after it. If you need an early lunch then obviously slot it in to suit you. The sequence intends to grow and widen your thinking/dreaming.
1200-1230 Provocation One A New Music: hearing the music or rhythm in your project.
This provocation works out of the thought that each new piece of writing has a particular voice, or music, that will lead you though the making of it. You’ll need: a piece of writing from earlier, an influencer book, and sheets of blank A4. When you’re ready, press play.
1330-1400 Provocation Two Its Creatureliness: How does it feel?
This exercise approaches your idea / project / writing from a different angle: as another being, an embodied feeling thing. It asks you to identify moments that illuminate the larger feeling of the body of the project, and consider its shape or form through any changes that occur. You’ll need: whatever you use to write
1430-1500 Provocation Three The terrain: What is contained within your piece?
Press play and gather around you what you’ll need: all the bits and pieces of your project: the previous writings, photos, influencer books, the music – all the things that have brought you to this point, this piece / project – and spread them on the floor or table top.
1500-1530 Provocation Four A Tethering: The final writing session for now, discovering where your imagining, exploring and poking have brought you. Fifteen minutes to flesh out an aspect of the project. Write slowly, write carefully, write for the full fifteen minutes if you can.
She asked me if I’d be interested in making an artistbook to hold the work. I’ve really enjoyed making books to fit to other people’s work in the past and jumped at the chance to work with an extended piece of Helen’s work.
It was a series of fragmented prose pieces, prose poems and poems that entered into an eerie space of a field she walks in Liverpool. There is a sense of the hidden, the dark, the dying and glimmers of past threaded through the work. We discussed ways of coming to the work, how it might unfold, and how it would interact with the work it responded to, and what form might the structure take to best reveal or conceal the text. Our first work bench was a pool table which gave us the space and perhaps the playful eye to muck about and find a way of setting the work with remarkable ease. We seemed to have similar sensibilities towards the work which made the conversation and questions smooth and energising.
We decided on a drop down scroll that offered a neat, simple-to-read form, that could either be contained within a hand, or fall in a long cascade that the reader would have to follow, succumb to. It seemed elegant, surprising and uncluttered. In many ways, an echo of Helen’s work.
When Helen first approached me I was feeling rather overwhelmed by other projects so said I could design and mock up one then show her how to cut and paste the work. She embraced the job brilliantly, made 30 editions that are now out in various hideyholes in Liverpool for people to discover, like the world of the field, the footsteps of each panel that tread through it.
Earlier this summer, 2019, the National Oceanography Centre and Sefton Council approached me to work with them on creating a narrated coastal walk along Crosby’s shoreline, north of Liverpool. The plan was, through bringing together science and the arts, to raise awareness of shoreline change and coastal hazards, to actualize and make intimate the sense of movement and uncertainty that occurs along the coast. The poems capture changes in land use, coastal processes, shoreline management and observational techniques. They are located at five points along the Crosby shoreline, and can be heard in any order. By becoming more aware of changing coastal conditions, we hope people will act as advocates in shaping how communities better prepare future change.
From 2016-2019 I was funded by the NWCDTP to research creative and critical approaches to writing about the sea. This included exploring details of marine biology (with a particular interest on what can’t be easily seen: plankton, deep sea life, and man-made pollution) and my phenomenological experience of the sea. I received my PhD from the University Liverpool in October 2019.
You can read the critical component of the thesis here .The creative portfolio, melt, is due to be published by Waterloo Press in Autumn 2020