Everything is so much bigger than us
S1 Artspace, Sheffield
25 Jan — 4 Feb 2007
This text is specualatively written in response to the exhibition, Everything is so much bigger than us and was originally posted on the reviews unedited site at a-n.co.uk. See full text here
"At a surface level only a fine line differentiates the desire to escape from a given situation from the more existential yearning to disappear altogether; for both types of willed departure are marked by the longing to slip the net of one's everyday existence in search of new experiential frontiers and the yet unknown. At first glance too, there is little to delineate between the forms of situational and existential boredom, for each dreary manifestation seems plagued by the slow monotony of passing hours and a feeling of deep, dark dissatisfaction in the here-and-now. Closer examination however reveals a greater disparity between these two modes of ennui: for it is the different indifference between waiting for the belated bus and waiting for life's final curtain call...."
- emma cocker
- Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research enquiry focuses on the process of artistic endeavour, alongside models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's recent writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016.