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.

In conversation with Clio Barnard

The Art Book
Volume 14 Issue 4 Page 73-74, November 2007

Image: Clio Barnard, Dark Glass

Clio Barnard is an artist/filmmaker whose work deals with the fluid relationship between imagination and reality, documentary and fiction. Her recent installation Road Race focuses on the usually unseen gypsy traveller tradition of horse racing on motorways; whilst her short film Dark Glass - constructed around a session of hypnosis - interrogates the instability of memory and the subjectivity of recollection, and is currently touring the UK as part of Single Shot (www.single-shot.co.uk) She was awarded the Paul Hamlyn Award for Artists in 2005, and a large scale commission through the Jerwood/Artangel Open in 2006 (www.thejerwoodartangelopen.org.uk)

Find a pdf of the interview by following this link:
http://www.blackwell-synergy.com/action/showPdf?submitPDF=Full+Text+PDF+%28907+KB%29&doi=10.1111%2Fj.1467-8357.2007.00890.x

The interview was also included in a catalogue for Barnard's exhibition at the Herbert Read Gallery (2007), alongside essays by Sarah Wood and ELizabeth Cowie.