Commissioned text in response to Richard Bartle's Pow Wow, part of 'Conflict', 20 -21 Visual Arts Centre, Scunthorpe, 10 Feb — 9 Jun 2007
" ... The act of burial is an ambiguous ritual that is a marker of both protection and repression: it serves to erase or hide an object, individual or event from the past and locate it beyond the realm of the visible. The event of burial can be understood as a gesture of care where the valuable or vulnerable are placed beyond the reach of harm; or else it might speak of a more wilful concealment or deception at play where certain facts or occurrences are deliberately hidden or corrupted so that they may never be brought to trial. Hidden within the cloudy recesses of both personal and political memory; located in unknown archives and in unnamed graves; or else concealed within coded and impenetrable pockets of the world wide web, the ghosts of unspoken and unspeakable histories still stir from under a fiction of normality. In different ways, both archaeology and psychology work to uncover or reveal these latent layers and historical fragments; drawing them to the surface such that they may be forced to account for their role within the events of the present ..."
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- 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 focuses on artistic processes and practices, and the performing of ‘thinking-in-action’ emerging therein; on 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 practice involves ‘contiguous writing’ — a mode of creative-critical writing that seeks to touch upon rather than being explicitly about. Her 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, The Yes of the No, 2016.