Emma Cocker is a writer-artist based in Sheffield and Reader in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, her 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. Cocker’s work unfolds restlessly along the threshold between writing/art. Whilst embracing the potential of the essayistic (as a tentative effort or trial), her writing includes 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; and as a solo collection entitled The Yes of the No, 2016. She is currently a key-researcher on the project Choreo-graphic Figures: Deviations from the Line, with the artistic research findings published as an accompanying artists' book/research compendium, 2017.
My essay ‘Ethical Possession: Borrowing from the Archives’ has just been published in the online journal 'Scope' in their 10th Anniversary Special Issue and e-Book, which is focused on the theme of 'Cultural Borrowings: Appropriation, Reworking, Transformation' and edited by Iain Robert Smith.
Image: still from (On the Heights All Is Peace). 1998.
Directed by Angela Ricci Lucchi, Yervant Gianikian
My essay explores the possibility of a redemptive or empathetic form of appropriation (as a progressive politics of sharing or ethical possession) by focusing specifically on the borrowing of found archival footage within the work of filmmakers Yervant Gianikian and Angela Ricci Lucchi.