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.

Emerging Landscapes

My paper (see below) has been accepted as part of the forthcoming conference, Emerging Landscapes: Between Production and Representation which will be taking place at the University of Westminster from 25-27 June 2010. The paper explores ideas which have been emerging in a number of recent conference papers that I have presented in relation to the work of Heath Bunting and Kayle Brandon.

Exit Strategies  Cartographies of Escape
Focusing on work by artists Kayle Brandon and Heath Bunting, this paper examines how their interrogation of the physical and virtual landscape operates parallel to questioning the controlling, striated cartographies that habitually map contemporary subjectivity and social identity. Within their practice, landscape becomes the contested terrain upon which – and by whose terms – the formulation of self and one’s place in the world becomes mapped out and defined. The impact of various social, geopolitical and technological changes upon the representation and conceptualization of landscape is considered synchronous to the production of new modes for conceiving of and controlling how these emergent landscapes are inhabited. For the artists, reimagining and reimaging how landscape might be navigated/negotiated differently is simultaneous to the emergence of an active and dissenting form of subjectivity, intent on creatively and pragmatically exploring other – potentially less acquiescent – models for living or performing a life. The paper draws the exemplar of Brandon and Bunting’s practice into dialogue with a wider philosophical and theoretical landscape, to explore how the cartographical imperative of their work is less a practice of naming and knowing (of territorialization and representation) as a strategy of deterritorialization for rendering the – social and spatial boundary or limit porous.