Emma Cocker is a writer-artist whose research focuses on artistic processes and practices, and the performing of thinking-in-action therein. Cocker’s language-based artistic research comprises a matrix of writing, reading and conversation practices, including diverse process-oriented, dialogic-collaborative and aesthetic-poetic approaches to working with and through language. Cocker’s 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; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, 2018; Live Coding: A User's Manual, 2023, and in the solo collections, The Yes of the No, 2016, and How Do You Do?, 2024. Cocker is co-founder of the international Society for Artistic Research Special Interest Group for Language-based Artistic Research. She is Associate Professor in Fine Art, Nottingham Trent University.

Publication: COPY // unfold




My text-work Close Reading (G.D.T.F, 1993) has been selected for inclusion in the forthcoming edition of COPY, a publication of experimental/art writing curated by Critical Writing Collective. COPY explores the boundaries of critical and experimental art writing through the publishing of writing as or within art practice, and page based works with a critical / textual element. COPY // unfold suggests a tension between the resolved and unresolved, drafted and rewritten, finished and unfinished through works which explore, respond to or enact in their own form a state of being ‘in process’.  Contributors include Alain Ayers, David Berridge, Julia Calver, Paul Carr, Rachel Lois Clapham, Emma Cocker, Laura Davidson, Joanna Loveday, Flatten the Mountain, Daniel Fogarty, Sarah Frydenlund, Derek Horton, Tamarin Norwood, Flora Robertson, Terry Slater, Richard Taylor, John Winslow, Paul Wright. COPY is designed in collaboration with Dust.


Emma Cocker, Close Reading (G.D. T.F. 1993), 2011



Through the practice of close reading, language can be made to stretch or pucker, ruche or fray. With experience, it can be pulled thin and sheer as delicate gauze or gathered up into thick and impenetrable creases. Close Reading (G.D. T.F. 1993) is part of an ongoing series that investigates the practice of close reading or of an ‘explication de texte’ as a critical tool for destabilizing language, for breaking up the linear unfolding of language into discontinuous fragments. Close Reading (G.D. T.F. 1993) performs a close reading of Gilles Deleuze, The Fold, 1993, in an attempt to render the text itself as an unfolding of pleats and stutters.