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.

Talk: Thinking Line/Performing Line

I have been invited to give a lecture at UWE, Bristol for the Department of Drawing and Applied Arts in March. 


Thinking Line/Performing Line
For artist-writer Emma Cocker, drawing is a practice capable of making visible or giving form to processes and occurrences that habitually remain hidden or unnoticed, that are experienced or felt (at the level of force or affect) rather than necessarily seen. Referring to her recent practice and the work of other artists, Cocker proposes to explore and perform the correlations between thinking and drawing alongside reflections on the performative ‘becoming line’ of drawings scored by and between bodies within the public realm. Less concerned with drawing as an observational record of the external world, Cocker reflects on drawing’s speculative and constitutive potential, and the possibility of critical subjectivity produced therein.


The lecture will draw on a series of texts that I have recently written that explore the speculative and constitutive potential of drawing including ‘Distancing the If and Then’ in Drawing a Hypothesis: Figures of Thought, (ed.) (Springer, 2011) and ‘The Restless Line, Drawing’ in Hyperdrawing: Beyond the Lines of Contemporary Art (I. B. Tauris, 2012); as well as referring to ongoing research projects/enquiries such as Site (Sight) Lines (2010>) which explores the practice of throwing a glance as a form of performative drawing capable of constituting temporary collectivities or clusters of sociability.