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.

Event: Open Studios

21 – 22 November 11.00 – 16.00, Open Studios at Exchange Place - presenting my own writing about, in parallel to and as art practice. Examples above including 'Re-Writing' in RITE, 'Close Reading' in The Other Room Anthology, 'Seeing Shadows' in Seers-in-Residence, '[...]' in Beginnings, 'Infinite' in Everything is so  Infinite, 'Room for Manoeuvre, or, Ways of Operating Along the Margins', in Manual for Marginal Places. Artists' books additionally presented included Performing the City, The Italic I, Manual, Open City. This annual event provided an opportunity for reflecting on different tactics of writing operating in my own practice: serial forms of prose-poetry written in dialogue with others' practice, conversation-as-material - collaborative dialogue distilled into poetic fragments, 'close reading' - acts of looking at language close up through visual magnification, performance and performative writing, strategies of listing, extraction and appropriation, scripts and scores.