Emma Cocker is a writer-artist and Associate Professor in Fine Art at Nottingham Trent University, UK. Her research enquiry unfolds at the threshold between writing/art, involving diverse process-oriented, dialogic-collaborative and aesthetic-poetic approaches to working with and through language. Cocker often works in collaboration with other artists on durational projects, where the studio-gallery or site-specific context is approached as a live laboratory for shared artistic research. 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?, 2025. Cocker is co-founder of the international Society for Artistic Research Special Interest Group for Language-based Artistic Research. See also https://orcid.org/0000-0002-2985-7839

Publication: When Seams Become Audible









My interview with artist Katharina Fitz is now published in her new book When Seams Become Audible: Sculpture and Photography 2013-2022 (Beam Editions, 2022).

 

About the book: "This book focuses on the artist’s major installation ‘When Seams Become Audible’, which is brilliantly unpacked by Sarah Tutt’s insightful writing. The book also shows the artist's journey from photography to sculpture through related works made between 2017 and 2022. Tutt demonstrates how the artist’s work and process are inseparable and its conceptual and poetic resonants. Jennifer Higgie’s contribution connects the artist’s early photographic practice with her current engagement with sculpture, while relating it’s position within art history. Emma Cocker’s interview explores the artist’s working methods and how the artist investigates the limits of materials, how photography has informed her practice and the boundaries between the process and the finished artwork. These essays unpack the work of Katharina Fitz but perhaps more importantly, alongside a series of details, installations and artworks in transition, provide a lens by which to observe the material world. A reminder of the need for humans to remain connected to process and materiality in a world facing profound change". Introduction by Jonathan Casciani, Director Beam Editions

 

Read more and order a copy here.


1. "When Seams Become Audible" is a quote from Emma Cocker, The Yes of the No, (Site Gallery, 2016)