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.

Dutton & Swindells - forthcoming essay

I have been commissioned to write an essay for Steve Dutton and Steve Swindells for a publication developed from their current International Residency at Ssamzie Space, Seoul South Korea


Steve Dutton and Steve Swindells have worked together on projects since 1998. Recent collaborative projects include “The Dog and Duck” at Kookmin Art Gallery, Seoul, ‘Emergency 2’ at Aspex Gallery, Portsmouth U.K, ‘Folklore’ at APT, London U.K. and ‘Txtrapolis’ at NAFA Gallery, Singapore. They have produced a number of books and publications, most recently, ‘Misleading Epiphenomena’, co-written with Dr. Barbara Penner, which was published in 2005 by Artwords Press.
"Our practice is self-consciously contradictory. Contradictions are a means to an end; they force a loop , which is neither open nor closed but united by a sense of expectation and delay of resolution. In turn, this delay allows something to be understood differently, indeed, it allows the very concept of understanding to be understood differently. We are tactical artists, frequently doubling, collaging, reversing and inverting found images, objects and texts with no restrictions on media. By consciously working through varied rhetorical devices and tropes, modes of production and strategic interventions we create installations and works which are both critical yet, necessarily, playful. Our aim is to disarm; to render an image, form, space or text, momentarily impotent and open (or indeed, vulnerable). In turn, this impotency opens up a reflective space in the experience of the thing which is implicitly, and sometimes explicitly, critical of power relations and expectations invested in it. The work is marked by tensions and lesions created within the conflation of faltering subjectivity and attempts toward a self -reflexive critical rigour" Duttton and Swindells. See http://www.steve-dutton.co.uk