Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research focuses on artistic processes and practices, and the performing of ‘thinking-in-action’ emerging therein; on models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's practice involves ‘contiguous writing’ — a mode of creative-critical writing that seeks to touch upon rather than being explicitly about. Her 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; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection, The Yes of the No, 2016.

Publication: Grafting / Propriety

I have been commissioned to write a new text for the publication Grafting Propriety: From Stitch to the Drawn Line, by Danica Maier (Black Dog Publishing, 2015). Grafting Propriety showcases the work of Maier whose artwork follows the domestic object and drawing, with a particular interest in stitch, textiles and the decorative. Using subtle slippages and moments of detail to transgress propriety the artist questions the role of the object as well as the role of women in relation to labour. Grafting Propriety explores how textile agendas can be addressed without the use of the material, for example how textile methodology can be recreated in drawing and the drawn stitched line. 

My text 'Sampler of Samplers: Repeating Repeats, Repeats', addresses various ideas around repetition. This research and writing has connections to the current work I am engaged in with Clare Thornton (as part of the project The Italic I, where we are currently working on a text entitled The Italic I: How Repeating Repeats - on the Differential and the Interval Between) and my involvement in the research project Weaving Codes / Coding Weaves where I am further investigating Penelopian labour. Below is a version of the text.