My work is concerned with drawing in response to the outside environment. I draw to communicate with place and to examine the relationship and affects between place and practitioner. Making work in public spaces conditions the action into a performance for the passer-by.

 

Through interacting with outside spaces by leaving temporary trace marks on, in, and around an outside place, I have come to understand that marking place introduces issues of signage in that place and in turn those signs affect the passer-by's interpretation of place while also directing the passer-by through place.

 

I am engaged with texts that examine the experience of being out of doors, and my practice is informed by Thoreau, for his testimony to a life in the woods; Bachelard, for his concern for the physical and physiological memory of place; and Chatwin, for his nomadic quest. I am also inspired by practitioners whose work responds to place, including Francis Aly's ‘When faith moves mountains’, Joan Jonas's ‘Lines in the sand’, and Jem Finer’s ‘A score for a hole in the ground’.

 

Through research I have come to understand that because sound is an audible signal travelling through place, the sonic signal is an invisible yet traceable drawing moving through place. Therefore sound is a material that I draw with. I use my voice to sound through place, echoing, resonating, reflecting the surrounding materials and responding to the location, and in this way I locate myself in the world.

 

I'm currently developing my practise using the sound of my voice while moving through place to respond to that space, (I call this process Driftsinging), while also exploring score and sound drawing processes.

 

October 2009, London