As the final term of this academic year rolled into action, I had a tutorial with the lovely Bridget, who I was pleased seemed excited about my change in direction. This is the first tutorial I have had since the MYR – I’ve actually made quite a lot of progress over the holidays. Following on from our chat, I thought it would be useful to get my thoughts in order on where I am and where I can go next. I need to keep developing my idea and experimenting with new processes – not get stuck on resolving one idea (although I want to do this too). I also want to draft an artist’s statement of sorts – after being posed the question by one of the class – I think it is about time for us to be able to answer this, even as a first draft.
My research question as it stands, is “how can we use the boundaries between material, place and time to explore our sense of place?”. All the research I have done so far into place, identify and psychogeography has lead me to my own hypothesis that I want to explore through my MA project. That is – that our connection to place is defined by knowledge: be that specific local knowledge related to the nature or culture of the place, or knowledge from mind or memory which is overlayed onto place creating a unique experience in space-time.
The French philosopher Maurice Merleau-Ponty (1908-1961) had a complementary view on our relationship with knowledge. He wrote on the fundamental role that sensory perception plays in how we understand the world. He argued that “knowledge is ‘felt’…consciousness, the human body and the phenomenal world are therefore inextricable intertwined…and the material world itself is therefore not the unchanging object presented by the natural sciences, but instead endlessly relational“.
If place is defined by knowledge, then I believe knowledge is defined by language. It is the ability to articulate our experiences which allow us to fully understand them. Spoken, written or visual….readable or codified, the purpose is the same, the communication of ideas. Roger Macfarlane in his book Landmarks , comments that “the contours and colours of words are inseparable from the feelings we create in relation to situations, to others and to places“. However as knowledge of places are lost, so is something of the experience of those places. Macfarlane goes on to discuss the words for our natural phenomenon and entities, that “there are fewer people able to name them and once they go unnamed they go to some degree unseen”. Leading geographer Yi Fu Tuan  also supported this view; he proposed that “it is precisely what is invisible in the land that makes what is merely empty space to one person, a place to another”.
So with all of this said, where do I position my work? Currently, my intention is to create a language which allows us to experience a sense of place, capturing unspoken or unknown/unknowable meanings. A wordless language that is before and beyond the specificity of naming, embedding meaning through local knowledge: the wisdom of the cunning man, the path of the flâneur.
Practically, I am still looking at processes which embed elements of wildness into my materials – wildness through releasing energy, free-will, serendipity. This will bring in the natural dyeing I have been exploring and the transformation of materials with factors not all under my control. I want to expand this from just the material to look into the language of mark-making as well. I have a few ideas of where to explore this term, using handmade pigments and paints as well as more of the asemic calligraphy work which has been bubbling away in the background.
Overall, I’m excited about what’s ahead.
“Whatever we remember, and the manner in which we remember, we get a different past, a different sense of place, and a different landscape every time“.³
 Landmarks, Robert Macfarlane (2015)
 Space and Place, Yi Fu Tuan (1977)
 Christopher Tilley, Introduction: Identity, Place, Landscape and Heritage Journal of Material Culture July 2006 11: 7–32