DStartin Transfer Report 201773419 260624 FINALV2(1)

DENISE STARTIN TRANSFER REPORT (6747) School of Design, University of Leeds THE CHOROGRAPHY OF PLACE: MAPPING NEW ECOLOGIES OF LANDSCAPE, HISTORY, MEMORY AND VISUAL CULTURE. Supervisors: Dr Paul Wilson, Dr Louise. K. Wilson, Deborah Gardner 1|P age Acknowledgements: With thanks to Dr Paul Wilson, Dr Louise. K. Wilson and Deborah Gardner for their guidance, insights and recommendations, and thanks also to Alyson Peacock for her diligence and patience, and Aija Lace for her support. 2|P age CONTENTS 1. Introduction ....................................................................................................... 8 2. Research Context/Background ............................................................................... 9 3. Research Aim and Objectives ................................................................................ 11 4. Research Questions............................................................................................. 12 5. Literature Review ............................................................................................... 13 6. Practice Themes ................................................................................................. 18 6.1 Archival Practice – The Artist as Collector ................................................................ 19 6.2 Dramatis Personae .............................................................................................. 20 7. Account of Practice ............................................................................................. 22 8. Research Methods .............................................................................................. 31 9. Situating Chorography in Visual Art ........................................................................ 33 10. Situating Contemporary Chorographies .................................................................. 37 11. Conclusion/Next Steps......................................................................................... 40 Appendices .................................................................................................................. 41 References ................................................................................................................... 53 3|P age Appendices Appendix 1 Chorography according to Ptolemy Appendix 2 Authors own practice: www.denisestartin.co.uk Appendix 2a Research Blog: https://wordpress.com/login?redirect_to=https%3A%2F%2Fwordpress.com%2Fwp-admin%2F Login: [email protected] Password: Chorads1130! Appendix 2b Instagram: @startind02 Appendix 3 Hints for British Tourists Solo Show, 2024 4|P age Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 4 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Darrel. J. Rohl - Chorography Tag Cloud Rohl, D. 2014. More than a Roman Monument: A Place-centred Approach to the Long-term History and Archaeology of the Antonine Wall, Durham theses, Durham University. P.50 [Online]. [Accessed: 06/12/23]. Available from: Durham E-Theses Online: http://etheses.dur.ac.uk/9458/ (accessed 06/12/23) Lake Julius Chorograph 2010, J.O'Sullivan. The chorographic vision: an investigation into the historical and contemporary visual literacy of chorography. Unpublished PhD thesis, James Cook University. p.228 Fieldnote 1 (from the artists collection) Dramatis Personae, Vale & Howlette (from the artist's collection) Blue Plaque on the offices of Rotherham & Sons Clock & Watch Manufacturers, in Coventry https://www.flickr.com/photos/fairways4/49037594102 (Accessed 24/02/24) Rodney Graham - Lighthouse Keeper with Lighthouse Model 1955 2010 https://www.lissongallery.com/exhibitions/rodney-graham-painter-poetlighthouse-keeper (accessed 29/02/24) Postcard Collection, Brontë Parsonage, 2023-date Postcard Collection, Brontë Country, 2023-date Etching, Cow & Calf Rocks, Ilkley Moor, 2024 Performance Lecture & Video Postcard, 2024 Photographs, 2024 Newspaper, 2024 Rohl, D.J, Chorography Theory & Practice https://www.academia.edu/1692780/The_Chorographic_Tradition_and_La te_17th_and_Early_18th_Century_Scottish_Antiquaries (Accessed 16/05/2017) Aby Warburg Bilderatlas Mnemosyne, 1927-1929 https://kulturaliberalna.pl/2016/07/26/pawel-majewski-recenzja-warburgatlas-mnemosyne/ (accessed 29/10/23) Hanne Darboven Cultural History, 1880–1983, 1980–83 https://diaart.org/exhibition/exhibitions-projects/hanne-darbovenkulturgeschichte-18801983-exhibition (accessed 01/10/23) André Malraux, Le Musée imaginaire, Museum Without Walls https://neatlyart.wordpress.com/2013/05/30/andre-malraux-chez-luimaurice-jarnoux-over-the-last/ (accessed 15/10/23) 5|P age Figures continued: Figure 17 Figure 18 Figure 19 Figure 20 Figure 21 Figure 22 Figure 23 Figure 24 Figure 25 Figure 26 Figure 27 Figure 28 Figure 29 Figure 30 Figure 31 Figure 32 Figure 33 Figure 34 Figure 35 Figure 36 Figure 37 Gerhard Richter Atlas Series, 1970’s to date https://gerhard-richter.com/en/art/atlas/atlas-17677 (accessed 15/10.23) Susan Hiller Dedicated to the Unknown Artists, 1972-76 http://www.tate.org.uk/art/work/T13531 (accessed 16/10/23) Patrick Keiller The Robinson Institute, 2012 https://jamiefobertarchitects.com/work/patrick-keiller/ (accessed 25/01/24) Uriel Orlow GREY, GREEN, GOLD, 2015-17 https://urielorlow.net/work/grey-green-gold/ (accessed 17/11/23) Triss Vonna-Mitchell Finding Chopin, 2011 https://artmap.com/metropictures/exhibition/tris-vonna-michell-2011 (accessed 21/11/23) Melanie Wilson, Landscape II, 2013 https://melaniewilson.org.uk/Landscape-II-2013 (accessed 29/02/24) Kreider + O’Leary Gorkchakov’s Wish ‘On the Image’, 2011 http://www.kreider-oleary.net/works#/edge-city/ (accessed 29/02/24) Exhibition Poster, Rugby Art Gallery & Museum Hints for British Tourists Exhibition Poster, Rugby Art Gallery & Museum Hints for British Tourists 2021, Digital Photography by Vale & Howlette Dramatis Personae, Phyliss Dare, Evelyn Fairfax, Loie Villette and Victoria Hermita (from the artist’s collection) Hints for British Tourists tourism pamphlet Chalet Days III, 2021 Rock Bottom, 2021 Between a Rock and a Hard Place, 2021 Rush Hour, 2021 Chalet Days 1, 2021 Chalet Days II, 2021 The Unbearable Lightness of Being, 2021 On the Rocks, 2021 Say Hello, Wave Goodbye, 2021 Installation Shot, Hints for British Tourists Solo Show, 2024 6|P age “Reflecting eighteenth-century antiquarian approaches to place which included history, folklore, natural history, the deep map attempts to record and represent the grain and patina of place through juxtapositions and interpenetrations of the historical and the contemporary, the political and the poetic, the factual and the fictional, the discursive, the sensual, the conflation of oral testimony, anthology, memoir, biography, natural history and everything you might want to say about a place” (Pearson & Shanks, 2001, pp.64-65). 7|P age Fig.1 Darrel. J. Rohl Chorography Tag Cloud 1. Introduction This report summarises the current progress of the PhD which has explored the contemporary relevance of chorography as a practice research method for the critical examination of place through a case study of Brontë Country, West Yorkshire. It aims to situate chorography as a significant and relatively under-acknowledged approach in visual art to map characteristics of the locale by examining the relations between the physical site, its numerous interpretations and representations. Theoretical and historical context(s) of chorography are discussed before outlining the range of practice research activities so far. Research aims and objectives and provisional research questions are outlined, particularly focusing on the performative and embodied experience of chorographic practice as a potential original contribution to knowledge, as explored in the literature review. 8|P age 2. Research context/background Chorography designates a regional map in Renaissance geographic texts and the artistic description of regions viewed and experienced from within, linking regional events at the time of occurrence in pictorial representations. Chorography or place‐writing forms an aspect of the tri‐partite structure belonging to a classical geographic distinction between topography, chorography and geography defined by the polymath Ptolemy (c.149AD). This field-based approach and detailed descriptor of place takes region as its lens and qualitatively maps characteristics of the locale by examining the constituent parts of that place. Chorography was re-discovered in Renaissance Geography and British Antiquarianism 16th 17th centuries. Historically William Camden’s Brittania (1586) is an encyclopaedic approach to a geographic, “topographical-historical” (Mendyk, 1986, p.459) survey of the British Isles, which has been identified as a classic exemplar of the renaissance of a chorographic work “connecting past and present through the medium of space, land, region or country” (Rohl, 2011, p.6). Britannia was part of an epic attempt to map the nation and give people a sense of cultural identity and belonging. British Antiquarianism retrieved chorography and recreated it in an expanded field of writing, re-interpreting its legacy, ensuring its survival, restoration and continuing communication. This PhD will be following the development of chorography from the period of the English Renaissance although it is necessary to deal with the complex history of the map as it pertains to both traditions. Although chorography is predisciplinary, Shanks & Witmore (2010) claim a genetic link forms the basis of contemporary disciplinary approaches across heritage management, tourism, archaeology, historical geography, and contemporary art practice. They argue for a genealogical understanding of interdisciplinary practices concerned with relations of land, place, memory, and locational identity to understand present practical and academic positions. It is this link I am trying to follow and establish in contemporary artistic practice and research. A focus of this research is to distinguish the performance of chorography from its documentation and re-presentation. Although a historic understanding is necessary, the body is also a site of historical crossing, made possible by the nature of its mobility, which has implications for who, what and how people and places are re-membered and re-presented. 9|P age Drawing upon Judith Butler’s theory of performativity will enable an examination between the act of chorography, body, and place (Butler 2011). Currently there is a renewed methodological interest and broadly conceived place relations in chorography within Cultural Studies, Archaeology, and Performance. These forms of chorography, whilst practically and theoretically rooted in various strands of its developmental history, reflect its methodological richness and interdisciplinary nature, although they do not have a locus yet aligned. There is a need to synthesise these discrete bodies of knowledge reflecting current cultural preoccupations and address this in artistic practice to provide a clearer understanding of the relevance, meaning, and impact of chorography today. Brontë Country, which straddles West Yorkshire and the East Lancashire Pennines, has been chosen as the primary site to enact the relations between chorography and place, given its historic, symbolic, and literary significance, as well as being a specific region with its own identity. There are several distinct but related reasons for interest in this site including travel, narratives of travel are a feature of chorography, fiction which is employed in my practice, literature, the Brontë’s and the scholarship they have spawned and gender, a feature of their writing which is also lacking in chorographic history. The Brontë Parsonage Museum and surrounding landscape is a site of pilgrimage for aficionados, both international and domestic. Their contemporary art programme (2006 to date) works with artists in response to the Brontë’s literary heritage. This landscape in Wuthering Heights (1847) is a continual and active shaping presence, both emotive and evocative. I am interested in the Brontë’s fictional childhood stories and their use of pseudonyms as well as the relations of the female figure to the landscape and there were also significant developments in women’s writing of the time, including new expressions of sexuality and gender. I am a foreigner to this site and the concept of ‘The North’ and felt that an advantage over any pre-conceived familiarity. I have little experience of the Brontë’s history, and whilst I may draw upon this context, I am not seeking to become a Brontë scholar or make work directly about them. Utilising chorography as an organising principle in artistic practice I aim to realise a historically grounded exploration of place by performing and documenting embodied, visual, textual and symbolic mappings through strategies such as image and text, narrative, the intimate (which in my practice operates at the intersection of the public and the private), and fact and fiction. 10 | P a g e These mappings will form the basis of artworks, critical and performance writing, book works, performance and installation, which will translate chorographic methods and the physical act of mapping into artistic practice. Combining historic method with contemporaneous form will enable a renewed understanding of the chorography of place, not just artistically but physically, contextually and historically. 3. Research aim and objectives Aim: Critically evaluate and determine chorography’s relevance to contemporary practices of place-making and its application as a methodological tool in contemporary artistic practice and research by: • Exploring chorography’s application to the site of Brontë country with particular attention paid to the main themes of the PhD including place, history, memory, identity and performativity. • Develop new ways to examine artistic practices of place-making and its application in visual art by restoring, developing, and communicating a connection between chorography, past and present. • Resituating and translating chorographic approaches and methods in the documentation of place toward a range of research methods and media. • Investigating the potential of chorography to be used as a novel approach in artistic practice by developing innovative forms and proposing future orientations, applications and developments. 11 | P a g e 4. Research questions I propose the following research questions: 1. How can chorography perform the relations between public memory and personal narratives of cultural identity and belonging through the medium of place? 2. What is the significance of visual, textual, artefactual and embodied experiences of place in constructing and mediating personal narratives of cultural identity and belonging, and how can we perform their retrieval, survival, communication and recreation through artistic practice? 3. If an embodied, sensory, physical mapping of place occurs prior to representation, where is the body in the process of chorography, and can we address the political implications of the embodied in the act of representation? 4. How is the subject situated rhetorically amongst the cultural, factual, historical details, and how might the subject be figured as a marginal detail of another narrative? Can we translate the personal into the historical? 5. How can we excavate and convey through chorography and artistic representation existing stories or new insights that relate to the history of the Brontë landscape? How do we bring to light the hidden, the forgotten or the overlooked, and what might these stories signify contextually, historically, metaphorically or symbolically? 12 | P a g e 5. Literature review The literature review includes relevant developments in the field, connects chorography to Deep Mapping as well as identifying relevant historical antiquarians and chorographers. Potential contemporary chorographers and their pertinence to practice are explored, the relations between chorography, archaeology and the Historiographic Turn are outlined and criticisms, gaps and opportunities identified, including an original contribution to knowledge: the absence of the female chorographer and the role of the body in chorography. Mapping the Territory An expanded application of chorography to artistic practice has been driven by Michael Shanks, Archaeologist and his collaborations with the late Mike Pearson, Performance Studies, Aberystwyth and the late Clifford McLucas, visual theorist. Their work Theatre/Archaeology (2001) creates a porous space whereby archaeological and performance theory combine to provide an architecture for the event whose underlying questions were the representation of place and event and the role of landscape within it. Their site-specific multimedia works dealt with memory, place and belonging. 1 This relates to the core themes of the research which will be explored through the draft research questions. They were using the genre to create techniques and re-think approaches to communities, locales and events. Their work incorporates chorography into performance and archaeology to activate and perform the histories of place. They utilised a range of methodological, archaeological, performance and narrative techniques including biography, memoir, folklore and topography. Pearson and Shanks employed a metaphor for antiquarian approaches; the Deep Map, a term appropriated from Heat-Moon (1991). Theatre Company “Brith Gof is part of a distinct and European tradition in the contemporary performing arts - visual, physical, amplified, poetic and highly designed. Rather than focusing on the dramatic script, its work is part of an ecology of ideas, aesthetics and practices which foregrounds the location of performance, the physical body of the performer, and relationships with audience and constituency. Brith Gof's works thus deal with issues such as the nature of place and its relation with identity, and the presence of the past in strategies of cultural resistance and community construction.” (Shanks, No Date) 1 13 | P a g e This work is a literary cartography of place, an epic tome and a nine-year sojourn across a single Kansas County recording all manner of incidences, described by Calder as a form of “vertical travel writing” that interweaves “autobiography, archaeology, stories, memories, folklore, traces, reportage, weather, interviews, natural history, science, and intuition” (Calder, 2003, p.77). Another oft-cited source of deep mapping is Wallace Stegner (1963) (Maher, 2012). The history of the region is viewed by Stegner through a childhood lens alongside adult reflection, creating a portrait of the pioneer community living on the edge of modernity. Pearson’s (2006) exercise in deep mapping is a complex intertextual topography and autobiographical derivé incorporating region, locale, chorography, landscape, memory, place, archaeology and performance where historical, social, cultural and environmental temporalities are foregrounded. Landscape is not used here literally but as a symbolic and metaphorical re-imagining. Iain Biggs’ practice and research are also centred around deep mapping. The deep map echoes the ‘thick description’ of ethnographic fieldwork which aims to “draw large conclusions from small but very densely textured facts.” (Geertz pace Ryle, 1973, p.28). As an established methodology in the Spatial Humanities its provenance is often mentioned without contextualisation usually by way of Heat-Moon. If Shanks and Pearson’s concept of deep mapping is derived from chorography, why is this eighteenth-century antiquarian approach important? How are they related and what can we learn from tracing this history? The Antiquarian – Mannerisms, Methods and Maps Shanks and Witmore (2010) identify common components of Antiquarianism, including local and national history, geography, the regional, examination of archaeological remains and the act of collecting, a strategy employed in practice research. Their succinct, though unexpanded, definition is etymologically uncomplicated and closely reflects my understanding of chorography as “the documentation of region” 2 (Shanks and Witmore, Olwig states “Chorography called for the artistic representation of choros,” an ancient Greek word “that could mean landscape, place, land, territory or country” (Olwig, 2002, p.216). Walter’s definition extends this to “region” (Walter, 1988, p.120). I chose this definition because with notable exceptions i.e. Camden, chorographers conduct a regional geography with a focus on the local. 2 14 | P a g e 2010, p. 97). This practice includes the act of journeying and movement (itinerary) and the intersection of past and present in relation to the landscape (topography). Shanks and Witmore (2010) place the ‘literary’ antiquarian Walter Scott in the chorographic canon, arguing the topical qualities of Scott’s work place him within the tradition. These topics include “landscape and manners, terrain, tradition, scenario and narrative fragment, names and lists, genealogies and toponymies.” They state these features are central to the antiquarian genre of chorography (Shanks and Witmore, 2010, p.100). The inclusion of Scott is interesting from a practice perspective. Scott is not simply a collector for the sake of historic facts in and of themselves nor is he concerned with a distanced antiquarian, empirical exactitude of observation and precise recording. Scott’s literary, discursive and interpretative mode becomes an act of re-collection and re-presenting. The poem The Lay of the Last Minstrel 1805, articulates manners and customs of the English/Scottish borders through the Minstrel ‘narrator’. Throughout this process Scott’s voice is ventriloquized and dispersed into the collective voice of the ballad, the polyvocal, polyphonic and polyvalent, a performative co-mingling, resulting in a complex intertextual topography. It may seem odd to connect the writer W.G Sebald to Scott, but there are similarities in methodology that have relevance for this PhD and to the conception of a contemporary chorography beyond its original application. Sebald (1998) deftly blends fiction and history in an account by a nameless narrator on a walking tour in Suffolk. Throughout his oeuvre Sebald uses “a perspectival narrative approach that ventriloquizes the voices of historical informants through the voice of the first-person narrator, who is their “ghostwriter”; a reliance on intertextual borrowings that transform this narrative voice into a polyphonic chorus…” (University of Washington, 2024). This relates to my practice methodologies, the blending of fact and fiction, the use of narrative, the polyphonic and the exploration of time and memory in relation to place. Equally Patrick Keiller’s film (1997) documents the journey of an unseen fictional researcher commissioned to investigate the ‘problem of England’. The film “was suggested to some extent by Daniel Defoe’s Tour through the Whole Island of Great Britain (1724-26)” (Keiller, No date). 15 | P a g e Defoe was one of the first practitioners of a chorographical writing that adopts “a scale of observation that is more personal” (Connell, 2015, p.62) by employing a first-person perspective and adopting a “narrative form within an epistolary framework” (Connell, 2015, p.58). This strategy of narrative and an exploration of the epistolary is used in my practice research, in particular how it has been derived from a collection of postcards and letter cards and other printed ephemera. Original Contribution to knowledge – Criticisms, gaps, opportunities Interestingly what is lacking in Connell’s account and most accounts of chorography is any reference to a female chorographer. Celia Fiennes, English writer and traveller was a contemporary of Defoe who kept detailed diaries of her travels (1685-c.1712). Equally, Anna Eliza Bray served as “one of the few female 19th Century antiquarians” (Stuckey, No Date). Bray, a contemporary of Emily Brontë, was an English historical novelist who wrote several works of non-fiction and travel journals in the form of letters. A Description of the Part of Devonshire Bordering on the Tamar and the Tavy (1836) was the product of her epistolary correspondence with Poet Laureate Robert Southey. The text includes folklore, legends, manners, customs, history and antiquities of the county of Devon. I would argue this is a work of chorography. The Historiographic Turn in Contemporary Art and the Archaeological Imaginary The archaeological research of Darrell J. Rohl is organised around past, present, people and place. Rohl’s thesis (2014) seeks to reclaim the Antonine Wall as a place as opposed to a monument through a combination of chorography and phenomenology, whilst drawing upon Foucault’s historiographic methods of archaeology and genealogy. Rohl is the only scholar to outline a theory of chorography and how this is applied in practice providing the potential for an innovative research methodology. From his reading of British Antiquarianism he identifies chorographic methods in archaeological fieldwork and interpretation (Rohl, 2012). He states that the legacy of antiquarianism in relation to chorography is being developed within the contemporary practices of heritage and archaeology (Rohl, 2011, p.18). These methods provide a clear, though not uncontested route, to conducting primary site research. 16 | P a g e I aim to draw a connection to contemporary art and the Historiographic turn, re-situating my practice research by way of curator Dieter Roelstraete’s Archaeological Imaginary, which is outside the scope of this report.3 ‘The Map is not the Territory’ There appears to be an ongoing argument in the literature regarding chorography and representation that seeks to limit chorography to either the textual or the visual. The research has revealed they are not mutually exclusive, equally some chorographic works are iconotextual. For instance, O’Sullivan’s 2011 PhD thesis traces the history and symbolism of chorography as a visual literacy of place through cartography and the graphic medium of print, privileging the map as the primary visual signifier. Although the study does acknowledge other forms of chorographic practice, its principal aim is to map the development of historical chorography and the philosophical discourse on place, whereby the practice-based iterations reproduce historic practice without providing new applications or forms (Fig.2). It is these other forms of chorographic practice that depart from its historical nature that provide what I perceive to be chorography’s yet unexplored methodological richness in artistic research, and the layering of these historical crossings that connect the cultural and socio-political to the personal. 3 The historiographic ‘turn’ in contemporary art “seeks to define itself in the thickness of its relationship to history. This has manifested itself through a literalized amateur archaeology of the recent past: digging”, archaeology as concept, method and metaphor. Roelstraete’s term for this is the “Archaeological Imaginary” (Roelstraete, 2009a). 17 | P a g e Fig.2 J.O'Sullivan , Lake Julius Chorograph 2010 Original contribution to knowledge - Criticisms, gaps, opportunities Equally O’Sullivan (2011) does not adequately recuperate the concept, and its pertinence to the theorisation, contextualisation and politicisation of performative embodied tactics and spatial practices ‘space is a practised place’ (De Certeau, 1984, p.117). I argue that if the relations posited within chorography are firstly empirical, experiential, and emplaced, it cannot be fully articulated by focussing on the cartographic. Put simply, the medium is not the method. There is a need to distinguish this act from its documentation and representation to provide new theories by addressing the political implications of the embodied in the act of representation. To provide a contemporaneous account the performative relations between the body, mapping and place; the mobile, embodied and situated are therefore central to a contemporary interpretation of chorography (Butler, 2011). This strand relates directly to my research question concerning embodiment, politics and representation. 6. Practice themes The research to date has employed a range of creative, visual methods to explore possible approaches and establish a direction for future work. Most notable has been the use of eBay to generate a collection of found and readymade visual material, specifically in relation to the postcard as archival trace and visualisation of the landscape. 18 | P a g e The work also develops ideas of performance through the introduction and development of various dramatis personae which appear throughout the practice research. 6.1 Archival practice – the artist as collector Fig. 3 Fieldnote 1, 2023 Engaging with different conceptions of site as markers of place via a curatorial approach is to actively ‘take care’ in the restoration and curation of minor histories, narratives, texts, images, archives and collections, either discarded or forgotten. The primary generator of source material is eBay. In the context of its commercial application eBay is an online marketplace where objects are bought and sold by auction. In the context of my practice, I view eBay as a self-regulating vernacular collection. Personal effects, objects and images have been shorn of their contexts and histories, they float about anonymously within a public commercial marketplace. eBay is mined for source material including postcards, photographs and magic lantern slides using subject-specific search parameters. This act performs a kind of tourism in reverse whereby the souvenir precedes the reconnaissance trip. Postcards are complex artefacts, they represent a record, journey, place, landscape, travel, holiday, memory, souvenir, event and correspondence. The postcard domesticates the landscape, renders it in miniature and brings it into the private space of the interior (Stewart, 1984). 19 | P a g e “It is the intimate and direct experience of contact which the souvenir has as its referent. This referent is authenticity. What lies between the here” of the present and the there “of the past is oblivion, a void marking a radical separation between past and present” (Stewart. 1993, p.139). The postcard signifies ‘I was here’ but what happens when this signifying becomes virtual? Stewart states “The souvenir speaks to a context of origin through a language of longing…it is an object arising out of the insatiable demands of nostalgia” (Stewart, 1993, p.135). The postcard figures within itself a loss, it functions as a synecdoche of the original scene, the latter of which is missing, unobtainable. There is a desire to retrieve and recreate these figures in a present context and reopen a dialogue that is directed back toward its own context, boundaries and form. By reimagining and restoring these personal decontextualised objects we can create new narratives and new performative relations, inventing new histories. 6.2 Dramatis Personae Fig.4 Samuel Vale & George Howlette In the context of this PhD, Vale & Howlette are adopted as dramatis personae in a wider body of work by the artist, becoming primary characters in a narrative that explores the performance of identity through ideas of place, history, travel, tourism, time and memory, while also introducing historic travel mythologies relating to places that have symbolic, national, or mythological significance, as well as legendary, often unreachable places. 20 | P a g e These ideas of place and the performance of identity attempt to address Question 4 regarding how the subject is situated rhetorically amongst the cultural, factual, historical details and how the subject might be figured as a marginal detail of another narrative. This body of work is entitled The Chronicles of Vale & Howlette. The names of the watchmaker's Vale & Howlette were found in an alley in Coventry off Hertford Street in May 2015 (Fig.5). Fig.5 Blue Plaque on the offices of Rotherham & Sons Clock & Watch Manufacturers, Coventry. As a collector of analogue media, I have a long-standing interest in the medium of time. I am interested in the concept of what I term semiotic time travel, the ability through a kind of archaeology of media to travel through spaces and places in time.4 My first conception of Vale & Howlette were that they were time travellers, explorers, directors, producers, curators etc. It is only through the context of this PhD research it became more obvious that they were antiquarians. The figure of the antiquary is something of a polymath, requiring knowledge of multiple practical fields, academic interests and professional pursuits. The term “antiquary was used to describe scholars who build bridges between different branches of knowledge based on the study of material remains of the past” (Pearce, 2007). Antiquarians used archives and collections extensively in their research. The fact I am mining eBay for fragments, traces, memories and histories seems wholly commensurate with an antiquarian approach. 4 The concept of an archaeology of media indirectly references the book Media Archaeology, a critical concept that outlines an archaeological approach to the study of media, their histories and their myriad forms. 21 | P a g e This methodology is drawn from existentialist philosopher Søren Kierkegaard who wrote under various pseudonyms insisting they were valid subject positions. The Brontë sisters also wrote under pseudonyms for issues of gender during the time. In contemporary art, the late great Canadian photo conceptualist Rodney Graham also used a similar methodology restlessly recasting himself as a protagonist embodying a cast of characters throughout his oeuvre, whilst simultaneously inhabiting the footnotes of history (Fig. 6). As a modern-day Renaissance man Graham’s practice represents an antiquarian spirit. Fig.6 Rodney Graham - Lighthouse Keeper with Lighthouse Model 1955, 2010 7. Account of practice My practice encompasses photography, printmaking, site-based interventions, installation and performance writing. I use various strategies of production, including image and text, autobiography, polyphony, the intimate and fact and fiction, a continually recurring relation is the tension between public and private realms. 22 | P a g e During this process a historical figure, site, place, event, voice, or voices are adopted to activate the work and produce a narrative arc. My work seeks to restage, restore and represent. So far, I have produced experiments in printmaking, video and photography (Fig. 9, 10 and 11). I have also devised a performance lecture and produced a newspaper (Fig.10 and Fig.12). These experiments have stemmed from the act of collecting printed ephemera which has formed a substantial collection of postcards (Fig.7 and Fig.8). I will be reflecting upon these approaches and the concepts operative in the work within this section as follows: The collection, photo etchings and photographs, the performance lecture and video postcard, and the newspaper. Fig.7 Postcard Collection, Brontë Parsonage, 2023-date 23 | P a g e Fig.8 Postcard Collection, Brontë Country, 2023-date Fig.9 Photo Etching, Cow & Calf Rocks, Ilkley Moor, 2024 24 | P a g e Fig.10 Performance Lecture & Video Postcard, 2024 25 | P a g e Fig.11 Photographs, 2024 26 | P a g e Fig.12 Newspaper, 2024 27 | P a g e 7.1 The Collection As introduced earlier, the act of collecting and the formation of a collection is the core activity through which the practice is carried out (Fig. 7 & 8). Collecting is a key component of a chorographic research methodology. The found and readymade have always been a part of my practice, I like to think of my work as remade readymades because some kind of intervention into the image or object has occurred. The collection is the source or archive of the work, it is however, the means to the end as opposed to the end in itself. In contrast to the physical act of collecting, eBay enables me to organise objects, categories and collections into coherent wholes (however partial that whole may be), which would be impossible to replicate in the real world. In the context of eBay this act of collecting is not separating objects from their original contexts but is an act of reparation and seeks to restore these objects to a new context. The collection explores themes of place, travel, narrative, tourism, time and memory. The collection starts to blur the boundaries between fact and fiction, the more postcards I collect in an obsessive attempt to get to know Brontë Country, the further away from the landscape we get, the landscape becomes a figment of imagination, a myth, a mirage (Fig.8). It is a particular staging of the landscape that operates intimately by way of distance. It is an artifice that is synchronic, it exists in a particular time and place yet is also diachronic since it reflects the changing landscape over time. The collection is open to re-interpretation and re-configuration like a hypertext. It is an interpretation of the landscape and a performance of it, one that has durational qualities and is also open to chance encounters as new items are incorporated. The collection operates between the public and the private, the collective and the personal, it retrieves and makes active these personal memories of place and belonging and preserves and protects them against oblivion. 7.2 Photo Etching & Photographs The photo etchings and photographs explore the role of the image in circulating narratives of place (Fig.9 and Fig.11). I am interested in the transformation that occurs when translating images between media and image-making processes. In my practice this occurs primarily between photography and print, which transforms the sensory experience of the image and its surface qualities. 28 | P a g e Decisions made about paper also feed into the tactile qualities of the image. For the first time I experimented with photo etching. Several images from the collection were dense, having a drawn quality and texture. I was interested in reproducing them outside the context of the collection to re-stage, re-articulate and reanimate them. This is not a straightforward act of reproduction, these are new images. I like to think of them as original copies. I was interested in how they would change the time of the image since the postcards appear to belong to a particular time. By transforming the humble postcard into a limited-edition print, the work shifts between origination, citation and appropriation. It is subtle but it is a re-presentation. There has been little intervention in the reproduction of the photographs except for colour matching, colour correction and removal of text (Fig.11). I wanted to see how this would affect the viewer’s conception of the landscape and whether they could function as faux documentary photographs and start to blur the boundaries between fact and fiction. The photograph is the ephemeral trace of an embodied agent in the field but it is not my body, it is the absent presence of a phantom photographer. 7.3 Performance Lecture and Video Postcard The performance lecture and the video postcard combine image and text, introduce place in relation to time, start to blur the boundaries between fact and fiction, and utilise my voice through a live and pre-recorded narration. For this reflection, I am specifically going to refer to the video postcard (Fig,10). The work is a meditation on place, travel, tourism, time and memory and it activates the performance of identity through the introduction of the dramatis personae including George Howlette and Phyliss Dare (Fig.4 and Fig.26). The video introduces 3 locations: Brontë Country, The Hotel and the headquarters of Vale & Howlette; Coventry. The video attempted to mobilise the collection through a dialogic exchange to restage, reanimate and re-present it. The postcards span a timeframe of 100 years, arranged chronologically. According to Stewart such organisation juxtaposes “personal time with social time, autobiography with history (creating) a fiction of the individual life” (1993, p.154). This is particularly related to Question 4 concerning how the subject is situated rhetorically and how the subject might become a marginal detail of another narrative. 29 | P a g e Can the subject become a part of history through an autobiography that becomes biography, or can they write themselves into a history (as a personal narrative of cultural identity and belonging) that they feel is otherwise missing through lack of inclusion or experience? The video also activates a range of voices in a polyphonic dialogue from the senders of the postcard to the addressees, operating at the intersection of the public and the private. This friction is something I refer to as the performance of the private, the entry of the private domain into the public arena where it is commodified and incorporated into the rhetoric of display. This video was a specific address to the research questions regarding performing public memory and personal narratives of identity and belonging through the medium of place. This dialogue aimed to highlight the significance and complex character of visual, textual and artefactual experiences of place and question how media construct and mediate personal narratives of cultural identity and belonging. The video performed their retrieval, survival, communication and recreation. 7.4 Newspaper The newspaper is another means of mobilising the collection and starts to bring other modes of representation into play i.e the fieldnotes, the locations, documentary photographs, the reading and critical writing as well as other collected ephemera, parts of which have been recontextualised into the newspaper to lend an air of authenticity (Fig,12). I saw it as a kind of reportage representing and disseminating the research process by providing a serialised snapshot in time. The newspaper could form part of an exhibition or be distributed at outlets local to Brontë Country i.e. Haworth Post Office. The newspaper starts to draw in the wider context in which the research and the landscape sits and introduces Vale & Howlette, Victoria Hermita as the Editor and Evelyn Fairfax as the Academic/Writer. The newspaper format closely mirrored the blog (which is most representative of the dynamics of the research process) and allowed for the juxtaposition of different orders of visual and textual material and timeframes, exploring the research journey through landscapes past and present. Taken together these activities represent a multifaceted exploration of place through the application of a chorographic methodology to artistic practice. 30 | P a g e 8. Research methods Fig.13 Rohl, D.J, Chorography Theory & Practice The research methodology and research design makes use of Spatial Bricolage, the bricoleur risks combining methods creatively as the complexities of the enquiry develop (Crouch, 2017). These methods include chorography, critical ethnography, deep mapping, ethnofiction and cultural mapping. This will be achieved by constructing a ‘dialogic’ exchange (Barrett 2010, p.5) that intertwines methods with practice and theory to construct a ‘meshwork’ (Ingold, 2011, pp.80-81). Chorography is a field-based qualitative research method with a range of techniques to capture, map and re-present place as currently utilised in archaeological fieldwork and interpretation (Fig.13). As identified by Rohl (2012) he suggests they are selectively practised based on the region under investigation. This range of practices with an emphasis “on place and experience” includes the collection of stories, artefacts, tracing historical events, visualisation i.e. texts, “drawings, photos, maps, performance and new media”, historiography and “critical thinking on evidence collected and personal experiences” (Rohl, 2012, p.28). 31 | P a g e This method applies to Question 1 and chorography’s value in exploring connections between, place, public memory and identity. The practice research has already engaged with several of these methods including perambulation, collecting, the representation of place, analysis, visualisation; prints, photographs, video postcard, performance lecture and newspaper, critical thinking and connecting the past to the present. Chorography does not account for the researching body conducting the fieldwork. To address this, I propose a form of Ethnography which is concerned with “communicative behaviour and the interrelationship of language and culture” (Moss, no date, cited in Gilbert Brown and Dobrin, 2004, p.3). Critical Ethnography is most concerned with critical action in response to a cultural context and seeks to remain responsive to the ethics and politics of representational practices. From an Ethnographic perspective, Sociolinguist Dell Hymes calls this interrelationship of language and culture the “ethnography of communication” which “is concerned not just with lived experience…but in the way this behaviour manifests itself rhetorically” (Hymes, no date, cited in Gilbert Brown and Dobrin, 2004, p.4). This method applies to the question about embodiment, politics and representation which has implications for who, what and how people and places are re-membered and re-presented. I would seek to combine this with Deep Mapping, “an ecosophical and educational praxis” that is outlined in the literature review as the contemporary incarnation of chorography.5 (Biggs, 2014). This method applies to the significance of visual, textual, artefactual and embodied experiences of place and how we might perform their retrieval, survival, communication and recreation. Ethnofiction operates at the “intersection of geographical ethnography and creative writing to evoke cultural experience and sense of place using literary techniques” (Jacobsen and Larsen, 2014, p.179). This method facilitates the use of the dramatis personae relating to Question 4, how the subject is positioned and how they might feature as a marginal detail of another narrative. 5 Ecosophy is a critical concept in the work of Felix Guattari that recognises the interrelations between “three ecological registers the environment, social relations and human subjectivity” (Antolioni 2018). Biggs defines Deep Mapping as an essaying of place, a “bricolage of cultural events and moments through which the experience of culture is mediated”. For Biggs Deep Mapping is “about interweaving many disparate, tensioned strands of experience, genres of writing, knowledge positions and narrative perspectives to produce a richer, more resonant patterning of meaning while retaining the pleasures of discrete threads within the larger whole.” (Biggs, 2010) This approach is commensurate with Ingold’s ‘meshwork’. 32 | P a g e Cultural mapping is an emerging interdisciplinary field “and a methodological tool used in participatory planning and community development.” Recent developments have led to artists mapping intangible cultural heritage. It “aims to make visible the ways that local cultural assets, stories, practices, relationships, memories, and rituals constitute places as meaningful locations”, which relates to question 5 concerning Brontë Country and any new stories that we might ‘glean.’6 (Duxbury et al, 2019, p.3) 9. Situating Chorography in Visual Art There are a suite of works from art historical practice relevant to the research, both in terms of how they connect to practice and how we might consider the application of a chorographic lens to their interpretation. I am not claiming retrospectively these artists are chorographers rather there is something in their practices that is analogous to chorography. These works start with the act of collecting which is a feature of my own practice and a component of chorography. They engage with time, history, memory, the collection, the place of the past within the present, the personal and collective, the afterlife of images and the encyclopaedic. “The Mnemosyne Atlas (Fig.15) is an unfinished attempt to map the pathways that give art history and cosmography their pathos-laden meanings. Warburg (1927-1929) thought this visual, metaphoric encyclopaedia, with its constellations of symbolic images, would animate the viewer’s memory, imagination, and understanding of what he called “the afterlife of antiquity” (The Warburg Institute, 2016). This relates directly to chorography and Camden’s desire to ‘to restore antiquity to Britain, and Britain to its antiquity’ through his encyclopaedic work Brittania (Camden, 1586). Hanne Darboven’s Cultural History 1880–1983 (1980–83) (Fig.15) blends “the personal and the public while simultaneously offering an autobiography of the artist herself” (Dia Art Foundation, 2016-2017) and tells of a social history through newspaper articles, photographs, postcards and a suite of sculptures. André Malraux’s 40year project Le Musée imaginaire, Museum without Walls (Fig.16) speaks to an ‘imaginary museum’ that is “impossible in the physical world, but through photographic representation has become a possibility of our time” (Milling, 2014). Spatial Bricolage relates to the concept of ‘gleaning’, “a creative and performative engagement with everyday spaces as they are ‘found’ and rehearsed in practice” (Roberts, 2018, p.1). 33 | P a g e 6 Gerhard Richter’s Atlas series (1970-date) (Fig.17) includes family photographs, magazine images, newspapers and landscape pictures which are simultaneously a document of his life and art. Susan Hiller’s Dedicated to the Unknown Artists (1972-76) (Fig.18) is curatorial bringing together seaside postcard images emblematic of the work of nameless artists. Fig.14 Aby Warburg Bilderatlas Mnemosyne, 1927-1929 Fig.15 Hanne Darboven Cultural History, 1880–1983, 1980–83 34 | P a g e Fig.16 André Malraux, Le Musée imaginaire, Museum Without Walls Fig.17 Gerhard Richter Atlas Series, 1970’s to date 35 | P a g e Fig.18 Susan Hiller Dedicated to the Unknown Artists, 1972-76 A useful bridging figure to contemporary practice is the work of filmmaker Patrick Keiller including his Duveen commission The Robinson Institute 2012 (Fig.19) and his films (1997; 2010). For the commission Keiller employed over 120 works from the Tate’s collection creating a narration of the English Landscape and its political and economic history, highlighting the continuum of visual and intellectual ideas between historic and contemporary art. This act of mapping and Keiller’s practice are more appropriate to a contemporary interpretation of chorography in visual art. Fig.19 Patrick Keiller The Robinson Institute, 2012 36 | P a g e 10. Situating Contemporary Chorographies As outlined in the Literature Review selected practitioners of relevance to this study include Iain Biggs, Michael Shanks, Archaeologist, Stanford, the late Mike Pearson, formerly Performance Studies, Aberystwyth, and the late Clifford McLucas, visual theorist. They have primarily driven the contemporary conversations around chorography. However, as a visual artist, contemporary practitioners whose output could at this point represent a contemporary interpretation of chorography include Uriel Orlow, (Fig.20), whose research-based practice and multi-media installations, including photography, film, drawing and sound, explore “spatial manifestations of memory, social and ecological justice and blind spots of representation.” He focuses on specific locations and historical events and brings “different image-regimes and narrative modes into correspondence” (Orlow, No date). Triss Vonna Mitchell (Fig.21), “stages installations and performs narrative structures, using spoken word, sound compositions, film and photography. Through live performances and installations, he creates circuitous, multilayered narratives, characterized by fragments of information, detours, and repetitions” (Vonna Mitchell, No date). Theatre maker, Melanie Wilson (Fig.22), is an inter-disciplinary performance maker who fuses “sound, experimental forms of composition, language, technology and live performance” (Wilson, No date). Of relevance is her work Landscape II, (2013). Three women, 100 years apart, begin a conversation through letters, diaries, drawings and photographs whilst an unspecified landscape encompasses them. Other relevant practitioners include Poet and Architect Kreider + O’Leary (Fig.23) who make performance, installation and time-based media work with sites of architectural and cultural interest. They have exhibited in traditional and non-traditional venues. 37 | P a g e Fig.20 Uriel Orlow GREY, GREEN, GOLD, 2015-17 Fig.21 Triss Vonna-Mitchell Finding Chopin, 2011 38 | P a g e Fig.22 Melanie Wilson Landscape II, 2013 Fig.23 Kreider + O’Leary Gorkchakov’s Wish ‘On the Image’, 2011 39 | P a g e 11. Conclusion/next steps This report has started to consider how and where chorography can be utilised as an innovative approach in contemporary artistic practice through a body of practice that has taken a chorographic approach and which has started to explore and develop connections between chorography and its practitioners past and present. This includes making new connections between historical and contemporary chorography and how these might be identified in visual art which offers the possibility of developing new ways to examine contemporary artistic practices of place-making to provide a clearer understanding of the relevance, meaning and impact of chorography today. An innovative research methodology has been identified as well as determining opportunities to argue an original contribution to knowledge: chorography, embodiment and representation and the role of the female chorographer. The practice research has begun to address the research questions and generates knowledge through an application of aspects of the chorographic methodology in artistic practice to Brontë country. This range of practices which constitute fieldwork with an emphasis “on place and experience” has included perambulation, collecting, the representation of place, analysis, visualisation, connecting the past to the present through the medium of time and critical thinking on the research and practice (Rohl, 2012, p.28). Of note are how the video postcard and the performance lecture address Question 4, the concept of the subject as a marginal detail of another narrative and Question 1, the relations between place, public memory and identity and how chorography can be used to perform these relations. I aim to extend my use of collections and archives to local organisations including Brontë Parsonage Museum, Yorkshire Archaeological & Historical Society and the West Yorkshire Archive Service. I will perform chorographic methods in practice at the selected site and produce and refine practical work to consider how and where the work is best re-presented. I will also analyse art historical writing in an expanded field that resonates with chorography: the Situationist International and Psychogeography. I aim to produce a draft literature review by October 2025 and two thematic papers from work produced so far by October 2024/25. 40 | P a g e I have also identified several venues and institutions where I can give Artists Talks and have exhibitions. I will continue to investigate the chorographic canon to incorporate novel and relevant approaches into the practice research to develop chorography as a methodology. 41 | P a g e Appendices Appendix 1: chorography according to Ptolemy “Geography is a representation in picture of the whole known world together with the phenomena contained therein, it differs from Chorography in that Chorography, selecting certain places from the whole, treats more fully the particulars of each by themselves – even dealing with the smallest conceivable localities, such as harbors, farms, villages, river courses, and such like. It is the prerogative of Geography to show the known habitable earth as a unit in itself, how it is situated and what is its nature, and it deals with those features likely to be mentioned in a general description of the earth, such as the larger towns and great cities, mountain ranges and principle rivers […] The end of Chorography is to deal separately with a part of the whole, as if one were to paint the eye or ear by itself. The task of Geography is to survey the whole in its just proportions, as one would the entire head, and afterwards those detailed features which portraits and pictures may require, giving them proportion in relation to one another so that their correct measurement apart can be seen by examining them, to note whether they form the whole or a part of the picture. Accordingly therefore it is not unworthy of Chorography, our out of its province, to describe the smallest details of places, while Geography only deals with regions and their general features […] Chorography is most concerned with what kind of places those are which it describes, not how large they are in extent. Its concern is to paint a true likeness, and not merely to give exact position and size. Geography looks at the position rather than the quality […] Chorography needs an artist, and no one presents it rightly unless he is an artist” Claudius Ptolemy quoted in Volume II, Visual Culture: Histories, Archaeologies and Genealogies of Visual Culture. Eds. Morra, J, Smith. M, (Oxon, Routledge: 2006), p.17‐18. 42 | P a g e Appendix 2: Authors own practice www.denisestartin.co.uk Appendix 2 Research Blog: https://wordpress.com/login?redirect_to=https%3A%2F%2Fwordpress.com%2Fwp-admin%2F Login: [email protected] Password: Chorads1130! Appendix 2a Instagram: @startind02 Appendix 2b 43 | P a g e Appendix 3: Hints for British Tourists Exhibition, 2024 Fig.24 Exhibition Poster, Rugby Art Gallery & Museum 44 | P a g e Denise Startin: Hints for British Tourists Text by Anneka French A figure in a bowler hat, waistcoat and rolled-up trousers brushes sand from their feet. They read a book in front of a painted beach hut, climb on rocks, clutch a newspaper, wait, fall asleep and look out to sea. In one moment after another, we see tourism performed and time laid out in photographic frames like film stills. Coventry-based artist Denise Startin presents a series of site-based performative actions, seen here via photographic documentation. The genesis of the exhibition Hints for British Tourists comprises two chance encounters: the discovery of a tourism pamphlet on eBay (also titled Hints for British Tourists) and a wall plaque on Hertford Street, Coventry, dedicated to the historic watchmaking trade that lists craftsmen Samuel Vale and George Howlette. The exhibition represents a re-staging and fictional expansion of these two very different starting points. Vale & Howlette are adopted as dramatis personae in a wider body of work by the artist, becoming primary characters in a narrative that explores ideas of travel, leisure, time and memory performed by Startin herself and her partner. Startin’s work makes enquiries, both serious and humorous, that question what it means to be a tourist in post-Brexit England, in a world grappling with a pandemic and climate catastrophe, in a physical body that requires care and rest, and in a landlocked city more than one hundred miles from the nearest stretch of coastline. The original pamphlet purchased by Startin was published in the former Yugoslavia in the 1970s, intended as a practical guide for travel. In it, the author observes, ‘One of the reasons I like Britain and the British, apart from liking the Sunday Times, cheese cake, Constables in the Tate, ‘apples and pears’ and not to mention the liveliness of their pubs is because their idea of a holiday is not just lying around on the beach and drinking.’ Startin’s work offers more than a nod to this ambiguous description, providing viewers with perspectives on place that appear both familiar and strange. While also introducing historic travel mythologies relating to legendary, often unreachable places, the titles selected by Startin for the photographs shown – On the Rocks; Between a Rock and a Hard Place; Rush Hour – also point toward emotional states of being in motion, conflict, indecision or, indeed, indicate a sense of stillness. Vale & Howlette’s journey is as yet embryonic. They are on their way to who knows where. -Denise Startin studied at the Royal College of Art and has exhibited work at Compton Verney, Coventry Biennial and Whitechapel Gallery, London. She is the recipient of multiple awards and bursaries and has completed artist residencies in Wrexham, Surrey, Lands End and the Lake District. 45 | P a g e The first iteration of a body of work by myself under the guise of Vale & Howlette was entitled Hints for British Tourists, 2021 (Fig.25). The work was the re-staging and fictional expansion of a pamphlet found on eBay containing instructions for travel. Presented as photographic documentation of a series of site-based performative actions, the work is a meditation on travel, tourism, time and memory. Fig.25 Hints for British Tourists, 2021 Vale & Howlette also have a team that have been waiting in the wings for many years including Phyliss Dare who is conducting the fieldwork and is a traveller, explorer, photographer, travel writer and tour guide, Evelyn Fairfax, academic and writer, Loie Villette, a performer and performance writer, and Victoria Hermita, Editor, Keeper of the Collection and P.A to the Directors (Fig.26). 46 | P a g e Fig.26 Phyliss Dare, Evelyn Fairfax, Loie Villette and Victoria Hermita Hints for British Tourists is the straightforward re-staging of the cover of a tourism pamphlet purchased from Ebay, there is no artifice in the work except for the fact I am dressed as Howlette. The pamphlet presented the conception of a British Tourist from the original authors own perspective. The photographs were taken by Vale (my partner) under my direction. The only difference in the images are the attire chosen and the fact that I am holding the pamphlet with a copy of the Sunday Times inside. This was the first work in which a newspaper appeared and where the idea for The Daily Howl was born. My work tends to involve different levels of re-staging and this image was ripe for intervention and reimagination. I was particularly struck by the idea that I might attempt to have a holiday by way of instructions in the pamphlet. We chose Charmouth beach near Lyme Regis because we were familiar with the area and knew it had a stony beach. Most of the images were improvised on site by going through a range of actions that people perform whilst on holiday, reading, sleeping, exploring and staring wistfully out to sea. The work documents the failure to have an ‘authentic’ holiday because a) I am at work and b) I am left with little option but to cycle through a range of tourism clichés as laid out by the booklet. 47 | P a g e Fig.27 Hints for British Tourists tourism pamphlet 48 | P a g e Fige.28 Chalet Days III Fig.29 Rock Bottom Fig.30 Between a Rock and a Hard Place 49 | P a g e Fig.31 Rush Hour Fig.33 Chalet Days II Fig.32 Chalet Days 1 Fig.34 The Unbearable Lightness of Being 50 | P a g e Fig.35 On the Rocks Fig.36 Say Hello, Wave Goodbye 51 | P a g e Fig.37 Installation Shot – Hints for British Tourists Solo Show, 2024 52 | P a g e References Antonioli, M. 2018. What is Ecosophy? Institute for Interdisciplinary Research into the Anthropocene. [Online]. [Accessed 26/05/24]. Available from https://iiraorg.com/2021/10/12/what-is-ecosophy/ Biggs, I. 2014. Deep Mapping as an essaying of place. [Online]. [Accessed 27/03/24]. 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