Walking around our immediate spaces
Feeling where we are – sensing and asking will you be walking barefoot?
Heel feeling – sensing a loudness to putting my foot down – the textures of carpet and cement floor. A shift happened in being present
The fact that I am abled – one cannot sense walking if you do not have an abled body.
Thinking about how movement, such as walking, is a method for the research
Is the work the stuff that comes from going on the walk – the collecting
For myself, I need to take walks – I need to make work, but also
I use maps – I used a drone , I share on the app – find me
Time
Type of walk
Sensing the place – when I stop, and sensing and how my body is involved in that.
We take an attitude with _ curiosity, set out specifically, looking for form, abstract shapes. Add to Michelle – about using the drone and what it opened up to me. Cannot presuppose what we will find out –
Think about our pace – aware of our feet, how my weight distributes itself.
To me, it is inseparable from listening to nature, as well as the history found in archives and people’s stories.
Do I have safety codes – map, iPhone Find Me, roads that lead into the railway line. The signboards along the line – now not readable – but I can use it – as part of what I experienced. I could make it visible in my work. If the walk is not the artwork – help make the art work. Do not expect something to come out of every walk. WHy not create new stategies – what can I do different , why not do something else.
Permissions – asked the local land owner
What do I take along: paper, materials, water, scissor, measure tape
What will my body do along this walk?
Breathing – healthy way to walk. Breath –
Thoughts:
Observations – experienced line across the landscape that needs more investigation. Have them at the forefront of my mind – the near distance brings me information. Movement – branches moving by themselves, the air – ?? noticing – ideas will develop into your work. (michelle’s bush) and this impact can go on for years.
Environment: impact ? no, low (desirable) a different form, where the environment impact on me? Walk through different spaces. politics , isms – useful in terms of funding for the work.
History of place – is it important?
ecology of place – is it important?
How will I finish this walk? back to start? , in chapters/passages, by line allowed, grace, when i feel its finished. Fieldnotes (the drone) collecting footage
What survives the walk.
(memory , studio space as a reflective space – walk at the same gait – how memories come back)
whatcan I do with the walk outcomes? Sometimes we do not know the answer to the question (
References : Walking art practice – Ernest Pujol, etc (took a screenshot)
Try to work, thinking of this as instructions – thoughts I want to use
sensing place – be in the moment – grateful for this opportunity., having an abled body.
walking motivation:
History of the line: Think about the labour to build this line, work on the farms – the heat, the weight of stuff to be carried or moved, pruning and caring for the lands. Then versus nature – nature reclaiming the space – I saw an owl, grey duiker,
but I do take a tape measure, as well as use an app to measure the distance – translate that back to the scroll
How I prepared my scroll – the egg glair, but should I do more? Research that part a bit more.
Artist who used paper on the walking surface
How to carry my scroll – on my back
I also carry a microphone for sound
bags to collect materials I found useful – leaves, specimens to id, rocks, soil as pigment
What to take along – measuring tape, small bags for collecting stuff, water, brush, burnishing, air drying clay, hat, jacket, – an open mind – not to try to solve everything, mistakes are ok,
Not having my car close by – safety
Making work along and making work back in the studio
Writing about the walks, sharing on social media – connecting with people in the community. Still need to have some interviews.
Peter – intuitive walk
Carrie Scott: “Curator” used to mean someone who safeguarded a collection – an archivist of ideas, objects, and histories. Now it’s a word slapped on everything – from playlists to packets of crisps. But in the art world, real curation is hard-earned. It’s research-driven, care-based, and deeply collaborative. I trained for years before I called myself a curator -internships, assistant roles, installations at 3am, press releases, partnerships, crate-building – you name it. Curators do the unseen labor that helps meaning take shape. We’re not just selecting objects; we’re building bridges between artists and audiences, history and now. In a moment of global upheaval, that role is more relevant than ever.