Lucy Parris


Monoprint and relief print on mixed media, 2020

Edgelands, relief and woodblock print on mixed media


My work examines our relationship with place and space. Using walking as a methodology, my practice considers concepts of Edgelands, location and belonging. My ideas are embodied through a range of media including print works, shared walking, video and artists books.

I explore how walking can be used as a creative medium, most recently I organised a participatory socially distanced walk, bringing together a group of artists to walk simultaneously in separate, diverse locations, with the intention of sharing experiences of the renegotiation of boundaries brought about by the current pandemic situation.

Socially distanced, Covid Walking

Reaching a wider audience / outdoor gallery

Reflecting the importance of the phenomenological aspect of walking and acknowledging that the audience will exist beyond the gallery, my work is accessible via a QR code. Posted along routes I frequently walk, other walkers are able to scan the code to view past projects and invites for future participatory events. In order for this to have as little environmental impact as possible the codes are printed with edible ink on potato starch paper, which will, by design, dissolve in the next rain, allowing for repeat postings coinciding with new projects.

Walking as a part of creative process is well documented. I take inspiration from a well established tradition of artist walkers, writers and creatives. I compiled a selection of my own thoughts and reflections, alongside writing and ideas from an abundance of these into a series of artist books intended as to be read whilst on a walk.

Hilary J Baker

father + ball = my world

My creative practice throughout my MA has been based on a forensic and archaeological investigation to find traces of myself. This investigation concluded that the disappearance was not of myself, but that of my father when I was 18 years old. 

My Research in Practice module focussed on the use of objects in art, which highlighted the ontological, politicisation, appropriation, and curation of objects by artists, and most importantly how the ontological nature of objects contain personal mythologies and symbolic references only known to the artist. 

Joseph Kosuth’s work in particular highlighted to me how artists also utilise objects as materials to question the nature of art itself. I have chosen to use the framework of Joseph Kosuth’s ‘One and three chairs” (1965) to provide a model for my own installation to show the tension between representation and meaning, and the plurivocality and numinous nature of an object.

Image projection through the canvas


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