I am in the process of preparing for my transfer exam next month which requires a report, a body of practice, a presentation and as a PGR candidate I undergo a viva. Here is the synopsis of my research as it stands presently:
The purpose of the PhD research is to explore and critically evaluate the contemporary relevance of chorography as a practice research method for the critical examination of place. The research 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. It seeks to investigate the performative and embodied experience of chorographic practice as a potential original contribution to knowledge. Additionally, the research aims to 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. Overall, the purpose of the PhD research is to contribute to the understanding and application of chorography in contemporary artistic practice and research, specifically focusing on its application to the site of Brontë country.
Critical Writing
Research Methods: Ethnofiction
In “No Fixed Abode”, Marc Auge’s pathbreaking fictional ethnography, a man named Henri narrates his strange existence on the margins of Paris. By day he walks the streets, lingers in conversation with the local shopkeepers, and sits writing in cafes, but at night he takes shelter in an abandoned house. From here, we see a progressive erosion of Henri’s identity, a loss of bearings, and a slow degeneration of his ability to relate to others. But then he meets the artist Dominique, whose willingness to share her life with him raises questions about who he has become and what a person needs in order to be a part of society. This is a book about how we live in geographical space and how work and patterns of domicile affect our status and our inner being.
Paper 9: Michael Drayton’s Topographies: Ideas Mirrour (1594) and Poly-Olbion (1612-1622), María Vera-Reyes
INTRODUCTION:
The purpose of this article is a comparative analysis of Drayton’s poems Ideas Mirrour and Poly-Olbion tracing echoes of the former in his latter richly chorographical work. For the purpose of this analysis the main focus is on Poly-Olbion as a prime exemplar of a chorographic work and I also aim to draw out strands that specifically follow the concept of the body as it pertains to one of my research questions: If a sensory physical mapping of place occurs prior to representation where is the body in the process of chorography and how do we address the political implications of the embodied in the act of representation? It appears this question is complex as bodies often appear symbolically in rich and intricate intertextual and iconotextual relationships. The body it seems emerges as a chimera hiding in plain sight like Poe’s purloined letter. A chorographic text such as Poly-Olbion offers tangible clues as to how this problematic might be addressed through practice.
POLY-OLBION (1612-1622):
Poly-Olbion is an expansive poetic journey through the landscape, history, traditions and customs of early modern England and Wales. Originally published in two parts (1612, 1622), it is also a richly collaborative work: Michael Drayton’s 15,000-line poem navigates the nation county by county and is embellished by William Hole’s thirty engraved county maps. It is accompanied for its first eighteen ‘songs’ by John Selden’s prose illustrations. Drayton was a contemporary of Shakespeare and Ben Jonson, and Poly-Olbion crystallizes early modern ideas of nationalism, history and memory.
Drayton’s Early Sonnets, Poly-Olbion and Chorography:
Reyes outlines how Drayton’s epic Poly-Olbion was influenced and connected to his earlier sonnets particularly Ideas Mirrour (1594) later published as Idea (1599-1631) which both reflect and explore his interest in the history and topography of his country and celebrate ‘the discovery of England.’ p.1002The central trope in the allegorical Idea is fluvial and Drayton draws on ‘chorographic techniques to represent the beloved.’ p.1003 The central figure Idea, as an ideal representation of woman contained within the ideal geography of the English landscape, is embedded in the River Anker which runs through Drayton’s home county of Warwickshire and later appears in Poly-Olbion ‘where the poet finds the woman that he had originally praised under the poetic name of Idea.’p.1014
In Poly-Olbion Reyes identifies close connections to distant genres including sonnet, sequence, perspective, pastoral, epic, the heroic, lyrical and topographical as Poly-Olbion comes to represent the ‘eroticisation of the landscape’. whilst simultaneously trying to reify Drayton’s English identity. p.1003 Developments at the time facilitated this vision in the ‘revival of geographical writings and advancements in cartography’ and the renaissance of chorographic works in the 16th-17th Centuries, the most notable exemplar of the genre being William Camden’s Brittania (1586) pp.1003-4. Other proponents of the descriptive and primarily textual approach to history and travel narrative included the antiquarian works of John Leland’s Itinerary (1549) and William Lambarde’s A perambulation of Kent (1576). The rise of the ‘body politic’ and the ‘vision of the allegorical body’ supported ‘a spatial construction of national identity.’ p.1004 The rediscovery of Strabo and Ptolemy presupposed the encyclopedist approach to the genre but one whose methodologies ‘favoured a qualitative and localist point of view with a pictorial quality.’ P.1004
Reyes states that ‘Drayton’s interest in topography and the human body was driven by the Golden age of cosmography and cartography in England […] and reflected the idea of a human being as a microcosmos.’ p..1006 According to D K Smith (XXXX no date given) in the 16th-17th Centuries this ‘resulted in a new cartographical epistemology and a cartographic imagination that provided English authors with a new set of metaphors and rhetorical tropes related to space and it’s embodiment.’ P.1006 Reyes states ‘the conception of the body as space determined the aesthetics of Poly-Olbion’. She cites Traub (XXXX no date given) ‘the description of human figures became a common aesthetic in Renaissance cartographies – ‘maps began to imply that bodies may be a terrain to be charted and is responsible for the chorographic function of human figures.’ P.1006 The ‘representation of the human body came to be seen as a ‘conglomerate of delimited spaces’. P1006 According to Reyes this explains the ‘anthropomorphizing representations of rivers, hills, mountains and forests’ in the maps of Poly-Olbion and that this representation of space is commensurate with a topographical representation of the body. P.1006 Between Ideas Mirrour and Poly-Olbion there is a ‘reciprocal movement from the topographical representation of the human body and the personification of the landscape’. P.1006. This personification of the landscape is represented in the above engraving, the frontispiece to Poly-Olbion which Helgerson (XXXX no date given) states is ‘a goddess like woman dressed in a map’ holding the horn of plenty, which symbolizes prosperity, and who stands as ‘a living embodiment of nature.’ P.1010
Fig.1
Image reproduced from https://www.walesonline.co.uk/news/wales-news/trend-grown-up-colouring-been-11487014 (accessed 06/02/24)
Fig.2
https://fineartamerica.com/featured/poly-olbion-map-of-yorkshire-england-1622-michael-drayton.html (accessed 07/02/24)
Exhibition text – Hints for British Tourists
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 lookout 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.
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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.
Text by Anneka French
Happy New Year every bodies!
denisestartin.co.uk 