Artist Statement

With an expanded practice of drawing, I endeavor to define my own archive of ‘being’. I am continually recording my relationship with phenomenology; and subsequently with a methodical duality of immediacy and attentiveness, my drawings become part of a never-ending process of trace-making.

‘Trace-making’ involves an interrelationship between past and present presentness. A trace is made once an experience has been encountered and documented. I make drawings that respond to the everyday spaces and environments I situate myself in, i.e. landscape, seascape, coffee shop and train. It is part of being aware; it is part meditation but most importantly, it is a process of enquiry. Trace-making is my way of ‘working on the world’[1].

“One of the pleasures of looking at drawing is the way in which, because the marks comprise a record of their own production, the viewer is able to re-experience, to a degree, the process of that drawing’s manifestation.”[2]

Naturally with a process of ‘trace-making’, I am archiving my mark-making journey; I am preserving the traces that have been and that are ‘being’. And, supplementary to this drawing process, I am interested in the archival method of record-keeping, the categorizing and ordering of my traces. I consider my practice; studio, to be my own personal archive; a ‘trace-making’ workshop. The drawings act as an immersive method of conservation and documentation. And, therefore, with the sensibilities of repetitive mark making, I evoke a sense of my own archival impulse; a meticulous charting of trace.


The studio; the archive, is used as a metaphor for my memory and previous engagements; it provides the evidence of the non-visible; past presentness. The documentation; films and photographs, serve as supplementary material to my drawing practice. They provide visual evidence of my action; a trace of my work coming into ‘being’; and thus they enrich the context of my personal archive. Like the notes and the coding system, the films and photographs enable me to track the trace of previous marks, influencing the decisions and methods of present and future ‘trace-making’. By recording the action; I am archiving the very moment of an inscription; of a trace being made; and therefore, I am preserving the ephemeral; temporal quality of phenomenological engagement.


For the MA Show; I have endeavored to speak of this ‘archival’ concept; the idea of ‘trace-making’ through a juxtaposition of mass and selection. The intention is for one space to be all-consuming; for the audience to be immersed in the marks that I make. The subsequent room deals with the archival process more directly; with a ‘continuous drawing’ that is, in itself, the selection; but also represents ‘all’; the continual record of trace-making and an embodiment of process.

Emily Connor, 2016.


[1] Harold Rosenberg, The De-Definition of Art, (Chicago: University of Chicago Press, 1972), p. 11.

[2] Michael Newman, Drawing Time: Tacita Dean’s Narratives of Inscription, Enclave Review (Spring 2013), pp. 5-9.


Current Exhibitions


In January 2017  I graduated from the University of Lincoln with a Distinction in MA Fine Art.

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