Annotated Bibliography

Introduction

The strange rupture of COVID-19 has shifted everything, including the focus of this project. In a new, restricted space and with an absence of studio space, the project became more reflective and the selected texts illustrate some of this shift. The included texts have been important guides and companions in helping define my own understandings and experience of landscape and supporting the documentation of elements of my journey to date.

The exploration of a landscape as something more than visual representation has been central to the project and is reflected in the chosen range of materials. They form the ground from which my project has grown and continues to feed. Threads of connections join them in sometimes unexpected ways, and the revisiting and returning to this network of texts continues to fortify the roots of my project.

Conclusion

The texts that have been included in the annotated bibliography form the beginnings of this project. Each of the texts leads on to more research and, a reflection of the process of artmaking, and reconsiderations of the project’s premise. As each text is encountered it changes and affects me and the way I read and engage the following text. Imprinting themselves as an index of the concepts left shadowed on my understanding and, in so doing, shifting the course of the project and the artmaking. The dialogue between myself and the landscape of the tree is changed with each text, and via the connections that link them. The absence of Jullien’s The great image has no form is seen in Kelly’s Broken window, Paris. Jullien’ssketch is illustrated in Dylan’s Suze (The cough song). Calvino’s mathematical structures have resonance with Cage’s stone watercolours and with the Borges story that pushes these forms of counting to the absurd.

Through these repetitions, the shadows and meanings of each text overlay and form a pattern; concepts are reiterated and shifted. As the project progresses and these connections overlay and build upon each previous iteration, these patterns and connections grow in strength and/or fade. As I write I glance out at the tree regularly, checking how each text relates to my experience of its form, how it reflects back to (and through) me in the window, and how it hangs in the ever-growing branches.

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