Publications, Articles & Papers2020-11-23T20:31:53+00:00

Publications, Articles & Papers

Proximity and Distance in Northern Landscape Photography Contemporary Criticism, Curation, and Practice

Delighted to have a chapter included in this publication.

Edited by Darcy White and Chris Goldie.

transcript publishing

ISBN: 9783837649505

Matrix of Movement – Spatiotemporal landscapes of the North West.

Tracy Hill considers in her chapter ‘Matrix of Movement’ how wetlands have long been represented as places of darkness, disease and death within Western culture. Despite increasing recognition for the need to readjust our perceptions and to acknowledge their environmental importance as living landscapes there is, as yet, little imagery to promote this new way of seeing.

By challenging historic perceptions of wetlands through her artworks, Hill explores specifically how dislocation can be reconnected with our human multisensory response to place through emotion and memory. By adopting digital mapping technology as a basis for her imagery Hill offers a view beyond human visual capability which, when combined with the traditions of a hand created mark, results in a re-imagined vision linking technical and aesthetic, bringing a unique vision of journeys taken on foot through a post-industrial Northern landscape.

Research projects ‘Matrix of Movement’ and ‘Haecceity’ propose new cross-disciplinary ideas, bringing together the worlds of fine Art, environmental sciences, conservation as well as Industrial and commercial surveying offering new ways of seeing unique northern wetlands.

Multi Matrix Print Symposium, 13th March 2020, The MAC Belfast.

Multi-Matrix is a one day print symposium exploring the common definition of matrix as ‘the cultural, social, or political environment in which something develops’. In printmaking ‘matrix’ refers to the source – plate, stone, screen.. from which the image originates – each process lends unique characteristics to the final product. Increasingly, the environment for art-making is cross disciplinary, combining mediums, techniques and influences.

My paper presentation ‘Matrix of Movement’ – the co-existence of the hand-made and the digital, considers the idea of print as an essential link between the traditions of the handmade, specifically printmaking and the potential of new technologies.
The possibilities of print begin with the matrix, in my projects, ‘Matrix of Movement’ and ‘Haecceity’, the matrix is the underlying platform on which a project develops both in terms of cultural and social environment but also the physical sub-straight on which an image can be created.
Both projects investigate how developing technologies and personal encounters can offer new ways of seeing and shift understanding. As projects they also consider ideas around a repositioning of traditional fine art skills as part of a wider cross -disciplinary approach.

Matrix of Movement – the co-existence of the hand-made and the digital – presentation link.

Password:  MultiMatrix2020 

Shared with kind permission of Belfast Print Workshop, please do not share on social media.

Printmaking Today Review:

Women In Print

Professor Lubaina Himid 

ArtLab Contemporary Print Studios under the direction of Tracy Hill and Magda Stawarska-Beavan aims to test the relevance of print in contemporary mainstream art by investigating and expanding print practice through a process of continuing dialogues with artists.

In this dynamic and collaborative environment, existing narratives of print are challenged by understanding that it may have a long history but that there is no need to be restricted by this.

Print is constantly re-invented in the studios through an open-mindedness of methodology and the ability to see and then develop the potential of combining processes and ideas rarely associated with its traditional past.

Read the full article here: Printmaking Today summer edition 2020

Living Maps Review:

Matrix of Movement and Haecceity: Walking in Spatiotemporal Landscapes.

Tracy Hill

Abstract

Apparently featureless ancient Northern landscapes have long been represented as places of darkness, disease and death within Western culture. Despite an increasing acknowledgment for the need to readjust our perceptions of these spaces and to acknowledge their environmental importance as living landscapes there is, as yet little publicity to promote this new way of seeing. Through my artworks I show how historic perceptions of ’The Waste’ (Defoe, D. 1726) can be challenged through cross-disciplinary fine art practice.

As we search for the beginning of the Anthropocene epoch, our legacy and presence as a civilization will be defined through the very fabric of the earth.  The scale of environmental damage caused in the name of ‘progress’ will be visible as a stark measure of how detached we have become from the land on which we live.  My artwork communicates the forgotten possibility of a deeper and more intuitive understanding with the earth beneath our feet offering images, which are thought-provoking, sensory responses to places encountered through walking.

By exploring the relationship between the aesthetic, handmade surface and the capabilities of the developing digital era it is possible to explore a wider relationship between artist and new technology and how in turn that can affect, reimagine and challenge preconceptions of a wider social understanding of our place in the world.  My aim is to show the beauty in walking these unique northern spaces, to question our interpretation of and to be cautious of the digital data sources on which we are increasingly reliant but above all to invite encounters with forgotten landscapes, landscapes which have shaped our past and have the capability to protect our future.

Download PDF here: http://livingmaps.review/journal/index.php/LMR/article/view/130

Wild Things: The Overwintering Project and works by Mulkun Wirrpanda, John Wolseley and Tracy Hill

Artists whose work has a focus on environmental concerns , especially fragile wetlands, can help effect change. Article by Sue Forster.

Imprint – autumn 2019, volume 54 number 2

Wild things article Imprint 2019

Bringing the world to its senses: How to grapple with the future of print?

 by Monika Lukowska and Sarah Robinson.

Reprinted courtesy of Imprint, the quarterly fine-art journal published by the Print Council of Australia www.printcouncil.org.au

Imprint_Article_MLSR

Talking Place:unfolding conversations

Talking Place: Unfolding Conversations is a collaborative exhibition between Tracy Hill, Monika Lukowska, Annette Nykiel, Sarah Robinson, and Jane Whelan that explores the significance of wetlands with particular focus on Lake Walyungup; a shallow, ephemeral salt-lake in the Rockingham area known by the local Noongar people as ‘the place where people talk’. Lake Walyungup is a seemingly forgotten, empty space in the midst of a growing urban community which offers shelter to migratory birds and wildlife. It has a deep history embedded in thrombolite remains, links with the Noongar community and various historical uses by the passing groups of settlers and armed forces.

The exhibition interweaves traditional techniques including drawing, bricolage, lithography, etching, and dry point with the digital technologies of drone videos, 3D prints, and Lidar survey scanning in a synthesis of techniques that expand the boundaries of contemporary print. Through multidisciplinary works and collaborative exploration, we aim to unfold our experience of place, its characteristics, atmosphere, meaning and significance.

Exhibition catalogue here: 

Printmaking with Conductive Ink.

Hannah Fray and Javier Pereda

Printeractive, Design Lab, LJMU

www.printeractive.co.uk

Article published in Printmaking Today in response to the successful symposium held at LJMU.

Non-Toxic Printmaking and Digital Methods. Grabado Y Edición / Print and Art Edition Magazine

Alternative acrylic processes featured in the Feb edition of g&e Print and Art edition magazine. Copy of article courtesy of Robinson, S. (2019, February). Non-Toxic Printmaking and Digital Methods. Grabado Y Edición / Print and Art Edition Magazine, 62, 56–68.

g&e-62-processess article

Polymer Photogravure:

A Step-by-Step Manual, Highlighting Artists and Their Creative Practice.

by Clay Harmon

Thrilled to have my work included in this three-part book on the non-toxic process of making ink-on-paper intaglio prints from continuous-tone photographs using water-etched photopolymer plates.

Dark Mountain:

Issue 14 – TERRA

Matrix of Movement.

My project and artworks from Matrix of Movement are featured as part of the fourteenth issue of Dark Mountain.  A themed collection of non-fiction, fiction, photography and printwork on the subject of journeys, place and belonging.

Printeractive symposium

Printmaking interfaces

Printeractive Workshop at LJMU Arts

On 24th of November I was invited to participate in an open workshop at the John Lennon School of Art and Design which was sponsored by Bare Conductive. We had participants from a wide range of backgrounds such as Printmaking, Fine Art, Design, Fashion, Makers and Architecture. It was a very intense day, but got loads of positive feedback.

Impact 10

IMPACT 10 Encuentro 

IMPACT 10 Encuentro was the tenth edition of the International Multidisciplinary Printmaking Conference created by the University of the West of England that has been held in the city of Santander, Spain, from September 1 to 9, 2018.

The event was attended by 450 delegates from more than 40 countries around the world. As part of the conference I presented my paper ‘Matrix of Movement: the existence of the handmade and the digital.’ and showed works from the project in Palacete del Embarcadero.

Paper presentation – Matrix of Movement. 

Northern Light.

CRITICAL APPROACHES TO PROXIMITY AND DISTANCE IN NORTHERN LANDSCAPE PHOTOGRAPHY.

To coincide with the publication of, Northern Light: Landscape, Photography, and Evocations of the North (Chris Goldie & Darcy White (eds.) Transcript Verlag, April 2018) Sheffield Hallam University will hold a second conference around critical issues arising from the photographic representation of the northern landscape.

The aim of the conference was to explore the many ways in which contemporary photography represents, interprets, experiences and appropriates the northern landscape.  My project ‘Matrix of Movement’ was included as a paper presentation sharing the unique wetlands of Greater Manchester and Merseyside.

Into a Better Shape.

Visiting Artists Programme #5

Print Symposium

Saturday 5th of May 2018
Curated by Magda Stawarska-Beavan and Tracy Hill , hosted by Heather Ross

At the one-day symposium print within expanded practice. Invited artists presented their unique practice and discussed how they encounter and interrogate print as part of their wider practice.

The aim of this project is to promote the new archive at UCLan; foster new relationships with International/National female practitioners and to generate a new archive of contemporary prints for Artlab CPS Research Centre.

Airspace artist talks.

Visiting Artists Programme #5

AirSpace Curriculum is a programme of events, talks and workshops organised by AirSpace Gallery in partnership with Staffordshire University which recognises and responds to the need for continuing professional development for artists in Stoke-on-Trent and the West Midlands.

This part of the Curriculum offer is a series of artists’ talks, organised by Staffordshire University and usually available solely to students on their Fine Art BA Course, but now being opened up for any interested artists and members of the public to attend. This offer will be augmented by additional artist talks at AirSpace Gallery.

The programme offers an insight into the professional practices of a number of interesting and varied professional artists and arts practitioners.

First Edition Print symposium Cork 2017

http://www.corkprintmakers.ie/FIRST-EDITION

Symposium hosted by Cork Printmakers was held as part of the Midsummer festival 2017.

It explored Multiple Dimensions of print: Exploring print as expanded practice in contemporary visual culture.

25 international and national speakers contribute to the programme, plus a trail of 8 city centre exhibitions and other events.

Print Symposium Regional Print centre Wrexham 2017

The Print Symposium: Printmaking Residencies & International Projects

A one-day symposium led by artists and printmakers discussing their practice, residencies, and international projects.

https://signedevents.com/united-kingdom/wrexham/the-print-symposium-22022017-regional-print-centre-wrexham/

http://www.regionalprintcentre.co.uk/gallery/print-symposium-2017/

Matrix of Movement – Exhibition and artist residency New South wales Australia review 2017

Research is focused on two main locations The Mersey Estuary in Liverpool and Hunter Estuary New South Wales. Exploring differences between northern and southern hemisphere cultures, the artists will investigate how ideas of navigation have a direct correlation to our understanding and relationship to landscape.

By reinterpreting the landscape experienced through walking journeys artworks and installations to show the transitory and unique properties of such landscapes. Informed from new viewpoints, which often exceed our own visual capabilities as humans the works seek to offer a reconnection and understanding of place through the direct experience of travelling on foot and hand made visual artwork.

http://imprint.org.au/reviews/navigating-peripheral-spaces-the-intangible-printed-mark/

Every Breath – online catalogue for international exhibition Australia 2017

https://issuu.com/andrewstyan/docs/every_breath_catalogue__final_

WETLAND LIMINAL SPACES OF THE MERSEY AND THE HUNTER 2017

In Certain Places presents an evening with artist Tracy Hill in conversation with In Certain Places curator Professor Charles Quick.
The evening will focus on Hill’s work over the last two years with different wetland sites – along the Mersey River in the UK and the Hunter River in Australia. Hill’s process of collecting data using digital mapping technology and presenting this as installations and hand-drawn imagery revealed interesting similarities between the two sites, allowing the viewer to experience these places in a unique way.

In particular, the conversation will explore Hill’s use of digital mapping technology within printmaking and the role of her work in the place where our digital and physical worlds overlap. It will also consider the importance of the liminal spaces she chooses to work with, which sit on the edge of urban conurbations, linking and connecting communities, marking borders and defining modern transport links.

http://incertainplaces.org/projects/tracy-hill-wetland-liminal-spaces-of-the-mersey-and-the-hunter/

CONTEMPORARY PRINTMAKERS FORUM

The Lock Up, Newcastle NSW Australia

2PM – 4PM SUNDAY 11 DECEMBER 2016
A special event exploring approaches to printmaking within contemporary art practice in conjunction with the exhibitions Every Breath at The Lock-Up and Common Ground at Curve Gallery.
Featuring guest artists UK based printmakers Tracy Hill, Jason Hicklin and Greg Fuller as well as Hunter based artists working across diverse printmaking practices. Presented in partnership with Curve Gallery and Newcastle Printmakers Workshop.

Keynote presentation by Tracy Hill, Jason Hicklin and Greg Fuller. The artists discuss how they push the boundaries of printmaking within their respective practices and their on going collaborative walking project.

Royal Geographic Society Annual Conference 2016 London

The aim of this session is to explore the different ways in which postgraduate researchers in Social and Cultural Geography are engaging with and attending to the manifold provocations posed by the concept of Nexus Thinking. ‘Nexus thinking’ is taken here to refer to the varying ways in which human geographers are working to consider the entanglements and interconnectivities between environmental and social domains. We are encouraging postgraduates to present a brief ‘snapshot’ of their work (whether a photograph, a quotation, a field diary entry, an image of an object, or mini-video clip) as a focus for 5-10 minute contributions that explore the ways in which their theoretical and/or methodological interventions expand or restrict the propensity for and the possibilities of nexus thought. It is envisaged that the snapshot will be the main artefact around which each contribution is orientated. We encourage participants to fully utilise their snapshots in ways, which further deepen and enrich the developing trajectories, tensions, and textures associated with the mobilisation of the Nexus Thinking.

The Boundary by Tracy Hill

http://conference.rgs.org/AC2016/46

Sensorium.

FARO article.

‘State of the art’ scanning 2015

Published article showcasing my practice and use of commercial mapping technologies.

FARO article 2015

Sensorium

https://issuu.com/tracyhill2/docs/final_pdf_sensorium_for_web

Sensorium, is the resulting body of work created during a 2 year MA in Fine Art, Site and Archive intervention at UCLan. Tracy Hill investigates the idea that our negotiation of data and reference points often brings with it a sense of dislocation and fragmentation and how identification with our senses enables a deeper awareness and understanding. By adopting commercial mapping technology and combining it with traditional handmade processes an aesthetic is reintroduced to the digital seeking to offer a re-imagined perspective of spaces which maybe we have forgotten to see.

Nordic Geographers Meeting 2015

Tallinn University

The Nordic Geographers Meeting (NGM) is an international geography conference held in every second year in one of the Nordic Countries and now, for the first time, in Estonia. The 6th Meeting will be held in Tallinn and Tartu on 15-19 June 2015. The conference has grown into a significant and multi-faceted arena for geographers to meet and discuss their research, as well as for fostering cross-disciplinary connections.

The conference theme for the 2015 meeting is Geographical Imagination: Interpretations of Nature, Art and Politics. Under this broad heading nearly forty sessions are listed on the  conference website, covering a variety of more specific topics.

https://www.tlu.ee/en/NGM2015/Conference-information/Invitation

THE WASTE

University of Central Lancashire, United Kingdom, THill@uclan.ac.uk

As a visual artist I am utilising commercial modern mapping and measuring technology seeking to change our percepions and challenge our understanding of these spaces through my art practice. Data collected from 3d scanners creates large complex images, the information is multi layered, like the land it represents and can only be understood by the viewer considering sections from different viewpoints. By manipulating the technology and reinterpreting the data I am creating a series of art works which show the transitory properties of these landscapes. Quiet beautiful spaces with a sense of unease, unstable and precarious but now increasingly reclaimed and protected.

SNAP03 International printmaking conference 2015

http://snap2015.de/

Between 12 and 15 November 2015 the print association Druckvereinigung Bentlage e.V. will hold its third International Printmaking Symposium SNAP 2015 in cooperation with the cultural institution Kloster Bentlage gGmbH in Germany and the AKI ArtEZ Institute of the Arts in the Netherlands.

Tracy was invited to present the results of the ‘Permanent Print’ project as well as taking part in the ‘Statements’ exhibition at Kloster Bentlage.

http://snap2015.de/symposium/participants/tracy-hill/

http://snap2015.de/exhibitions/kloster-bentlage/

Permanent Print

https://permanentprint.org.uk/

http://www.conf.dundee.ac.uk/impact8/people/biographies-2/tracy-hill/

Print and Refractory concrete:

New opportunities in scale, surface and durability.

In August 2013 my recent collaboration with ceramic researcher Dr Alasdair Bremner was presented at Impact 08.

The aim of the collaboration was to create large format 3D relief prints that retained a print quality, yet were rendered in a durable material. The presentation discussed the compromises and opportunities that developed from the cross-disciplinary activity.

Better Bite

http://nontoxicintaglio.tumblr.com/

This was a collaborative investigation into Acrylic based equating products by Tracy Hill and Emma Gregory who met at Wrexham Regional Print Centre in 2006.

Initially driven by changes in Health and Safety in university print workshops Tracy had already revised print practices at UCLAN to make for a safer working environment and minimise the use of toxic materials. At this time a great deal had been published about the harm attached to using traditional etching materials and potential health implications for artists working with traditional etching processes.

Meanwhile Emma was teaching traditional etching classes at Liverpool John Moores University, on behalf of the Bluecoat arts centre. The University had stepped in to accommodate the arts centre’s classes whilst it closed for redevelopment and refurbishment.

The etching studio at the Bluecoat had not been much altered since opening to the public in the mid 1960’s. Emma saw this was a strategic moment for change. In 2008 the Bluecoat’s doors reopened. Appointed Print Studio Manager, Emma rebuilt the workshop to house ‘safer’ etching practice.

Now they had a lot more in common: the Bluecoat and UClan print studios were supporting significant numbers of artists who had never etched or done any printmaking before alongside a few experienced etchers reluctant to abandon what they knew would work for something largely untried and tested. They met often to discuss the problems we encountered and find solutions together. This partnership led to the research investigation ‘Better Bite’.