I thought I would write about my practice from the perspective of a self described walking artist, as I am often asked what it means..
My artistic process revolves around the use of a receptive walking methodology as both the contextual and conceptual mechanism for creating my ceramic and visual artworks. I have always found walking to be a positive aid for my studio practice, but I wanted to deepen my understanding of why this was the case and be able to articulate the creative insights I was experiencing. I also wanted to stop trying so hard to come up with new concepts for my work. I wanted to take the pressure off.
To achieve this, I sought out another creative who identified as a walking artist. I applied for a RADF grant through the Moreton Bay Regional Council and with the funds and my own financial contribution, I was able to secure a mentorship with Dr. Jacqueline Scotcher, an abstract landscape artist and an arts educator. Jacquie has a vast body of knowledge on the phenomenology of walking and place, among other subjects, and this made her the perfect mentor for me.
Over five months, I had the privilege of recieving the equivalent of a post graduate education from Jacquie, as she fed me what she taught her students at James Cook University, and it was the best investment I could have made for my practice. She not only shared the theory behind the use of walking as a creative mechanism, but also showed me practical ways to apply this to my work.
Thanks to Jacquie’s guidance, I now have a more nuanced understanding of how walking can inform and enrich my creative process. I am better able to articulate the insights I gain from my walks and incorporate these into my ceramic and visual artworks. I have since created a large body of work that has resulted in several exhibitions, finals in arts prizes and improved my confidence in myself and my work.
For many artists, the act of walking is an integral part of their creative process. By moving through the world on foot, they are able to explore their environment in a more intimate way. Using a walking methodology has become a popular approach for many contemporary artists seeking to conceptualize their work and connect with their surroundings in a more meaningful way. For me it is about forgetting everything else and just going for a walk in natural spaces without an agenda and just breathing for a while. When I spend my time away from my practice like this, I come back more relaxed and I have given my brain a chance to rest. The other thing about going for a walk is that its like when you get ideas in the shower, you are relaxed and not trying too hard.
History of Walking artists.
Walking has long been recognized as a source of inspiration for many artists including Kierkegaard, Nietzsche, Wordsworth and many more. From the flâneurs of 19th-century Paris to the Situationists of the 1960s, artists have long used walking as a way to engage with urban and natural environments and explore new ideas. Today, artists continue to use walking as a methodology to conceptualize their work and create new meaning from their surroundings.
At the heart of the walking methodology is a deep connection between the body and the environment. By moving through the world on foot, artists are able to engage with their surroundings in a way that is visceral and tactile. This physical connection helps to break down the barriers between the artist and their environment, allowing them to see the world in a new and more meaningful way.
If you want to read more about walking, place , and space, here is list of authors:
Rebecca Solnit (walking), Tim Ingold, Edward Casey (Place), Yi Fu Tuan (space), Robert Macfarlane (walking), Ernesto Pujol (walking in arts practice).
There are plenty more, but these are some of the authors I read during my mentorship.
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