The artwork for this exhibition has been created through a wayfaring process of
exploration. It uses technology, including photography, as a medium and explores the
theme of landscape. The work has been directed towards re-seeing the known
environment anew, capturing an image of a familiar object in an unusual way and then
transforming it into a new artwork that is often interesting, intricate and surprising. It is
hoped that this will cause the viewer to look again, and to re-see what is already there with
Key influences on my practice have been Ingold’s (2007, 2010, 2011) writing on wayfaring,
the Situationalist concept of psychogeography and the work of Ingrid Calame. Wayfaring is
an explorative journeying through and within a landscape. One of the guiding principles for
such a journey is that it ‘does not follow a pre-written itinerary, objective or path’ (Urban
Studio, 2009, preface). It has, as Ingold (2007) describes, ‘no ultimate destination, no final
point with which [the traveller is] seeking to link up’ (p.81). The Situationalist movement
described this way to explore the known environment as a 'dérive' or a 'drift'. The route of
a walk in the context of a 'dérive' could be determined by the toss of a coin or by following
a line along the pavement rather than a desire to reach a specific destination. This takes
the walker away from familiar routes and into unknown territory in order to ‘experience
their landscape anew, and force them to truly see what they’d otherwise ignore’ (Hart,
Ingrid Calame’s work has also been influential in this regard (Berning, 2009). She focuses
on the unnoticed, everyday marks of all that has happened at a specific location, e.g. the
stains, cracks and other marks on the pavement. In a similar vein, I wanted to use the drift
as a way to re-see the landscape and focus on its hidden and passed over aspects and
The journey of my artwork begins with the Situationalist’s concept of a ‘dérive’ or a ‘drift’
around the local area. This results in a number of photographic images that document and
record different points of interest along the way. These are often things that are usually
missed - perhaps the previously unnoticed or unseen textures, shapes, colours and
patterns of everyday street furnishings, litter or wayside plants. I then take these images
and begin a technological wayfaring journey through them, manipulating and transforming them using a wide range of digital tools. Each step, or edit, leads on to the next, and there
is no predetermined point that I am trying to reach. An image is never finished; it has just
stopped for the time being. The images for this exhibition have been produced in this way
and they have all been halted at the point at which you see them. For now.
Berning, D. (2009) Artist Ingrid Calame on how she draws. [Online] Available from: http://
[Accessed 5th October 2012].
Hart, J. (2004) A New Way of Walking. [Online] Available from: http://www.utne.com/
2004-07-01/a-new-way-of-walking.aspx [Accessed 5th October 2012].
Ingold, T. (2007) Lines: A Brief History. Abingdon, Routledge.
Ingold, T. (2010) Bringing Things to Life: Creative Entanglements in a World of Materials.
National Centre for Research Methods. [Online] Available from: http://eprints.ncrm.ac.uk/
1306/ [Accessed 21st Jan 2013].
Ingold, T. (2011) Being Alive: Essays on Movement, Knowledge and Description.
Jenny Oakley's blog
How Does a Wayfaring Pedagogy Impact Upon Classroom Practice and Students' Learning?