Wednesday, 24 October 2018

Concrete & Constraint Anthology

Excited to be a part of this new Anthology 'Concrete and Constraint' published by Penteract Press.

The book will be out shortly, and is already available for pre-order

Featuring work by:
Samuel Andreyev, Gary Barwin, Derek Beaulieu, Gregory Betts, Christian Bök, Luke Bradford, Franco Cortese, Clara Daneri, Lucy Dawkins, Anthony Etherin, Kyle Flemmer, Helen Frank, Ken Hunt, Nasser Hussain, Arnold McBay, Ross McCleary, Nick Montfort, Kelly Nelson, Sharon Phillips, Eric Schmaltz, Petra Schulze-Wollgast, Rachel Smith, Andrew Topel, and Catherine Vidler.

Buy it here:
Penteract Press Anthology

Monday, 24 September 2018

Regardez la Fenêtre

Last week on Wednesday 19th September I participated in Claire Lee Clee's residency of one of the shop fronts in Fitzalan Square in Sheffield: Regardez la Fenêtre

Clee worked with me was one of the invited artists who took part in my Interrupteur residency and following on from our discussion around this experience was bringing in artists into the space to work alongside as a challenge to her own practice.

For my day I wanted to explore Umberto Eco's description of the Encyclopaedia as Labyrinth. Here he writes about the different types of labyrinth, from the classical with only one possible entry and exit, to the maze with its dead ends, and the rhizomatic labyrinth which he describes as a net.

I knew that the construction of the net would visually fit with the sculptural work Clee makes and during my residency time with her I was interested by our similar concerns through different media, shifting my generally 2D thinking into 3dimensions.

In order to think through Eco's exposition I had purchased a cotton string net and wanted to draw and physically handle the net in order to perform the action of navigating the rhizomatic.
All connections being possible and each journey taken from a different starting point, using a different route across the connections.

As well as drawing, physically manipulating the bought net while discussing ideas, we constructed our own net, from string, elastic and wire, this was then hung and draped in the space amongst the other sculptural objects.

For more information about Clee's residency:

Sunday, 23 September 2018

Voler: To Steal and Fly

Excited to have just received a set of my new pamphlet work, Voler: To Steal and Fly.
This is published by the brilliant Penteract Press (@Anthony_Etherin with cover art by Clara Daneri)
Available at

The title of the work makes reference to Hélène Cixous when she writes in the Laugh of the Medusa about women's writing taking flight and jumbling the order of space - simultaneously occupying the space as birds and robbers, as both meanings are held in the translated sense of voler.

Pages are stolen from another book work -Lines of Flight, which I made for the AMBruno project [sic], and released for flight in a performative diagrammatic action, tracing lines made in a continual search for meaning.

Sunday, 17 June 2018

Reflection on the Interrupteur Residency

As the outward facing part of my Interrupteur residency at Jessop West as part of the Humanities department of the University of Sheffield draws to a close there is time to reflect on the experience. This residency has been invaluable, allowing me to reflect on how this type of network practice might reveal something about the theoretical research I have been doing might be enacted in the world. 

I am overwhelmed by the generosity of spirit shown by the artists, interrupters, and academics who have helped to make the residency successful. Dialogues across disciplines and institutions have been productive in so many ways and it has been possible to push practice forward as a way of thinking through material in a way that has revealed so much for my own practice, but I hope also for the other people who have been involved.

Images from the residency have been used to visualise some of the connections and lines of flight we engaged in while we cut together-apart using practice.

To see more of what occurred during the residency please follow the link below this image:

Huge thanks go out to all the people involved with making this Residency both possible and successful. In particular: Amanda Crawley Jackson for her vision and support in making this all possible, Amy Ryall for her help in organising and the logistics, the Porters team at Jessop West, especially Roger who has been a great help, Brian Lewis from Longbarrow Press for his hard work on the postcard design, Sharon Kivland my PhD supervisor for always pushing me, all the brilliant artists who gave generously of their time: Emma Bolland, Madeleine Walton, Clee Claire Lee, Bryan Eccleshall, Jo Ray, Helen Frank, Andrew Conroy, The Roland Barthes Reading Group, and Louise Finney, the academics who are currently developing new projects the artists, and lastly all the interrupters who were diverted from their intended path through the foyer and engaged in interesting conversations, in particular Joe Edwardes-Evans, Martin Elms and Brian Lewis who became our most regular and welcome interrupters.

Wednesday, 9 May 2018

Interrupteur Residency at the University of Sheffield in Jessop West foyer

My Interrupteur residency continues...

There have been many fruitful discussions and interactions between artists, academics, and students

Please come along and interrupt me
For more information about artists joining me and the work completed so far visit:

Images from the work and events so far:

Wednesday, 11 April 2018

'we must begin wherever we are'


Today I am starting my artist residency, at the University of Sheffield, working in the foyer at Jessop West.

Please interrupt me.

Residency Interrupteur


interrupteur holds both the mistaken notion of the interruption and the actual translated sense of the word – switch: as exchange, shift, or transformation.

Forging conversations and collaborations between artists and academics is at the heart of the project’s endeavour, but initially Rachel Smith as artist in residence will be present in the foyer of the Jessop West building on selected dates (see below), working, making art, and being interrupted by conversations and the unexpected encounter. 

Smith uses drawing, photography, and writing to explore the materiality of the peripheral details in the acts of reading, writing, and listening. The grasping action of finding sense in the face of the excesses of language sometimes pushes the work towards wordlessness. Equally gaps, voids, misunderstandings, and errors are opened in the work, containing the potentiality of that which has yet to happen. Producing these generative spaces allows room for other voices. These gaps in the practice may contain no visible language, but they are not empty – they possess a latent energy. These are the spaces inhabited by the other, the as-yet-unwritten, the as-yet-unread, the as-yet-unspoken, or the as-yet-unheard.

Beyond producing her own work Smith will host conversations, events, performances, staged dialogue, and even accidental occurrences. The project explores how artists might open spaces for dialogue and collaboration between and beyond expected outcomes, engaging across disciplines and inhabiting liminal and in-between spaces. In her occupation of the foyer at Jessop West, other artists will move through the space, stopping to collaborate, discuss, perform, and workshop ideas. 

Not-knowing, error and misrepresentation, hybridity, constraint and improvisation, are some of ideas explored during the conversations and work in progress during the residency.

Quotations selected for each day of work will act as provocation or a filter through which to work and think.

You are welcome to interrupt, join in, exchange ideas, observe, listen in, or merely glance and walk by. 

There is a blog associated with the residency which will be regularly updated with work in progress:

Wednesday, 10 January 2018

Lines of Flight

March 2017
Lines of Flight

Published as part of the AMBruno project [sic]: Launched at the PAGES Leeds International Contemporary Artist Book fair

I frequently use rhizomatic frameworks as both method and metaphor for my making and thinking processes. The rhizome can be seen as a tangle of networks whose anatomy has multiple entry points and connections which are reformed with every reading. Nothing is fixed or hierarchical. Everything is transitional and has the potential to be reconfigured, or continually reworked and rethought. This is in opposition to books which generally assume a linear sequence, whose structure is both fixed and laid out in a singular direction. The premise of this work is to explore ways of forcing these two contradictory systems together.

A rhizomatic drawing using text and image has been produced, which has been physically fragmented, scanned, and thrust into the paginated structure of a book. Once printed the book surface has been further drawn into, keeping the work developing in a way that suggests the provisional nature of the process. There remains room for future reconstructions.