Gillian Hobson is a British artist whose work is concerned with subjectivity and place, and the ways in which this intimate relation may be communicated, constructed and indeed analysed through art-making. Her practice responds to the particularities of the person/place relation and its’ affective potentials.
Projects include site specific/site responsive works and research led investigative projects. Her hybrid practice embraces three dimensional works, craft practices, installation, photography, moving image and sound.
Works have been shown internationally including screenings at Babylon Kino, Berlin, The Kirchener Museum, Switzerland and the British Embassy, Dubai UAE: installations have featured in the British Glass Biennale and The Lumen Prize. She is the author of Lightlines: Exploring Place and Self, and a contributing author of Interactive Experience in the Digital Age: Exploring New Art Practices.
Nick Triplow is the author of the crime noir novel Frank’s Wild Years and the social history books The Women They Left Behind, Distant Water and Pattie Slappers. 2017 sees the publication of GETTING CARTER: TED LEWIS AND THE BIRTH OF BRIT NOIR, his long awaited biography of British noir fiction pioneer, Ted Lewis. Nick’s acclaimed short story, Face Value, was a winner in the 2015 Northern Crime competition. His stories have also appeared in the Off the Record and True Brit Grit crime anthologies and on numerous websites. A graduate of Sheffield Hallam University’s MA Writing, originally from South London, Nick now lives in Barton upon Humber.
Memory of Water
Short form moving image work by writer Nick Triplow and artist Gillian Hobson.
Duration 10m 30s approx.
In summer 2015, writer Nick Triplow and artist Gillian Hobson embarked on a series of walks along a remote stretch of the Lincolnshire coastline – Triplow in an attempt to trace the mental and physical dislocations which impacted on Ted Lewis’ final novel GBH: Hobson as a psychogeographical experiment arising from her doctoral research interests surrounding the dynamic relation of person and environment.
Employing psychgeographic practices alongside periods of pause, fragments of photography, moving image, writing and conversation recorded during these visits document an unfolding of the resonances of this extraordinary place. The short film, Memory of Water, is part documentation, part meditation, part testimony. Employing image, sound and duration to explore the oscillations of the conscious/unconscious, real/imagined, homely/unhomely, this elegiac work proposes a near hallucinogenic real where the inner & out worlds of maker & viewer collide.