@article{32c48aabeb44416c839f1b381db491a8,
title = "Eye-opener: Drawing landscape near and far",
abstract = "This paper is about learning to see the world anew – but also about doubting and qualifying that newness. Drawing on a practice-led art–geography collaboration, in which en plein air painting and drawing was the primary medium, it aims to further extend understandings of the affective spatialities of landscape. The paper offers a sequence of extended reflections on the phenomenologies and materialities of the perceptual experience of landscape drawing. After initial discussion of this work's location and germination, a first substantive section investigates the spaces of the canvas itself. Subsequently, the core and culmination of the paper consists of an account of this form of landscape experience, organised around two headings: “Drawn into the world” and “So near and yet so far.” The concluding section of the paper consolidates its arguments in respect of theories of landscape specifically, and also comments on the paper's relation to current work in creative geographies.",
keywords = "creativity, distance, drawing, landscape, painting, phenomenology",
author = "John Wylie and Catrin Webster",
note = "Funding Information: This research was funded by a Leverhulme Trust Artist in Residence award (award no. AIR‐028). Many thanks to the Lev-erhulme Trust for their support. Funding Information: This research was funded by a Leverhulme Trust Artist in Residence award (award no. AIR-028). Many thanks to the Leverhulme Trust for their support. This paper has evolved over time, and we have many people and audiences to thank. First, thanks to our mutual friend, Prof. Elena Isayev, of the Classics and Ancient History Department at the University of Exeter, through whom we were first introduced, in the context of an AHRC “Beyond Text” Research Network, “De-Placing Future Memory.” Thanks also to members of the Cultural and Historical Geographies research group at Exeter, who have followed and commented on this research as it has evolved. At different stages, elements of this research were presented to Geography research seminar audiences at Bristol, Oxford and NUI Galway, and also at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) in Cambridge. A paper further drawing on and developing this work was presented at the RGS-IBG Annual Conference 2013 in London, in a session entitled “New Frontiers of Geographical Knowledge and Practice? Exploring Creative Methods and Encounter.” A paper on this research was also presented at the 5th Biannual Nordic Geographers Meeting 2013, University of Iceland, Reykjavik, in a session on “Critical Geography and Visual Methodologies.” Finally, two invited conference keynotes drew substantially on this research; first at the Centre for Excellence in Cultural Theory Annual Conference, University of Tartu, Estonia in November 2013 and second at a conference entitled “Between Space and Place: Landscapes of Liminality” held at Trinity College Dublin, Ireland in June 2014. We would like to thank in particular the organisers, chairs and audiences of all these events for their kind invitations to speak, and for audience and participant feedback on our work. Lastly, we would like to thank four anonymous reviewers and Transactions editor Simon Naylor for their in-depth engagement with and critique of our work. Publisher Copyright: The information, practices and views in this article are those of the author(s) and do not necessarily reflect the opinion of the Royal Geographical Society (with IBG). {\textcopyright} 2018 Royal Geographical Society (with the Institute of British Geographers).",
year = "2019",
month = mar,
doi = "10.1111/tran.12267",
language = "English",
volume = "44",
pages = "32--47",
journal = "Transactions of the Institute of British Geographers",
issn = "0020-2754",
publisher = "Wiley",
number = "1",
}