Between Our Words I will Trace Your Presence (February 2020)
  • Andy Lock | performed at KODE II, Bergen, Norway and for simultaneous radio broadcast

  • Andy Lock, Between our words UN Buffer Zone, Cyprus 2019 Andy Lock, Between our words UN Buffer Zone, Cyprus 2019 Andy Lock, Between our words UN Buffer Zone, Cyprus 2019 Andy Lock, Between our words UN Buffer Zone, Cyprus 2019 Andy Lock, Between our words, KODE II, Bergen, 2020
  • Links to the KODE II performance of Between Our Words…

  • Between Our Words I will Trace Your Presence (February 2020)
  • Andy Lock | performed at KODE II, Bergen, Norway and for simultaneous radio broadcast
  • ‘He sits with his father, unspeaking, holding the old man’s hand, father and son both drifting back to their respective childhoods. Fresh silences begin to emerge between them and the son reflects that far from framing absence, these silences are freighted with all that is now unutterable between the two.’

    (excerpt from Andy Lock, Between Our Words I Will Trace Your Presence, 2020)

    Between Our Words, I Will Trace Your Presence is a text for performance, which weaves together my writing in response to a number of different silences. It is firstly an exploration of the interpersonal silences, manifest in a relationship between a father and son. The autofictional narrative that has evolved to describe that familial relationship, which creates the central thread that runs through Between Our Words… is framed by a series of allusions and references to other works and texts. From cinema, Yasujiro Ozu’s Late Spring; from composition, John Cage’s silences; and from literature and poetry respectively, Heinrich Böll’s Murke’s Collected Silences, Jonathan Safran Foer’s Tree of Codes and Ilya Kaminsky’s Deaf Republic. Each of these works, in common with the relationship between father and son, in my work, constitute sites for the purposes of my practice, since they too disclose silences, which are freighted with presence. My conception of the silences with which I work is one that regards them as not only experienced by a subject, but also as being enacted or performed by some party; being motivated and always possessing an unspoken object, which may be explored and possibly disclosed, using artistic practice.

    The text of Between Our Words… has so far been performed in a number of forms and iterations, in a number of different settings, for different audiences, including a spoken-word performance for a radio audience, in February 2020 (the version reproduced here), but also as a live promenade performance taking place in the interstice of the UN Buffer Zone, between Northern and Southern Cyrpus, as part of the Nicosia Buffer Fringe Festival, in 2019.


    Andy Lock is currently a Research Fellow and PhD candidate, conducting artistic research at the University of Bergen’s Faculty of Fine-Art, Music and Design (KMD). He works principally with creative, speculative writing; performance; radio; artists’ publications and sited installations. A selection of recent work can be found at 

    Current work also appears in the book Fluid Territories (2020) available as a pdf at 

    Documentation of other recent work available on-line, also includes: It’s only when I rest that I sense your presence (2019) an installation created for HKS, Bergen (; In Silence (2018) made for Lausitzer Platz, Berlin (; and The Museum’s Wrong Bodies, a presentation made at Bergen Natural History Museum in 2019 as part of Andy’s ongoing research into the museum’s institutional silences ( and

    Andy’s background is in image-making. He holds an MA in Photographic Studies from Westminster University and he has exhibited widely as a photographer, with a solo show at Eastman House, NY, in 2009, as well as touring work internationally with the V&A. As an image-maker he is perhaps best known for his 2003–6 work Orchard Park, (see Orchard Park, 2006, Impress. ISBN 978-090636191). His work has also appeared in Berberich and Campbell, Affective Landscapes in Literature, Art and Everyday Life (2016), and Preston, Interior Atmospheres (Architectural Design), (2008), along with various journals, including Grafik, issue 168 and Exit, issue 26. In 2015, while lecturing at Nottingham Trent University, Andy co-curated, with Fiona Maclaren, In Place of Architecture, a group show and symposium examining the representation of architecture in contemporary photography and artists’ film-and-video.


    Through works such as Between Our Words… I’ve been ‘inhabiting’ different manifestations of silence: phenomenal, institutional, textual and interpersonal, at different sites, in an attempt to uncover the relationships and the stories of repression and disavowal, which characterise those silences. As it has developed, my work has compelled me to question both what I mean when I talk about ‘site’ as well as my own subject-position in relation to the objects of my inquiry and I’m particularly interested in site writing’s framing of the notion of ‘site’ to encompass ‘sites – material, political and conceptual – as well as those remembered, dreamed and imagined.’

    Silence, Site, Autofiction, Gaps, Bodies, Institutions


    Late Spring (1949), dir. Yasujiro Ozu.

    Ilya Kaminsky, Deaf Republic, (Faber & Faber: 2019).

    Heinrich Böll, Murkes Collected Silences, in The Stories of Heinrich Böll, (Northwestern University Press, 1995).

    Other projects
  • Signal/Noise: Ambient Text in the Urban Landscape (ongoing project)
  • Site Stories: explorations of urban spaces through drawing and animation (25–29 April 2022)
  • Rainbow Palace, Bergen, Norway (March 2022)
  •  Acanthus, (March 2022)
  • Unter der Hohen Brücke. 
digging in a ditch, writing for a place 
  • ‘Reading-writing alongside HALL08,’ HALL08 (2021)
  • Nothingness Beyond Blossom (2021)
  • Angelo Ciccaglione, ‘The back of the dust-machine, where the visitors pour the dust in,’ Rotterdam (2021)
    The Deposition of Dust (July 2021)
  • Skye Edge (April 2021)
  • Corvid-19 (15 March 2021)
  • 1_5
    Glòries_(Eixample). A dispositive for very slow aesthetic observation, (January 2021 –)
  • As Lightning to the Children Eased (January 2021)
  • Station F (October 2020)
  • It’s Just a Matter of Time (2020)
  • 1
    Inscription: the Journal of Material Text – Theory, Practice, History,
    issue # 1: ‘beginnings,’ (2020)
  • Homekeeping-image_sml
    Homekeeping (2020)
  • City Embers (2020)
  • Between Our Words I will Trace Your Presence (February 2020)
  • What Remains (2019)
  • Situated Writing as Theory and Method (2019)
  • Parts Apart Read Together (2019)
  • Fields of Awareness, (2019, 3min 18 secs)
  • A Non-Aligned Narrative in and Around KSEVT, (2019)
  • 21 Orientations: An Atlas of Geographic Promiscuity (2019)
  • The Windowless Hotel Room (2018)
  • Spaces of Grief (2018)
  • Soft Landing (2018)
  • Shared Remains (April 2018)
  • Poetic Water Boundaries: towards a possible borderless sea, (2018)
  • Metropolitan Salem, Liuerpul (9 June – 18 August 2018)
  • Things Come Apart (21 – 24 March 2018)
  • Learn to Read Differently (2018)
  • Il Balcone. A site-writing performance (2018)
  • History begins with the vanity of kings (2018)
  • Dear Mr. Jung: Inhabiting Carl Jung’s ‘The Red Book’ (May 2018)
  • A Lunar Perspective, (2018-2020)
  • Heaton Hall: A Palimpsest (2017)
  • Location (+) (2017)
  • There’s Sand in My Infinity Pool (2017)
  • Talking Quilts (April 2017)
  • fifteen ways to cross the desert (2017)
  • Between Landscape and Confinement: Situating the Writings of Mary Wollstonecraft (2017)
  • Agency at the threshold, (2017)
  • A Ficto-Historical Theory of the London Underground (2017)
  • The Glorious Tomb to the Memory of Nothing (2016)
  • The Arrival’s Reader; A Visual Literary Criticism on The Arrival by Shaun Tan (2016)
  • Reading as Art (27 August-19 November 2016)
  • Re: development (London: Silent Grid, 2016)
  • Kjemikerens død [The Death of the Chemist] (23 – 26 May 2016)
  • Kingsland High Street (2016)
  • Foray in a Modern Reserve: An Impounding Portrait of Landuse (2016 – 2018)
  • Fall of the Derwent (2016)
  • Away from Home – Home from Away (April 2016)
  • Penguin Pool (2015)
  • Geography Lessons: Liberian Landmarks 1953-2013 (2015)
  • Women’s Anarchist Nuisance Café (2014)
  • The Writing on the Wall (after Rembrandt) (2014)
  • The Italic I (2014)
  • Designing Architecture as a Performing-Ground (2014)
  • Urban Literacy (2013/2014/2016)
  • The Disappearance: Manfredo Tafuri’s The Sphere and the Labyrinth (April 2013)
  • Folded Ground: Escape from Cape Town (2013)
  • Phantom Railings (2012 – 2017)
  • In The Emptiness Between Them (2012)
  • 10/08/12 (multispecies event) (2012)
  • An Arcades Project (2011)
  • Tideline (2010-2012)
  • The Museum of Breath (2010)
  • Slab (2010)
  • One wound. Two wounds. The body as site for writing (2010)
  • The Fluid Pavement and Other Stories on Growing Old (2006)
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