Site-Writing

Skye Edge (April 2021)
  • Charlotte A Morgan | Sheffield, UK.

  • Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Jan 2021). Source: Author. Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Jan 2021). Source: Author. Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Jan 2021). Source: Author. Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Feb 2021). Source: Author. Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Feb 2021). Source: Author. Charlotte A Morgan, untitled images taken during a walk to Skye Edge, Sheffield, UK (Mar 2021). Source: Author.
  • Skye Edge (April 2021)
  • Charlotte A Morgan | Sheffield, UK.
  • ‘The starting point for orientation is the point from which the world unfolds: the “here” of the body and the “where” of its dwelling.’ Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others, (2006).

    ‘Grey.



    The dark of night lingers into the light of day and the air is heavy with mist. Cloud reaches land; timeless, calm, listless.



    Drizzle. I walk along an upwardly inclining path…’


    Skye Edge is written in response to a site with the same name; an area of disused land that lies at the top of a steep hill rising out Sheffield, UK. I first encountered the site unexpectedly after moving to a new home during the winter lockdown of 2021 and exploring the surrounding area on foot, and developed the text through a series of return walks to the site over a three-month period. The resulting fragmentary responses are interwoven with accounts of the domestic space within which I write, along with deviations into the spaces of memory and the imagination, and the words of other writers and Skye Edge residents. 

    My responses to the site are anchored around my encounters with a flock of homing pigeons that occupy a series of pigeon lofts built into the hillside. The cyclical, choreographic movements of the birds, along with the elevated vantage point afforded by the site and the building work at an adjacent housing development, are points around which I explore ideas of home, homing, orientation, construction, and loss, and our cohabitation with non-human life.

    Skye Edge takes the form of a digital artist’s book; it makes use of images, layout, and a shift in registers between critical and poetic language to express a transition between exterior and interior spaces, both material and psychological. Drawing from my experience of making, and being confined to, a home during a time of collective and personal grief, the work acknowledges the influence of our emotional and physical situatedness upon our perceptions and interpretations of the environments we inhabit.


    Biography

    Charlotte A Morgan creates interdisciplinary work at the intersection of visual art, writing, and curating. 

    Her writing has featured in artist-led and independent publications including Ways of Working: A Mock Up (Wysing Arts Centre), Gnommero (Richard Taylor and Sarah Tripp), Breakthrough Fictioneers (Corridor 8) and Misery Connoisseur (Rowena Harris, Micheal Heilgemeir and Emma Hunt). 

    Charlotte is co-founder of COPY, an artist’s commissioning and publishing platform established in 2010 in collaboration with Joanna Jowett. COPY have produced publications, residencies, and public programmes with partners including Site Gallery, Sheffield; Yorkshire Sculpture Park, and The Tetley, Leeds. Her other collaborations include Co- (2013-16) with Dr Julia Udall, which explored collectivity and co-production within the architectures of working, living, and learning/dreaming.

    Since 2013 her work has focused on curating, directing and producing exhibitions, events and performances in roles at Bloc Projects, Art Sheffield and The Hepworth Wakefield. Through this work, she has brought together national and international arts practitioners and scholars working across disciplines within projects engaged in intersecting architectural, social, and theoretical contexts.

    Skye Edge was produced as part of the module Critical Spatial Practice: Site Writing as part of the MA Architectural History at The Bartlett School of Architecture, UCL in 2021. 


    Practices

    Throughout my artistic education and practice, my work has engaged critically with the spatial and temporal conditions of the urban encounter and their fragmentary, non-linear nature. This has manifested through situated, itinerant practices; publishing projects; sculptural interventions exploring the display of words and artefacts; and writing in relation to the material and architectural landscape, both real and imaginary. Most recently my work has focused on the porosity of human and non-human bodies in relation to the lands and waters they inhabit.

    The propositions of both critical spatial practice and site-writing, and the lineage of practices that inform them, resonate strongly within my research, practice, and arts programming. They have influenced the development of my sense of positionality and helped me to conceptualise the different areas of my practice within a central critical engagement with social/environmental context, subjectivity, and narrative. The work I produced in the Critical Spatial Practice: Site Writing module marked for me a nourishing development of practice and an exploration of this practice as/in relation to research.


    Keywords
    homing, walking, grief, flight, more-than-human.

    References

    Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham, NC: Duke University Press, 2006).

    Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham: Duke University Press, 2016).

    Katrina Palmer, End Matter (London: Bookworks, 2015).


    Other projects
  • Signal/Noise: Ambient Text in the Urban Landscape (ongoing project)
  •  Acanthus, (March 2022)
  • Unter der Hohen Brücke. 
digging in a ditch, writing for a place 
(2021)
  • ‘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)
  • 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)
  • Back to Top