Trish Bould

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Trish is an artist and academic who makes work about her experience of place, often working with others to develop small and sometimes very big experimental events and site-specific projects.

Originally trained as a weaver, Trish’s work is made using drawing, photography, multimedia collage and by curating events and making installations.

Working in academia for over thirty years Trish contributed to the development and delivery of programmes in Fine Art and Textiles at Winchester School of Art and taught drawing and practice-based research within Interior Design at University of Portsmouth and London Metropolitan University. She pioneered new opportunities for connection through projects: 10daysWinchester.org (2009-2019) a city wide project attracting national funding, ‘Within the Social fabric of a building’ and Sound Seminar (University of Southampton).

Since 2017 Trish has established her studio base on Anglesey developing new creative work and is currently refining work for exhibition and publication. She is also researching change as a new tidal project is established on the West Coast of Ynys Gybi.

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Andrej Dujella

University of Zagreb

Hemin Koyi

Uppsala University

Jana Javornik

University of East London

Armando Marques-Guedes

UNL - New University of Lisbon

Graham Martin

University of Leicester

Gwen Robbins Schug

University of North Carolina at Greensboro

Gabriel Gutierrez-Alonso

University of Salamanca

John Sutton

Macquarie University

Eros Carvalho

Universidade Federal do Rio Grande do Sul

Kevin Arbuckle

Swansea University

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Papers by Trish Bould

Thinking about drawing

Basics Animation 03: Drawing for Animation, 2009

‘Drawings can dismantle or disregard material and weight, providing insight into the unattainable... more ‘Drawings can dismantle or disregard material and weight, providing insight into the unattainable’ Thomas Mayne ( p.79) Drawing begins in the unconscious, a dialogue between the conscious and the unconscious in which things are worked out and found. This paper explores what, as artists, we can reveal about sensory experience by taking this non-verbal means of communication and constraining it through the problematic context of representation. In our work we use drawing as a vehicle of construction and recognise the potential for drawing to activate and reconstruct memory in the production of new ideas. Drawing is discussed as an occupied and per formative place of thinking, arriving through gesture, multi-sensory and often material experiences. Building on recent work, in which conventional drawing processes were applied to the development of an academic paper (‘Dilemmas and Practices’, ‘Telling Places’ Conference, Dec 2007 UCL), we investigate the hidden spaces of our own methodologies as we tried to exchange sensory information through the constraints of technology, speech and virtual communication. We reveal the ways in which textural experience became suppressed and the extent to which shared references. (memory) built through previous sensory exploration, enabled new ideas to emerge. In conclusion we reflect on how the slippage of technology both restricted and enabled new ideas and how the use of frameworks from varied disciplinary knowledge: ‘creating a good black from drawing in fine art practice and Joharis Window from Communication Management, revealed hidden aspects of sensory experience and provided a new direction within the practice.

Multi: The RIT Journal of Plurality and Diversity in Design (Autumn/Winter 2008)

Introduction What can be revealed if we open a process which is normally closed to view, exposing... more

Making conversation

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Interior archaeologies

An artwork, The Value of Things, was part of a wider exhibition that took place in the, City Spac... more An artwork, The Value of Things, was part of a wider exhibition that took place in the, City Space Gallery, UK. The project started with a visual artist bringing together a collection of threads, objects, maps, elastic, a teapot, books, which were ordered and reordered and placed in relationship to each other. The objects, become a landscape of provocation for others to make connections, to have conversations of, express views they hold and acted as a starting point for discussion.

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Thinking through drawing: Sites of exchange

Nordes 2013: Experiments in Design Research, 2013

Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it m... more Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it makes explicit the way we think and view the world from our disciplinary perspective and our human experience; it creates an active engagement between ourselves and the world. This work uses drawing as a site of exchange to document a conversation between a visual artist, a spatial interior designer, and archaeologist. The conversation was notated through diagrams, written notes, photography and drawing. The work opens up practice based methods through the to and fro of conversations to reimagine representations of interior space.

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Between place, performance and score: drawing on the archive

Between place performance and score Parallel paper Private View Tim Elliott and Anneke Lucassen &... more Between place performance and score Parallel paper Private View Tim Elliott and Anneke Lucassen 'At the heart of any notion of self and personal identity is the ability to recognise a boundary between what is private and what is public - where the boundary lies between us and others. For something to be private it must not be apparent to others. (Elliot, Lucassen) This paper explores the dynamics of interpretation within collaborative exchange investigating boundaries of public and private access. Drawing on collective experiences of Sound Seminar, the paper will explore the potential and difficulties of re-telling collaborative exchange. It examines the problem of archive and the possibility of case study as a means of revealing and activating a consciousness about practice based research. Using 3 different voices (3D writing 1) and with reference to Joharis Window we juxtapose different experience and interpretation to examine the impact of individual and disciplinary knowledg...

Drawing out (Melbourne)Concrete geometries: spatial form in social and aesthetic processes (London)

'Lift’ – a model for drawing and thinking about exchange. contact Trish Bould [email protected]... more 'Lift’ – a model for drawing and thinking about exchange. contact Trish Bould [email protected] Background: through a series of projects we have explored drawing as a means of construction and deconstruction; 'Through our work we recognise the relationship between processes of collaboration and the state of drawing – where an idea is in flux, involving rubbing out and reforming, a space of experiment and change which is subject to failure, recognition that you need to put something down in order to make adaptations, alterations and/or something new. That you can reform, begin again, synthesise, find common ground, alter and amend.' Focussing on investigating the complex dynamics of interpretation and experience within collaborative exchange, most recently our research has explored the interference or influence exercised by particular spaces. This paper uses ‘Lift' as a spatial metaphor to re-present and re-tell the construction of art works that have been made through collaborative engagement. In re-telling, we reflect on how ‘Lift’ might help us interpret processes of construction evident in drawing and in collaborative method. We reflect on how relationships of exchange have been pivotal in the production of understanding, often arrived at through difficulties and frustrations. We discuss how different time frames and experiences affect participation. Methods: the lift is a space of transition, moving both vertically between levels (elevation) and as an opening between separate spaces (revelation). 'Lift' is a way of drawing and thinking collaboratively that is opportunistic and fractured in terms of time, experience and action. 'Lift ' incorporates the negotiation of aims and objectives in shared processes of continual shift and selection, as well as an understanding of the value of operating within a system of partial and incomplete knowledge. Transfer takes place here through difference, bringing about transformative processes of re-viewing, backtracking and re-framing. Moving between public and private spaces, continually departing and arriving, it accesses the difficulty and transience of collaboration. Within collaborative practice interruptions and disagreements can be valuable; strategic planning and overview as well as opportunism and contingency become vital components. The private space inside the lift, an established territory of enclosed practice, is interrupted and this interjection from the outside reinvigorates difference. Expected outcomes: we will draw/re-present ‘lift’ in the conference space through documentation of specific art works. Our presentation will be a choreographed juxtaposition of drawing, film and the re-telling of different narratives. In our presentation we will offer access to the inner workings/construction of collaboration.

Occupation and place

Between place, performance and score Meeting places. 'To think of place as an intersection – ... more Between place, performance and score Meeting places. 'To think of place as an intersection – a particular configuration of happenings – is to think of place in a constant sense of becoming through practice and practical knowledge. Place is both the context for practice and a product of practice – something that only makes sense as it is lived’ Tim Cresswell. This paper explores the potential and difficulties of re-telling collaborative exchange. It examines the problem of archive and the possibility of case study as a means of colliding fragments to create a consciousness about the work and the ways the work can be re-animated and re-formed. Using project documentation from a duet performed within a gallery studio between a drawer and a percussionist as the focus for investigation, the presentation will open and examine cross-disciplinary frames of reference relating to drawing, playing (percussion), filming and re-telling improvised activities. In doing so it will map territori...

Dilemmas and practices

What can be revealed if we open a process which is normally closed to view, exposing it to vulner... more What can be revealed if we open a process which is normally closed to view, exposing it to vulnerabilities and misinterpretation? To investigate the notion of hidden spaces we decided to treat the development of an abstract as a practical collaborative drawing project. Our aim was to use drawing as the site of an active research project and look at the relationship between processes of thinking and the state of drawing. Within this methodology it was our intention to use drawing as a process in which concepts are formed, where an idea is in constant flux, in a space of experiment and change. This subsequent paper ‘Dilemmas and practices’ deconstructs and represents the artist’s process in the context of the Research Spaces Conference – Telling Places: Narrative and Identity in Art and Architecture, Bartlett/Slade U.C.L. December 2007. It questions our methodologies both in relation to the constraint of abstract writing and the conventions of conference presentation. The narrative is...

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Sites of exchange : materialising conversations

A research-led exhibition that explored ‘making’ as a way of investigating and sharing ideas. The... more A research-led exhibition that explored ‘making’ as a way of investigating and sharing ideas. The project questioned how acts of 'doing' inform research and interpretation. The Faculty of Creative and Cultural Industries' Space, acted as an inter-disciplinary laboratory bringing together unique ideas, opening new dialogues through the 'art of inquiry'. The exhibition held conversations from different locations, ‘Warp Scaffold’ was based on research in Gujarat, India alluding to current change taking place in the country through the artists' observations of weaving and shifts in economic and construction processes. Silent Conversations was a material network of crafted conversations that were made in Winchester's Cathedral and archaeology archive. It formed a layered installation of different visual languages referencing the people and locations it was made in. A research showcase project presented by Trish Bould, Belinda Mitchell, Kathy Oldridge, Eileen White and invited participants including LOkesh Ghai. was a work based on research in Gujarat India, makes present some of the current changes taking place in the country through an observation of weaving, economic and construction processes. ‘Silent conversations’ is a material network of crafted conversations that were made in an archaeology archive and a Cathedral. It forms a layered installation of different visual languages referencing the people and locations it was made in. A research project showcase presented by Trish Bould, Belinda Mitchell, Kathy Oldridge, Eileen White.

Interior archaeologies: knots, viewpoints and entanglements

The paper records conversations between an artist, archaeologist and interior designer as they ma... more The paper records conversations between an artist, archaeologist and interior designer as they map the material landscape of an artwork and make present their experience of the work through making and interpreting drawings, photographs and narrative. The work explores differences in ontology and experience, whilst making marks and sharing knowledge that moves between disciplinary and human experience.

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Between Place, Performance and Score: Meeting Places

designresearch.brighton.ac.uk

Thinking through drawing: Sites of exchange

by Trish Bould and Belinda Mitchell

Nordes, Jun 4, 2013

Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it m... more Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it makes explicit the way we think and view the world from our disciplinary perspective and our human experience; it creates an active engagement between ourselves and the world. The artwork is the materialisation of an interdisciplinary discussion that used drawing as a tool and metaphor to think through a site of exchange creating an interdisciplinary space to materialise discussions. It makes reference to Brian Latour's essay in Pandora's Hope, Essays on the Reality of Science Studies, Circulating Reference sampling the Soil in the Amazon Forest, which asks 'how do we pack the world into words?' The work is investigative and suggests new interpretations of what practice based research can be when it is actualized.

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Thinking about drawing

Basics Animation 03: Drawing for Animation, 2009

Multi: The RIT Journal of Plurality and Diversity in Design (Autumn/Winter 2008)

Introduction What can be revealed if we open a process which is normally closed to view, exposing... more

Making conversation

Download

Interior archaeologies

Download

Thinking through drawing: Sites of exchange

Nordes 2013: Experiments in Design Research, 2013

Download

Between place, performance and score: drawing on the archive

Drawing out (Melbourne)Concrete geometries: spatial form in social and aesthetic processes (London)

Occupation and place

Dilemmas and practices

Download

Sites of exchange : materialising conversations

Interior archaeologies: knots, viewpoints and entanglements

Download

Between Place, Performance and Score: Meeting Places

designresearch.brighton.ac.uk

Thinking through drawing: Sites of exchange

by Trish Bould and Belinda Mitchell

Nordes, Jun 4, 2013

Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it m... more Drawing is like note taking it creates an embodied dialogue between thought, hand and paper, it makes explicit the way we think and view the world from our disciplinary perspective and our human experience; it creates an active engagement between ourselves and the world. The artwork is the materialisation of an interdisciplinary discussion that used drawing as a tool and metaphor to think through a site of exchange creating an interdisciplinary space to materialise discussions. It makes reference to Brian Latour's essay in Pandora's Hope, Essays on the Reality of Science Studies, Circulating Reference sampling the Soil in the Amazon Forest, which asks 'how do we pack the world into words?' The work is investigative and suggests new interpretations of what practice based research can be when it is actualized.

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