Luce Choules is an artist and independent researcher whose praxis encompasses environmental collapse, and the documents, objects and afterlife of performance.
Choules investigates dynamic form and engages with the challenge of recording and broadcasting time-based practice. Their new body of performance work going forward, explores behaviour, environment, and instability. This process- and time-based work draws on geological thinking. The work deals with ecological precarity, accelerated change, extractivism, post-industrial tourism, social movement, aggregate structures, material and immaterial transformation, temporal loop, and shape-shifting. Choules makes collapsing and adaptive environments that challenge our capacity to be agile. They run ‘Immaterial Fields’, a workshop programme they developed to explore gravity, motion and stillness with collaborators and participants. The methods used are the culmination of a 10-year enquiry into ‘The Body Holding Space’.
In addition to performing at public live events and artist talks on a new environmental (re)turn, Choules also contributes to environmental and academic symposia on the subject and object of fieldwork in artistic practice. They participate in collaborative and multi-authored fieldwork and share research through publications and other public platforms. Through the development of a fieldwork programme with an arts organisation in Barcelona, They are currently curating the project ‘Loose Leaves’, to present collective fieldwork in a live exhibition format. They founded the itinerant artist network TSOEG.org to extend fieldwork activities across a broader platform.
FIELDWORK Q&A – May 2015
How is fieldwork part of your practice?
Fieldwork is an embedded part of my practice. I have an unfixed idea of what fieldwork is – it is multi-dimensional, has many roles, and is a variable framework within which I make work. My fieldwork involves research, performance, survey, mapping, charting, documentation, and more – it is an itinerant mode of working that is experiential, experimental, changeable and ephemeral. Fieldwork is central to my praxis as an artist – not a separate or parallel activity – it is physical and involved, rather than academic theory or exercise. As an artist I have been shaped by my experiences in the material and immaterial fields of landscape and natural environment, and through my work and activities have developed fieldwork as method and form.
How would you describe your fieldwork activity?
My activities deal with an exploration of the Earth’s surface – unfixed topographical features and fluent spatial dynamics, envisioned as the activated spaces of landscape to be surveyed and mapped. Travelling between object and situation, field trips and expeditions form a framework for an itinerant practice of fieldworking. I have developed an evolving framework for exploring different geographical environments and situations, using artist-led expeditions to encounter and enter landscape. Through performance surveys, I look at the underlying structures of the physical environment – I am interested in the form of the earth, how I negotiate the idea of form, and how I navigate place.
How are you currently sharing your fieldwork?
My fieldwork activities trace through performance and sculptural concepts, and involve documents made through still and moving image. My extensive range of fieldwork documents for projects Guide74 and Estudio de Campo, are used to take an audience on metaphysical journeys to the Alpine regions of France and mainland Spain through a series of performance lectures involving spoken word, books, maps, objects, and photographic images. Other fieldwork documents are made into a large range of publications including maps, books and folios – these are distributed through exhibitions, presentations and live events.