When I think about the memory of a walk I usually think first about the textures of it – how each surface felt underfoot. This textural/tactile/temporal residue developed into a process to try to record it, that in turn developed into an understanding that the textural marks recorded were expanded drawings made collaboratively between the place, its textures, the weather, time and the motion of my walking body amongst other things. This process has developed over 12 or so years so that I now wear adapted walking boots with metal plates attached to their sole to form alternative maps of each place that ‘re-map’ it as texture maps.
This work forms part of an ongoing series called ‘matter maps’ and holds a record of the surfaces I walked on printed with collected earth. Ground Texture Recordings #103 records a walk on the day of my grandmother’s funeral during the lockdown of February 2021.
Lydia Halcrow’s artistic research focuses on collaborative and experimental embodied processes that make with a place to form matter maps that re-map a landscape in the context of the unfolding climate crisis. Her practice-based PhD titled ‘a thousand intertwinings: an exploration of embodied artistic processes made in collaboration with an estuarine landscape and its vibrant matter’ explored slow walking, the anarchive and counter-cartographies as approaches to tune into the materiality of a coastal place. Her lockdown works examined human trace through the ritual of daily walks circling the home foraging discarded debris in the liminal space between pavement and roadside.