What’s your most proud arts achievement?
Probably my residency in France and being awarded the 'Adelaide Festival of Arts’ Destination Art: Emirates Artist Development Opportunity' to undertake that - and then of course the residency at Dos Mares in Marseille. It was wonderfully challenging, in a bilingual and making sense.
At my opening there, in Marseille, my host family (from when I did an exchange to France at high school) had the opportunity to come and see my studio and work. That was a really special moment - to go from having spoken to them about it from halfway across the world, to having them be able to actually walk around the installation ... that was very special.
What are the main concerns of your practice?
The main concern of my practice is the relationship between human and oceanic space. Their thresholds and interfaces. Also, how we interact with and translate oceanic surface. This has grown from my embodied experiences as a sailor.
Can you describe your making process?
My making process starts with writing. I write through a lot of ideas - my installations are so large I have to do a lot of planning and thinking through of things before I begin. So that means writing, planning and creating small things before embarking on the actual making. Often it’s a once off thing I am constructing, there are no drafts, so the finished product often bears the traces of the physicality of the making process.
What artists/writers/ and/or creative people are your trophy people?
I would say I champion Roni Horn, Olafur Eliasson and elements of Hans Haacke's work. In a more local sense, I enjoy the work of Brad Lay and try to keep tabs on what he is doing.
As for writing, I think a lot of what I have found interesting has sprung from Olafur Eliasson's discussions on embodied experience. Also, Hans Blumenberg's text 'Shipwreck with Spectator'.
Do you have a five-year plan?
Yes … I do and I don’t. I don’t have it written down. It’s not a very strict plan, but I know firstly I have to finish writing this paper from Marseille in the next few months. I've also got an exhibition in the pipeline for later this year. I have a whole heap of things that I have applied for and am waiting to hear back about. But in the meantime I will be busy with Verso. I know I want to do another residency and I have a few residencies in mind that I am going to apply for. I am also applying for things interstate. I hope all of that will kind of happen sooner rather than later but we will see ...
Edwina Cooper, In-port, 2016, Spinnaker poles, lead weights, dynex, Dimensions variable, Installed at FELTspace gallery, Adelaide, November 2016