Working with both ancient trade routes and existing locations means that cartography is a vital aspect of my practice. Lines and spaces are always displayed together, as inevitably they come hand in hand: I travel in lines through spaces; I display my findings in lines within the gallery space; and sometimes display individual spaces (boxes and cabinets) in lines (rows and columns). Grids and lines are inherent for the systematicity of my practice.

I use maps to illustrate how I theoretically travel several places at once. By mapping one place and time on top of another, I am conceptually able to visit the varying geographical and chronological reference points that my findings present to me. Creating these maps has become more than constructing simply cartographic diagrams: they have evolved into visualisations of associations. The points on the map are experiential references rather than just illustrating coordinates. At each point I piece together the jigsaw of my strange genealogy by linking the history I can physically access, to the history that is displaced and fragmented in another time and place on the Silk Road.

This journey spans three locations & era’s: The Ancient Silk Road, Medieval Devon, and present day Alston Farm. Each era intertwines, and the lines of the map form a web of time and place.

The visited examples of the Three Hares as Devonian church roof bosses form the locations for which to select my objects. I take a fragment of each church to serve as a relic of my pilgrimage. The corresponding points on the Silk Road govern the rules for which I select an object and the narrative I embed it with. I may be in Tufan, where wheat was a prevalent produce to be traded along the Silk Road. Lastly, the corresponding locations on Alston Farm is where I find my artefacts. It is by linking the reference points of the map with their corresponding findings in the form of found objects and their subsequent narratives, that the map begins to make sense.