Francesca Onesti

My practice revolves around embodied experiences of remote natural environments and phenomena, investigating my relationship with the locations, particularly volcanic environments in Iceland. My recent work was developed from a solo camping expedition to the volcanic eruption at Fagradalsfjall and the Krafla volcanic zone. I am interested in how different elements are 'diffracted' through and shaped by each other, and embodying the complexities of these experiences.

These places are characterised by evident geological or glaciological forces and difficult climatic conditions, environments where I feel atmosphere 'resonates' between myself and the surroundings. My experiences revolve around an ‘absorbing’ of surroundings, characterised by the personal, geological specificities, affective intensities, detailed noticing, sensory receptiveness, isolation, the psychological and remembered, as well as a feeling of absolute presence in the location. I am interested in what I bring to the place and absorb from it. The translation of intensities into my work where they become materialised, surfacing or resurfacing, is important.

Aspects of the experience such as being alone, hazards perceived and real, climatic conditions and remoteness influence the work. My autoethnographic research develops the idea of an 'expeditionary practice' where practical work is the culmination of lived physical and mental challenges in reaching and experiencing remote locations or phenomena. Hiking and camping enable me to become closely involved with surroundings, subject to the elements, exploring the physical and psychological relationship between myself and natural materials.

Developing an expanded print practice, I am currently working with etching, aquatint and hand-drawn photopolymer plates, applying colour a la poupée, experimenting with effects of lithographic materials, masking fluid and ink, and exploring the implications of merging haptic-optic perspective. Processes of making are physical and involved, allowing re-engagement with place. The material nature of etching is an important element of my practice, reflecting chemical changes to surface such as geothermal ground alteration and allowing exploration of a strong attraction to geo-specific textures, structures and colours through its particular intaglio language. I integrate descriptive writing with visual imagery to express elements of my experiences which the visual material cannot, and to explore the relationships between the linguistic, affective and sensory.

Environmental concerns are relevant in the work and I invite haptic, affective and psychological engagement with the specific places and materials by presenting them through different perspectives, registering scale in different ways, questioning how multiple images interact and are read, and suggesting a different type of involvement with these locations based in submitting, yielding and respect.