Negotiating place, memory and the construction of drawings, Camilla Brueton and Ruben Hale have undergone a process of collaboration – at a distance. A conversation around memory and place, and the links between the two took place in person under the bandstand in Lincoln Inns Fields. Images of places were then exchanged via the post, as starting points for drawings. 


For Ruben Hale, access to information is a battleground where institutions, corporations and individuals contest who has the right to police and exploit knowledge. Information becomes knowledge through processes of storage, cataloguing and distribution that reflect a community’s hierarchies and shared values. The idea that technologies are changing the way we access and distribute such information has become commonplace. What is less well understood is the role played in this process by pre-digital, atavistic behaviours and technologies — those cataloguing conventions, and forms of indexing which now play out in our daily assumptions as information consumers.

In this arena old media, such as books and film, can fulfill a new function. Less able to deliver on demand, they are a lens through which newer search behaviours and expectations can be thrown into focus. That is why my most recent work approaches printed matter through a series of different ‘user’ attitudes. In a world of proliferating data, how we approach a repository of knowledge is as important as what is supposedly held in that repository. Accruing data is very different to being knowing, experiencing subjects who take possession of such data. Today’s knowledge economy operates on a principle of immediate access and equivalence — all information mediated and delivered via digital conversion. Whether this has a homogenising or differentiating effect on us as societies and individuals is still up for grabs.