Imprints of River Colne
Imprints of River Colne begins with an invitation to encounter the river not as an afterthought but as a source of constant inspiration, a reflection of our emotions, memories, communities and ecology.
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The following page documents the learning, exploration, art process, community engagements, and networking over the last 8 months. I am currently in the prototype stage and planning a public testing in December 2026
Understanding the river.
I started my research by going for walk Colne Valley path. I have been walking the full length of the River Colne alone, capturing sounds with JRF contact mics and a Zoom H5. These include ambient sound, birdsong, bridges, fords, and mills. The walks have helped me understand the space and experience the river's changing landscapes first-hand. I've also been collecting clay samples and textures from the riverbanks to use as slip washes over the tiles, and identifying ecological spots where stories of culture and history are embedded.
Mapping textures and sensory data
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Sound recording
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Photographs and Video
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Writing notes
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Sketching
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Direct Impressions on clay
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Collecting tools or stamps from the riverbed itself that can be used make textures.
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Group walking with Communites
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Walking with experts
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Collecting wild clay
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Microscopic photos
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Soil chromatography
Planing route
Collaborators
Consultant
Iris Dina
Peter Jones
Studying exsisitng examples
Connecting with the community through River walks
I did these walks with community members. For example, building Pooklam by collecting flowers from the Riverside or walks around bluebells (seasonal changes). These walks let me listen to stories and learn from the group itself. Designing these walks is also helping me think about how to incorporate community voices. These short walks are becoming a space for conversation and learning.
I did a walk with blind participants through Cohere Arts to understand how they perceive spaces, what helps them build spatial orientation and recognition. This directly informs the tile design and the question of how tactile contrast can convey landscape.
Immersive Arts Residential Lab
Attended an artist development lab for three days, learning about the key processes and features of immersive arts. Meeting cohort artists and art mentors was an enriching learning experience
I rented a studio near the River in the Hythe Quays, within walking distance.
Touch , Sound and Visuals
Prototyping with lustre glaze, capacitor sensors, and piezo sensors to test touch-signal sensitivity. Trying different clay textures with both sensors and contact mics. Testing sound responses for different gestures, such as tapping, rubbing, and shaking. Mixing sounds from field recordings to explore the effects they create.
Using a transducer to create touch feedback.
Collaborating with sound artist Frazer to plan the sound composition, fabrication and equipment requirements. Working with software like Ableton and Arduino to create responsive interactions
I also learned TouchDesigner for projection mapping during the project. I explored what's possible with TouchDesigner, a webcam, a MIDI controller, and the TiLidar app. How to work with point cloud files and lidar scans. I took an online course to learn the basics and test visuals.
Understanding
Venue requirements
Understanding the vibe of your installations and understanding the tech and access requirements is a big learning curve for me
Knowing which venues suit immersive experiences and when they're available is crucial for this project. Quick mockups are a good way to get a feel of how the audience experiences your installations.
Connecting with artist community
Connecting with the artist community working in immersive arts was a big step for me, as I am new to this art practice. Annwn Prize awards event and The Big Thing event at Wales 2026 were a great way to connect with other artists' work and Process.
Also visited multiple local studios working in the immersive arts sector.
WHATS NEXT
Prototype and audience testing
Locking down Key Concept
Key audience takeaway
Installation leaves the audience with a profound physical realisation that movement does not destroy;
it regenerates and creates new life.
Currently working on the final experiences script, visuals and developing a plan for prototyping and audience testing in December at Cuckoo Farm Studio. For testing, we will invite members from diverse community groups to do a walkthrough and give feedback for further development.