Claire Reddleman is a photographic artist and academic who is interested in maps and mapping, landscape, collage and the limits of photography. The ongoing artistic project, 'Pennine Street: a cartographic fiction in east London', uses walking, photographic collage, and textual collage to twin two significant British routes - the Pennine Way, Britain's first long distance national trail, and High Street 2012, the pseudo-route between the City of London and the Stratford Olympic sites. Academic and research interests include cartographic abstraction, a new way of understanding how we are positioned and mediated by the maps we use to picture the world; and a project underway exploring Robinson Crusoe as a figure for the bourgeois subject of capital, and its relevance for thinking through how forms of social abstraction constitute our social relations in the present.
Research monograph 'Cartographic abstraction and contemporary art: seeing with maps' is forthcoming from Routledge end of 2017/beginning of 2018. Available for pre-order here.
I am also working on an edited volume, provisionally titled 'Robinson Crusoe in the Twenty-First Century'. I tweet @reddlemap, mainly about maps.
‘The deep mapping of Pennine Street: a cartographic fiction’, Humanities 4 (2015), pp.760–774, doi:10.3390/h4040760
‘Vampires, Foetuses and Ventriloquism: Metaphor as a Representational Strategy in Capital Vol. 1’, Socialism and Democracy 29: 2 (2015), pp.25-40, doi 10.1080/08854300.2015.1037604
Corble, A., Dabiri, E., Halasz, K., Kennedy, S. and Reddleman, C. (2012), ‘The art of letters: An epic journey of intimate thought and exchange’, Journal of Writing in Creative Practice 5: 2, pp. 251–274, doi: 10.1386/jwcp.5.2.251_1
Review of Tourists, Signs, and the City: The Semiotics of Culture in an Urban Landscape, by Michelle M. Metro-Roland Burlington, VT: Ashgate, 2012, published in Journal of Cultural Geography, 2013, Vol. 30, No. 2
Available as pdfs at goldsmiths.academia.edu/ClaireReddleman