In 2014 Leeds Beckett University appointed Fritha Jenkins to begin the process of archiving the Edna Lumb Travel Prize. She is currently working on the project in collaboration with Angela Croome (writer, close friend and ELAT trustee). The following pages are Fritha's ongoing personal response to the process.
More information about the growing archive can be found here
In 2014 I was asked by Rebekka Kill of Leeds Beckett University to work alongside Angela Croome on the Edna Lumb Archive.
I am now 9 months in and deep in the quarry which is Angela's flat. Here the bulk of the archive performs. It has a demanding physicality - as materials with a weight, dirt, smell and feel (photographs, paintings, newspaper clippings, sketchbooks etc) and as bodily interactions with and beyond these materials (in conversations, relationships, ownership, memories). Where the archive resides is questionable and how it is disseminated is unresolved.
My friendship with Angela has always had an archeological flavour – we've spend many hours sharing memories over coffee, we've supported each through unexpected events and more literally Angela has shared her fascinating work as deputy and reviews editor of The Journal ofd Nautical Archaeology with me – an area of research which resonates with my own art practice. A few years ago she gave me the book, Fluid Pasts, Archeology of Flow by Matt Edgeworth. In it he writes,
“On some sites there may be multiple flows which change course and shape through time, making the situation complex and dynamic...What happens in one place can effect what occurs upstream and downstream of that point..there are no such things as discrete and bounded 'sites'. Rivers are best thought of as assemblages of different kinds of materials, entities, forces, flows and energies – all inter-connected with each other.” (p.87)
Where do the river and the archive meet?