Eloise collaborated with Propel for two iterations of her latest project, PressTracker, in 2020 and 2022, respectively.

“This project started as a way to record this quite overwhelming time, through collecting, even hoarding, newspapers from the earliest stages of the pandemic. I was able to pick up some of the plates that were used for printing which act as a kind of an indexical object from this time.” – Eloise Hawser, 2022

PressTracker is an experimental digital archive and series of sculptures exploring British newspapers over 500 days of lockdown. Eloise worked with over 1,000 British print newspapers published during the first phase of the COVID pandemic. She reconfigured these papers alongside discarded lithographic printing plates, re-making them into sculptural and 2D forms, thereby exploring their narrative, psychological and affective potential. PressTracker also considers the ‘decay cycle’ of news media; no more pronounced than in the printing process, which generates huge amounts of waste. Through each instance of PressTracker, Eloise is tracing the newspapers’ shifting forms of production, dissemination, and consumption in public life, re-situating it as a complex, and compelling, infrastructural phenomenon.

Eloise Hawser (b. 1985) is a conceptual sculptor and mixed media artist, living and working in London. She is currently a resident artist at Somerset House, and has exhibited extensively in the UK and internationally. Her first UK solo institutional exhibition, Lives on Wire, was presented by the ICA in 2015. A major exhibition at Somerset House, By the deep, by the mark, followed three years later. Other shows include History of Nothing (White Cube, 2016), Weight of Data (Tate Britain, 2015), and Surround Audience (New Museum, New York, 2015). Her installation The Tipping Hall was presented at the Istanbul Biennial in 2019, before being exhibited at the Montpellier Contemporain (MO.CO.) in 2020. It was on display at Museum Tinguély, Basel, as part of the Territories of Waste exhibition in 2022. Works from Eloise’s PressTracker series were selected for The London Open 2022 and on display in the Whitechapel Gallery. Her works can be found in several institutional collections, including Tate Britain, and MUMOK, Vienna.

In recent years, Eloise’s work has increasingly focused on the infrastructures underpinning the news. In 2019, she created ‘A New Way to Set’, a night-walk of Fleet Street connecting vanished histories of the news industry with the street’s contemporary residents. In 2020, she was commissioned by Culture Mile to map the City of London’s rich heritage of news production. As part of the 2021 Royal Docks festival, she led a series of ‘walking workshops’ with community groups, investigating the relationship between local spaces and newspapers.

Eloise collaborated with Propel for two iterations of her latest project, PressTracker, in 2020 and 2022, respectively.

“This project started as a way to record this quite overwhelming time, through collecting, even hoarding, newspapers from the earliest stages of the pandemic. I was able to pick up some of the plates that were used for printing which act as a kind of an indexical object from this time.” – Eloise Hawser, 2022

PressTracker is an experimental digital archive and series of sculptures exploring British newspapers over 500 days of lockdown. Eloise worked with over 1,000 British print newspapers published during the first phase of the COVID pandemic. She reconfigured these papers alongside discarded lithographic printing plates, re-making them into sculptural and 2D forms, thereby exploring their narrative, psychological and affective potential. PressTracker also considers the ‘decay cycle’ of news media; no more pronounced than in the printing process, which generates huge amounts of waste. Through each instance of PressTracker, Eloise is tracing the newspapers’ shifting forms of production, dissemination, and consumption in public life, re-situating it as a complex, and compelling, infrastructural phenomenon.

Eloise Hawser (b. 1985) is a conceptual sculptor and mixed media artist, living and working in London. She is currently a resident artist at Somerset House, and has exhibited extensively in the UK and internationally. Her first UK solo institutional exhibition, Lives on Wire, was presented by the ICA in 2015. A major exhibition at Somerset House, By the deep, by the mark, followed three years later. Other shows include History of Nothing (White Cube, 2016), Weight of Data (Tate Britain, 2015), and Surround Audience (New Museum, New York, 2015). Her installation The Tipping Hall was presented at the Istanbul Biennial in 2019, before being exhibited at the Montpellier Contemporain (MO.CO.) in 2020. It was on display at Museum Tinguély, Basel, as part of the Territories of Waste exhibition in 2022. Works from Eloise’s PressTracker series were selected for The London Open 2022 and on display in the Whitechapel Gallery. Her works can be found in several institutional collections, including Tate Britain, and MUMOK, Vienna.

In recent years, Eloise’s work has increasingly focused on the infrastructures underpinning the news. In 2019, she created ‘A New Way to Set’, a night-walk of Fleet Street connecting vanished histories of the news industry with the street’s contemporary residents. In 2020, she was commissioned by Culture Mile to map the City of London’s rich heritage of news production. As part of the 2021 Royal Docks festival, she led a series of ‘walking workshops’ with community groups, investigating the relationship between local spaces and newspapers.