In this paper, I explore the artist as a writer and what happens when writing becomes a larger, essential part of practice. Much of my practice explores landscape and places as essentially experiential fields of investigation, that (following geographical and anthropological writings) are multi-layered, active and ongoing, containing complex ecological, sensorial and physical histories and presences that ask to be articulated in multi-faceted ways (Ingold 2000, Bender 2001, Massey 2005, Lorimer 2008). I approach writing with an artist’s eye and, as a maker, write emerging, experimental texts: creative non-fiction; ‘new nature’ writing; as well as academic papers where I demonstrate how a contemporary arts practice can make important contributions to conceptualisations of landscape and the discipline of geography, and how, as an artist, one might actively reconceptualise one’s subject matter through the perspectives and knowledge bases of other disciplines such as history, ecology, anthropology and geography. Collaborations with the writer Elizabeth Reeder reveal how shared and distinct disciplinary practices can further reveal and influence the relationships between and significance of word and image in the work produced. This paper will explore the relationship of this writing to a multi-modal visual arts practice, which includes artist’s books. Writing becomes an interstitial state between the artwork and subject matter, existing as an eyewitness to process, serving as a source of lyrical description or analysis that gives presence and voice to information and experience that cannot (always) find its way in to an art-object, and representing moments of consolidation in (still) ongoing interactions.