Francesca Onesti is an artist in the final year of her MA Print at the Royal College of Art and is a recipient of The Elizabeth Greenshields Foundation grant. Her practice revolves around embodied experiences of remote natural environments and phenomena, investigating her relationship with them and examining the implications of (solo) expeditioning. These places are characterised by evident geological or glaciological forces, difficult climatic conditions and specific vegetation; precarious environments where atmosphere 'resonates' between body and surroundings. Her work reveals an ‘absorbing’ of surroundings, affective intensities, geological specificities isolation, detailed noticing, sensory receptiveness and scientific interest; embodying the complexities of these experiences as different elements are 'diffracted' through and shaped by each other.
 
Her autoethnographic research develops the idea of an 'expeditionary practice' where her practical work is the culmination of lived physical and mental challenges in reaching and experiencing remote locations or phenomena. Hiking and camping enable her to become closely involved with surroundings, subject to the elements, exploring the physical and psychological relationship between herself and natural materials. Authenticity is important to her in both experience and translation.

Her recent work is being developed from a solo camping expedition to the eruption at Fagradalsfjall and Krafla volcanic zone. Her previous research has been carried out in the uninhabited Icelandic Highlands; particularly into rarely occurring geothermal sites, the volcanic terrain of the Laugavegur trail, and geothermally active rhyolite mountains in Kerlingarfjöll. Her work has also involved mountain and coastal environments in the Canadian Pacific Northwest. Hiking the Laugavegur became the foundation of her MA dissertation ‘Ice, lichen and volcanism: the surfacing of atmospheric experience’, for which she was awarded a Distinction.

Developing an expanded print practice, she is currently working with etching, aquatint and hand-drawn photopolymer plates, applying colour a la poupée, experimenting with effects of lithographic materials, and exploring the implications of merging haptic-optic perspective, representing multiple aspects of the specific environment. Processes of making are physical and involved; allowing direct and psychological re-engagement with place, shaped by a combination of memory and tacit knowledge. The material nature of the etching process is an important element of her practice, reflecting chemical changes to surface such as geothermal ground alteration and allowing her to explore a strong attraction to geo-specific textures, structures and colours through its particular intaglio language.
 
Environmental concerns are relevant in the work. She invites haptic, affective and psychological engagement with the specific places and materials by presenting them through different perspectives, registering scale in different ways and suggesting a different type of involvement with these locations based in submitting, yielding and respect.