Beyond Perception 15, an anthropology symposium in Aberdeen held between the 1-4th September, will be showing two pieces of my work alongside work selected from 9 other artists. The symposium “addresses Tim Ingold’s work over the last fifteen years since the publication of his prominent book The Perception of the Environment in 2000. The symposium commences with a dialogue between Tim Ingold, Gisli Palsson and Amiria Salmond with David G. Anderson as discussant. The five sessions are based both on Ingold’s work as well as on the four themes (Anthropology of the North, Environment and Perception, Creativity and Knowledge, and Religion, Belief and Practice) that currently underpin research in the Department of Anthropology. The symposium will consider ways in which a variety of scholars have taken up Ingold’s work as well as the priority themes of the Department. Interweaving anthropology, archaeology, geography, cognitive sciences, natural sciences, art, and architecture, the symposium will explore innovative ways of conducting research through visual, performative, auditory or multi-sensory engagements.”.
The selected pieces are ‘Snow Story’, a text piece from the Darbyshire Award exhibition ‘Retrace, Scripting Memory’ (2009) and ‘Mother Tongue 2’. For more information on the symposium see Beyond Perception.
“The Beyond Perception exhibition brings together a collection of artists to imaginatively respond to the symposium themes through objects, drawings, paintings and mixed media installations. Its genesis is rooted in the interdisciplinary nature of Beyond Perception and the generative potential placed on the non-textual, the speculative and experiential. As fitting the diversity of themes discussed within the symposium, from human-animal relations to movement, becoming and growth, the Beyond Perception exhibition is wide ranging in its responses to these topics. None-the-less all share a common concern to offer a material rejoinder to the symposium’s subject matter, and whilst seemingly diverse in how this is approached, all ten artists brought together here do share similar sensibilities which unite the works presented. There is a shared stress on attentive observation, whether this is of the natural world and its patterning, or the placement of quotidian objects in relationship to others. The artists’ often exacting and poetic observations in the world are conveyed to the audience and the works focus our attention on our immediate surroundings, calling us to see it anew through their microscopic renderings. These shifts in scale are married with an interest in the morphology of the natural world. Organic forms inspire a creative response, whether they act as the surface upon which an artist makes further marks or through the recasting of motifs found within our environment. The work provides a means of engaging with the spaces around us, and moving on from this the ecological and political implications can be inferred. In many of the art works shown, how we engage with our lived environment is interwoven with more formal strategies such as the use of multiples. The affective, rhythmic potential of repetition is illuminated and art is a means of creating meaning through composite elements: an assembly or accumulation that then encompasses more than just the crafted object. This encourages a reading that is not merely autotelic but places art in a wider field of relations.”.