exhibitions

First Aid for the Soul

This is an interactive exploration in to sight, touch and smell, and how experiencing different combinations can have an effect on your emotions. Visitors to the Telegraph Hill Open Studios engaged with this piece and provided me with feedback which I will be using in future research.

FAid1 FAid2 FAid3 FAid4

touch – smell – see – taste

Chod2 Choc3

 

 

Pullens Yard Open Studios

Open Studios winter 2017

The Pullens’ Yards Open Studios – mine is in Clements Yard –  take place twice a year, in June and the first weekend of December.  The yards have also been part of the Open Garden Squares weekend  Clements Yard, the smallest of the three, is bedecked with wisteria and fragrant flowers used in perfumery.” Come along and enjoy the green urban vibes, visit the studios, have a bite, have a sip … and maybe buy a little something.

 

 

Modes of Remembrance: The Act and Art of Remembering

I collaborated with Grace Adam to incorporate a ‘smell’ element in to her exhibition, Modes of Remembrance: The Act and Art of Remembering. My contribution has been to design a perfume to create an olfactory mode to surround the space, in particular the piece ‘One Hundred Hassocks.’

The exhibition was at St. Giles-in-the-Fields church, 60 St. Giles High St, London, WC2H 8LG

OneHundredHassocks

This is my written context to the art work – but until digital devices exude smells you had to visit to experience it.

“The process of olfaction is hard-wired in our brain and is a direct route to a swift and unconscious response – it is not possible to control your reaction – through the automatic act of breathing we inhale odorant molecules.

So if odour is a forceful prompt for our own memory, can previously unexperienced smells transport you to previously unexperienced places?

This intervention invites the observer to consider where this scent takes your mind – do you go to another place, a different time or a particular event?

Does the scent enhance the visual cues – can you detect the turpentine of the engraving studio, the cold metallic tang of the etching plates, the hard urban surfaces of London? Or is it perhaps the aromatic and citrus scent of eau de cologne? As William Thornbury noticed in the nineteenth century “… Soho can boast of fully as many smells as Cologne.”

In our predominantly visual culture can the invisible dimension of aroma strengthen the experience?”