Background
Digital photographic and film footage of 'Dancing With Light' are investigations into embodied experiences of place-gathering and identity formation (Malpas, 1999. Water-ways have been a key feature of my arts-based research since completing art school in 1989 and holding my first exhibition ‘Fish and Friends’ in response to environmental issues of over-fishing. Waterways continued to be explored in my adopted home Australia, as a continuity – a way to find place-attachment. Not being able to visit “homes" during COVID prompted this work - to bring together experiences of freedom and lockdown as metaphoric water flows and interruptions with a focus on light.
Contribution
DwL is made up of original photography and filming footage edited in an innovative way to deploy the lineage of my autoethnographic research through water metaphor and light. This work is the result of arts-based autoethnographic research that interrogates Place, space, time and perception. It represent the important period of the COVID lockdowns in Victoria thereby adding to a number of arts-based contributions made by artists to mark this important time in history. DwL projected these modes of communication and spatial language to the audience who were easily able to access this exhibition given it was beside the Clunes Museum in the centre of town.
Significance
This is the result of arts-practice and autoethnographic research. Supported by the Shire of Hepburn, Victoria, this was a key work in my solo exhibition Selve-age, at the Esmond Gallery 2021. Dancing with Light was screened on a continuous loop on a large screen during this 2 month public exhibition. It is discussed in more detail and referenced in the paper (in-press) Attuning with more-than-human kin: experimenting with ways to de-privilege humans when refiguring education in uncertain futures. By P. J. White, J. Raphael, S.Hannigan & R.Bellingham. This will be published in the Contemporary Approaches to Research (CAR) publication in late 2023.