The Body That Never Was
(2025)
author(s): Giselle Hinterholz
published in: Research Catalogue
This project was born from an old discomfort, but only found form when the body — finally — began to speak. A body that, for years, was shaped by obedience, guilt, and restraint. A body that served more to please than to exist.
The Body That Never Was is not merely a visual installation. It is a passage. Each frame carries fragments of a story interrupted, silenced, violated — but once told, it becomes a material of resistance.
These pieces are not illustrations of pain. They are gestures of defiance. They are symbolic bodies constructed from layers of memory, lived experiences, open wounds, and poorly healed scars. Within them, there are traces of abandonment, escape, abuse, and the absence of protection. But there is also something else: the impulse to persist.
The project arises from deeply personal stories, yet it offers a mirror in which other women may recognise their own paths — without fear, without shame, without the guilt inherited from centuries of silence. Here, art does not seek to console. It seeks to expose what was hidden, to name what was smothered, and to open space for other possible forms of existence.
More than a healing process, this project is a rite of insurgency against the mechanisms that perpetuate pain as destiny. Here, the wounded matter rises as discourse.
Drawing in the In-Between – ma, Intelligens and the Sketch&Draw Method
(2025)
author(s): Tanja K. Hess
published in: Research Catalogue
On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory.
Referring to Mihály Csíkszentmihályi’s theory of Flow, it is shown that the immediacy of hand drawing – in contrast to digital procedures – is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest.
Drawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens – a creative third way beyond control and helplessness.
Home page JSS
(2025)
author(s): Journal of Sonic Studies
published in: Journal of Sonic Studies
Home page of the Journal of Sonic Studies
PUNCT-ing RC
(2025)
author(s): Julieanna Preston
published in: Research Catalogue
PUNCT-ing by Layne Waerea and Julieanna Preston
