Drawing as a journey, nonhumans as teachers, learning as creation. Sensory drawing methods for curating experiential connection with nature
(2025)
author(s): Jane Remm
published in: RUUKKU - Studies in Artistic Research
The presentation focuses on inclusive sensory drawing as a way to observe, notice and interact with non-human species in local nature, imagine their perspectives and reflect on the experience. It is known that many people today feel alienated from nature while on the other hand connection to nature is linked to pro-environmental behaviour. As an artist and art educator I have been wondering how participatory artistic and educational practices can reinforce the emotional and physical connection with nature, how to create conditions for perceiving the intertwinedness and mutual dependence, moreover, what could be the role of art and art education in the post-growth conditions. Drawing is not a new method for observing nature, but I find the inclusive drawing activities to be relevant to facilitate creative nature experience in contemporary context.
As an artist, I have been using sensory drawing and realised how using the pencil and brush as facilitators help me to concentrate, slow down, notice interactions and sense myself as a part of the ecosystem. I have used the embodied and situated artistic thinking as a source for drawing walks and workshops in gardens, forests and parks and introduce some of the simple exercises in this presentation, asking how and which drawing and painting approaches facilitate active engagement with the environment and what is the intersection between artistic practice, environmental and artist pedagogy. I describe the specifics of four methods. These kind of curated nature experiences offer possibilities to recognise other beings, their relationships and ourselves as related to them through actions and reflections.
Performing Reflection: Improvisation in Word, Thought and Action
(2025)
author(s): IRK
published in: Research Catalogue
This exposition contains the complete artistic output and accompanying reflective documentation of the artistic research doctoral project I conducted at the University of Music and Performing Arts Vienna between 2021 and 2024.
Free improvisation in music offers a unique field for exploring how artistic practices develop through embodied engagement, critical reflection, and collaborative experimentation. This research focuses particularly on the process of practicing within this context, tracing the evolution of specific exercises and preparatory methods. These were initially tested in collaborative projects with other musicians and later refined through a series of workshops. A central theme that emerged throughout this process is the role of reflection—both musical and verbal—as a vital component of artistic development. This realization culminated in the project Performing Reflection, which established a dialogical relationship between musical improvisation and reflective discourse. The work contributes to a deeper understanding of how structured exercises and reflective practices can support and expand the art of free improvisation, offering new perspectives on its preparation, pedagogy, and performance.
4 sides of a triangle
(last edited: 2023)
author(s): Marjolein Wagter
This exposition is in progress and its share status is: visible to all.
Abstract,
this research was done in the context of the master COMMA, master in choreography for dance, circus and community arts.
Being a performer in outdoor circusarts, I am used to start a creation with an idea for an object, in this case a mobile triangle for aerial performance. I asked my self the question: ‘how to let meaning arise through the practice of creation, using ‘the other’ by listening to reflections and reactions during the creation process.
Breaking boundaries with the audience and ask for feedback during the creation process to get informed about the meaning of the piece is the approach I use
I am interested in how much of influence on the meaning of the piece is the material, the object we work with in itself? I decided to not know what the performance is about until the presentation in May.