Artist James Aldridge shares insights from Iain Biggs’ book Creative Engagements with Ecologies of Place and resonances with his own projects exploring the value of outsiders’ viewpoints and voices not often heard in discussions on the Earth Crisis.
3,000 words: estimated reading time = 12 minutes
When we both attended an online event in March featuring fellow ClimateCultures member Iain Biggs, editor Mark Goldthorpe invited me to write a post about the book Iain had co-authored — Creative Engagements with Ecologies of Place: Geopoetics, Deep Mapping and Slow Residencies. My first thought was that I wasn’t the right person to write a review as I’m not an academic but an artist who uses their arts practice to carry out research into the role of art within place-based learning, largely (though not exclusively) outside of academia.
It was when Mark reassured me that he wasn’t looking for a traditional book review, that this piece of writing evolved, an exploration of how my practice as an artist working with human and non-human communities of life relates to and could be informed by the themes of the book.
Interestingly, once I began I realised that, despite first appearances, Mary and Iain didn’t specifically intend their book to be read by academics:
“Although our professional experience is within the arts and academic research, we hope to encourage you, whatever your background, to understand your skills and knowledge through this book within larger intra-related ensembles of practices and endeavours.”
Much of my current work takes place as part of Queer River, a research project I set up in 2020, which explores the values of queer perspectives on rivers and other wetlands, to inform what they need from us in a future affected by climate breakdown. As such my research is exploring the value of an outsider’s viewpoint, of voices and experiences that aren’t often heard within discussions on the Earth Crisis.
Queer River gives me the freedom to set up opportunities that I don’t find available elsewhere, to consider how my experiences inform my understanding of ‘ecologies of place’ and how my arts practice (my creative engagement with these places) can offer ways of seeing and being with them that I don’t often see reflected within mainstream discourse.
So far I’ve been invited to work with staff and students from Ashridge College and Glasgow University, have exhibited with other rurally-based queer artists at Reading University’s Museum of English Rural Life, and presented in a range of arts and community settings.
In the introduction to the book Mary and Iain write: “…we would be the first to advocate that readers reflect carefully on the socio-political implications of this text on the basis of your own experience.”
For me this was a promising start, an acknowledgement by the authors that the writing included in the book, although they may be speaking from ‘a privileged position’, is an attempt to “…move thinking away from the sovereign self and its hyper-individualism so as to stress ‘mutual, dialogical, participatory and horizontal relations’”.
One thing that I particularly value about the way that Mary and Iain write is the sense that the reader is being invited in and welcomed. The introduction in particular is sprinkled with phrases that invite the reader to take the concepts explored within it and to make them their own.
So does this exploration then include me after all? Are we all in it together or am I still reading it from the position of an outsider, looking in, whether as a non-academic or queer person? I decided to try and leave that question to one side, rather than risk putting up barriers unnecessarily, accept the authors’ invitation, and continue reading.
Although the book contains several in-depth explorations of artists’ practices, in this piece of writing I’ve concentrated on how/whether it speaks to my own.
Disciplinary agnosticism, Geopoetics & queer perspectives
One key thing I wanted to explore is what the key phrases used in the subtitle actually mean, and whether/how the concepts they represent relate to my work; Geopoetics, Deep Mapping and Slow Residencies.
The authors write that they prefer “to identify our concerns with the field of geopoetics seen through the lens of mutual accompaniment rather than… replicate the presuppositions of possessive individualism”. They continue “The dominant social order (‘the master’s house’) that has been built on possessive individualism has become… so toxic, that it is destroying not only the fabric of human society but the ecologies upon which all things depend.” They go on to explain how the division and categorisation of knowledge and practices leads to a fragmentation “which has immense personal, social and environmental implications,” which “in turn makes it too easy for individuals to disregard the consequences of their actions.”
At this point I feel that we are acting from a very similar position. In Queer River, and my wider practice, I start from the viewpoint that we have become unable to experience ourselves as continuous with the rest of what we call ‘Nature’, or to recognise the harm that we are carrying out as a result, and that through walking, talking and making with (human and non-human) others, we can start to glimpse our true interconnected nature.
Mary and Iain describe their approach as ‘disciplinary agnosticism’ which allows them to work with and hear from a range of people, including those that they describe as having knowledge and experiences that “sit outside of disciplinary thinking”. In Queer River my own methodology is to walk, talk and make with others (archaeologists, botanists, writers etc) allowing our perspectives to interweave and find their own balance, in a similar way to disciplinary agnosticism’s “…multiple aspects of understanding that overlay and inter-combine”.
Queer River gives me the freedom to follow the work wherever it wants to go, and to come to know a place with the river and its human/non-human inhabitants. Although I set up the project, the work isn’t ‘done’ by me alone, it arises through dialogue, and depends on an openness, a shared commitment to not knowing where we are heading.
Similarly, the authors quote Kenneth White in his description of Geopoetics as being “more than poetry concerned with the environment… Geopoetics is concerned fundamentally with a relationship to the earth and with the opening of a world… a place where all kinds of specific disciplines can converge. Once they are ready to leave over-restricted frameworks and enter into global (cosmological, cosmological, cosmopoetic) space.”
In exploring and sharing how the book informs my understanding of my Queer River research, it’s useful to look at some of my writing on Queer perspectives.
In A Queer Path to Wellbeing, a previous piece for ClimateCultures, I wrote:
“Not fitting in can be hard, being excluded when you want to belong. But when you realise that what you are excluded from are the very structures that are denying people the opportunity to experience the reality of the world of which they are a part, it can become a privileged position, a bird’s eye view of the divided terrain.”
If you’ve not grown up fitting in then you don’t necessarily accept or become constrained by some of the divisions and boundaries that Mary and Iain describe. For me, queer perspectives come with the potential for an ability to blur binaries and see beyond culturally constructed barriers. When you don’t fit the categories that a culture provides for you, you can be left with a kind of a superpower of seeing through the walls of categorisation.
As I wrote in A Queer Path to Wellbeing:
“My experience of exclusion from mainstream society was traumatic, and has left me hyper-aware of other’s actions, of the danger of being open about my sexuality in certain situations. Yet these experiences have also given me a chance to experience kinship with the more than human world, in ways that I might not otherwise have accessed, should I have slotted more easily into the role set out for me.”
I’m not able to go into a huge amount of depth on all aspects of Mary and Iain’s book, as it touches on a range of rich, creative practices, so I’m concentrating on what strikes me first and most deeply, the relationship between the disciplinary agnosticism that they describe the need for, and the opportunities that queer perspectives provide.
Deep Mapping and Slow Residencies
When thinking and reading about Deep Mapping, I started with the idea that this was the more natural fit for my practice. I’ve always been fascinated by maps and mapping. All my work is concerned with the way that art can facilitate coming to know a place and oneself through relationship, a reciprocity that arises out of reaching out to touch and being touched in return, of experiencing continuity with what is generally externalised as Nature.
As part of this work, I make drawings and rubbings, I write and collect, to document and process my experiences. The art objects are evidence of our interwoven nature, they map what is beyond my everyday awareness, what I don’t know consciously. But is this all deep mapping?
Last week I took Queer River to Glasgow at the invitation of Glasgow University as part of The Dear Green Bothy, “an open space where researchers, artists and communities can gather to respond creatively and critically to the challenges of the ecological crisis”. I spent time collaborating with local rivers, artists and others for the Queer River, Wet Land Project. In my walking, talking and making with others, I aim to set up a space for dialogue, between us (both rivers and people) and within ourselves. Our bodies, emotions and intellect come together, drawing from in-the-moment experiences and past encounters.
On each walk, there is a framework there to support us: a planned route along the river, a set of resources, a time to meet and to end, and an invitation to share a description of our work beforehand; but there is also a commitment to letting go of that planning when it serves the group, and a deliberate amount of space left for not knowing. Not knowing what we are going to say, what the weather will be like, what we will notice on the day, and how/whether we will choose to record what we notice.
Mary and Iain write that “in imagination and dreams, deep maps must always exceed our ability to realise them.” I take this to refer to the importance of being in a state of not knowing. The documentation produced on Queer River walks maps what happens as it happens, with a chance to reflect on and make sense of it retrospectively; otherwise we are limited to what we already know, and what we have been taught to see/experience.
They continue “..deep mapping projects may have little in common beyond a sense of their being an open-ended creative process deployed over an extended period.”
Recently in Queer River, I wonder whether the documentation is always necessary. Sometimes it is key to my understanding, sometimes it facilitates the dialogue, but occasionally it feels like I’m doing it to show that it is an art project, that there is something concrete to show for it, when actually the process of walking, talking and noticing is enough. In that case, where does the art exist? Without the documentation, the art object, what kind of art is it — a performance?
“Whether or not we wish to call what emerges from this process a ‘map’ (or the process itself ‘mapping’) seems to me less important than the fact that it is taking place at all… deep mapping can be looked upon as an embodied and reflexive immersion in a life that is lived and performed spatially.”
— Les Roberts, quoted in Creative Engagements with Ecologies of Place.
After my time in Glasgow, and particularly my conversations with artist Minty Donald, Professor of Contemporary Performance Practice, I’m starting to understand that my practice has always prioritised process over product, and to wonder whether describing elements of it as performance could actually liberate it even further.
As for the concept of a Slow Residency, although Mary and Iain don’t expect the slowness to be taken literally, I see it connecting with my own exploration of the need to slow down and to notice, using art and embodied experience to listen to what the world needs us to hear, rather than parachuting in to project our own ideas of what a place is or needs onto it.
In this time of ecological collapse and climate breakdown, it is tempting to charge about ‘taking action’, but there are many kinds of action that are needed. Perhaps counterintuitively, when individuals and organisations around us are declaring an emergency, we need opportunities to slow down and to notice the reality of the situation we are living in, taking time to learn from human and non-human others with whom we share our locality. For me, that is what my arts practice, and Queer River specifically, is for.
Space beyond binaries in ecologies of place
I’m still working my way through Mary and Iain’s book. I’m enjoying reading a chunk and letting it settle, before dipping back in again. Iain has kindly donated a copy to the Climate Museum UK library (I’m an Associate Artist with CMUK), as he’s keen that the book reaches more people, via libraries and other organisations. So we will be able to use it as part of CMUK’s work, engaging with a range of cultural, educational and community-based organisations, sparking conversations around the Earth Crisis, art and interdisciplinarity.
As a consequence of my time in Glasgow with Minty and our fellow collaborators, we will be working on Queer River, Wet Land Part 2, putting together a performance score that people will be able to download and use to inform explorations of their own local rivers, before coming together to share reflections at an online event this Autumn, linked to COP26.
As I take Queer River forward, I’ll carry questions with me as a legacy of reading the book and writing this piece, considering further the relevance of deep mapping, geopoetics and slow residencies. Returning to the question that I posed earlier — ‘So does this exploration then include me after all? Are we all in it together or am I still reading it from the position of an outsider, looking in, whether as a non-academic or queer person?’ — I find myself remembering that Queer Theory and quantum physics (which offers much in the way of inspiration around dialogue and multiplicity) offer me a space within which I can claim both positions; the right to exist both inside and outside of academia, outside and inside of the mainstream. A space within which my lived reality has room to grow, in a way that fits both my personal experience and the underlying ecological reality:
“The queer methodology attempts to combine methods that are often cast as being at odds with each other, and it refuses the academic compulsion toward disciplinary coherence.”
— Judith Halberstam, Female Masculinity.
“What is essential here is the presence of the spirit of dialogue, which is in short, the ability to hold many points of view in suspension, along with a primary interest in the creation of common meaning.“
— David Bohm, On Dialogue.
Perhaps that’s not so far away from Iain and Mary’s disciplinary agnosticism after all.
Find out more
The online event with Iain Biggs that James attended in March 2021, Creative Engagements with Ecologies of Place, was part of a series from the Intercultural Research Centre at Heriot-Watt University, Edinburgh.
Creative Engagements with Ecologies of Place: Geopoetics, Deep Mapping and Slow Residencies by Mary Modeen and Iain Biggs is published by Routledge (2021); you can preview the introduction and several of the book’s chapters at their site. Iain has written about his motivations for co-authoring the book, with a brief outline of the chapters, in his ClimateCultures post, Disciplinary Agnosticism and Engaging with Ecologies of Place. You can also read recent posts on his own blog, such as After Disciplinarity? Mutual accompaniment, ensemble practices, and the climate emergency, where he shares the text of a talk he gave to Breaking Boundaries, a postgraduate student conference at Cardiff University.
Queer River is the practice-led research project where James Aldridge collaborates with human and non-human others to explore the relationship between: diverse experiences of rivers and other wetland environments, including those of people from the LGBT+ community; Queer perspectives on Climate Justice; the impact of the climate and ecological crisis on river ecosystems and communities; and wetland regeneration and rewilding.
In the Queer River, Wet Land project, James is walking, talking and making with Glasgow-based artist Minty Donald, Professor of Contemporary Performance Practice at Glasgow University, and others to document their experiences of the River Clyde and Molendinar Burn. The project focuses on the interrelationship between the water and the land, in an exchange of practices that draws on work with their local rivers, and the substrates that they flow through/over. The collaboration is part of the Dear Green Bothy — a programme of free public events and activities marking Glasgow’s hosting of the 26th United Nations Climate Change Conference (COP26) in November 2021, and demonstrating the vital role played by the arts and humanities in understanding and addressing climate emergency.
James mentions his exploration of the need to slow down and to notice, and you can read more about his approach in Slowing Down, Going Deeper on his blog. James is an Associate Artist with Climate Museum UK which was founded by independent researcher and creative Bridget McKenzie.
You can explore ideas and examples of geopoetics through the Scottish Centre for Geopoetics and its journal Stravaig — where ClimateCultures member James Murray-White is one of the editors.