Lauren Jetty

This piece is part of ongoing research into the cross-modality of our senses: how they can collaborate or contradict. The window is no longer a barrier but a performative material; it allows the sounds of ice to be experienced through touch; addressing the possibilities of listening beyond the ears. The pandemic has amplified pre-existing aversions to touch; this piece is a way of playing with this exasperated trepidation. Go on: touch it

This kit will provide you with the materials needed to create the perfume ‘ArtScience Body’ yourself; already in suitable dilutions, quantities and with pipettes and a bottle for your finished perfume. Set up a miniature perfume lab at home, smell the materials separately, observe how they change when blended together, as well as over time.

My (ongoing) 2019 piece ​‘Notes’ is an exploration into the potential cross-modalities of scent and sound. Combining these two physical and yet ephemeral sensory experiences into a physical and yet ephemeral object: a scented ice record. The ice record is also a visualisation of sound and scent through its sculptural physicality; bringing another sense into the realm of cross modality. The sound starts as a haunting vocal laced with a crackle of ice, the crackle slowly builds until the vocal has faded and we are left with a rhythm of the ice, akin to a heartbeat. Each performance is different, each rendition dictated by the autonomy of the ice. As the records melt, the scents captured inside are released; ozone and fresh watery notes lead into damp foliage with a slight floral edge and finally into wet earth and wood: the tension of an imminent storm. This piece is also an exploration into hyperobjects, specifically climate change and subsequently Timothy Morton’s idea of grief work: it is not just this ice but all ice through all time and space, not just these voices but all voices. Connecting to this huge, ungraspable and yet inescapable notion through the intimacy of a disappearing action.

An exploration into recall/memory and games

Collected odours from dinners including curry, pasta and stew

Participants had to pass their food to the left every minute

video, plate of cashew snacks, cashew soap, soap dish, towel, vinyl table

The pixelated aesthetics of cross stitch question our performance assumptions of wo/man versus machine. There is a constant exchange between the digital space and the tactile object – dislocating traditional forms and handcrafting the digital. Having the pieces perpendicular from the wall highlights process and ideas of touch by encouraging the haptic gaze. Obsessiveness and multiplicities run through the iconic imagery as well as the processes used: crafting an intimacy with something global. ​

The haptic gaze is an important aspect of my sensory interest. A surface does not need to be physically touched in order for the body to perceive touch. 'Woman Sewing' explores this idea; using large architectural spaces to juxtapose the intimacy of a tactile action.

My (ongoing) 2019 piece ​‘Notes’ is an exploration into the potential cross-modalities of scent and sound. Combining these two physical and yet ephemeral sensory experiences into a physical and yet ephemeral object: a scented ice record. The ice record is also a visualisation of sound and scent through its sculptural physicality; bringing another sense into the realm of cross modality. The sound starts as a haunting vocal laced with a crackle of ice, the crackle slowly builds until the vocal has faded and we are left with a rhythm of the ice, akin to a heartbeat. Each performance is different, each rendition dictated by the autonomy of the ice. As the records melt, the scents captured inside are released; ozone and fresh watery notes lead into damp foliage with a slight floral edge and finally into wet earth and wood: the tension of an imminent storm. This piece is also an exploration into hyperobjects, specifically climate change and subsequently Timothy Morton’s idea of grief work: it is not just this ice but all ice through all time and space, not just these voices but all voices. Connecting to this huge, ungraspable and yet inescapable notion through the intimacy of a disappearing action.