4. Research & Development
Fundamentally, ResonantSculptures is a direct challenge to prevailing Western ocularcentrism that neglects the corporeal reality of making and perceiving[7]. As the ‘Blind Gain’ (modelled of the Deaf Gain) is better understood, it becomes a direct call to resist the Le partage of du sensible[8]. Embracing non-normative bodily gains to defy ascribed boundaries of what is sensible or shareable, insisting on multiplicity in perception and thus, revaluing ‘othered’ ways of knowing[9].
ResonantSculptures is also driven forward by Joseph Beuys’ notion of “Soziale Plastik” (”social sculpture”), which recognises everyone’s potential to shape society creatively[10]. Art and public expression should be participatory, social, and spatial process; a “resonant space,” constantly evolving through the contributions of those who move through it.
Central to this project is safety in public space through the lens of feminist ethics of care [11]. It also is heavily inspired by José Muñoz and Ernest Bloch’s notion of utopianism [12] [13]. The work reimagines care beyond a passive gesture and active building towards alternative futures. Care is understood as both a political and material practice, with a method of sculptural making and a mode of engagement with counter-publics. ResonantSculptures invite touch, evoking spatial memory while challenging visual dominance and resisting the erasure of disabled bodies in public discourse. Inspired by the feminist theorists who foreground interdependence and relationality, the sculpture becomes a provisional site that gestures toward to inclusive urban futures.
The work insists that safety is not simply about protection but about belonging, and that public space, when reimagined through care, can hold all bodies in their difference and dignity.
Click here to see bibliographyResponsible for the website:
Gina Bolle – Freelance artist and photographer, Berlin, Germany
Emma Fearon – Art Curator and PhD candidate at the University of Exeter, Exeter, UK