Over the weekend I attended Wadsley Festival, armed with a bag full of perfume-based art work.
I think the festival confirmed the many layers of engagement Perfume as Practice contains. It has the capacity to ask questions of identity, creative processes, and ways of communicating, and also is able to be perceived simply as a fun set of pleasantly scented objects, with neither standpoint being condescending to the other. The audience at Wadsley Festival tended towards the latter, and as such my work received praise and a great deal of support. And I’m very thankful for that.
A pleasant and relaxing experience, then. And one which I very much enjoyed.
Perfume as Practice makes an appearance in Sheffield this weekend in the guise of a stall at Wadsley Festival. As such, I have spent the last few weeks preparing a variety of new works – both scented and unscented!
My aim at the festival is to provide an audience with an alternative way of looking at perfume, the craft of perfumery and how scent can be a viable and potent form of communication. I will be showcasing a variety of perfume portraits, demonstrating the perfume making process and presenting visual ways of depicting the virtues of perfumery and it’s capacity for identity, narrative and metaphor.
I’m well into my second year of Perfume as Practice yet what continues to strike me is it’s versatility and the many levels of engagement it provides. Within one month my perfume-based endeavours have depicted Bone Cancer stories, have provided a conceptually-charged representation of knowledge, have used fragrance to describe identity with reference to travel and finally have returned to the notion of portraiture. And yet I feel I’ve barely scratched the surface of possibilities. So, onwards and upwards!