Haunted Ecologies
Onsite: 25 April – 13 July 2024
Launch Event: Wednesday 24 April 6 – 8pm | All Welcome
Stanley Picker Fellow Thomas Pausz’ solo show Haunted Ecologies intersects the research fields of media, ecology and ‘hauntology’ – the understanding that our perception of contemporary environment and culture is always haunted by spectres of the past and by hopes and visions of the future – to propose an immersive installation echoing the transformations of local ecosystems.
The Stanley Picker Gallery is situated on an island along the Hogsmill River, a tributary of the Thames whose riverbank flora is immortalised in John Everett Millais’ famous painting of Ophelia. This exhibition presents a collection of works inspired by the ecology of the surrounding river. The installation echoes the transformations of the river over time and traces how, from Eadweard Muybridge’s landscape photography to contemporary digital image making techniques, the media constellations we design are evolving with and changing our perception of the ecosystem.
As a chalk stream, the Hogsmill River has an increasingly endangered ecology due to excessive extraction of water and increasing sewer discharge. This influx of sewage water on the one hand radically raises the nutrient level of the river, benefitting certain plants and hence causing changes in biodiversity, on the other it also introduces a large variety of harmful polluting substances.
Eadweard Muybridge (Kingston Upon Thames 1830 – 1904) became world renowned for his innovative studies of animals in motion, but was also an accomplished landscape photographer. In her book River of Shadows Rebecca Solnit1 details how Muybridge often superimposed separate images of clouds onto his photographs, creating composite images to achieve more dramatic visual effects. The original photograph at the entrance of the gallery was taken in Yosemite on Muybridge’s travels through America c. 1872. This work forms part of the Royal Borough of Kingston’s Muybridge Collection now archived at Kingston University’s Town House Library.
Darkroom is a video projectionwith 4.1 sound that links to Pausz’ research on 19th century spirit photography, and how the techniques developed to manufacture ‘ghost’ images were later used to modify landscapes. William H. Mumler was the first to introduce this genre as he became known for capturing iconic translucent ‘spirits’ which appeared next to portraits of living subjects. Mumler was later taken to court and prosecuted for fraud, and while never convicted, he was publicly shamed and eventually threw all of his photographic materials into the Hudson River2. During his early Fellowship experiments, Pausz took photos of the Hogsmill River and immediately developed them in the darkroom, going back and forth between the two. His film, shot with a so-called phantom high-speed camera, documents the process of developing the images, and is accompanied by a composition with sounds recorded by Pausz near Tolworth using hydrophones to capture sewers discharging into the Hogsmill. The soundscape was composed by the artist in collaboration with Tom Manoury to create the immersive environment.
Pausz has been researching techniques to filter and to revitalise water, especially in relation to environmentalist, philosopher and inventor Viktor Schauberger, who was specifically interested in the flow of water and the potential energies harvested from it; and Dr Masaru Emoto, whose research centred around the memory and molecular structures of water. Building on their ideas, Schauberger’s Cabinet consists of a neon light of a whirlpool, a lightbox with elaborate 3D printed funnels that can help animate and energise water, as well as smaller lightboxes with 3D printed reliefs capturing the unique patterns droplets form as they hit the surface of water.
In the second gallery, Sources features four videos, each taken of a specific site where sewage water enters the Hogsmill River. The footage documents the plant life, insects and suburban fabric of the ecology of the sites, and was shot using various methods, including a new rendering technique for 3D scanning. The accompanying sound, also composed of recordings from the sites, feels harsh with frequent interruptions and translates the experience of the sudden changes and disturbances in the river.
1) Rebecca Solnit: River of Shadows. Eadweard Muybridge and the Technological Wild West. Bloomsbury, UK, 2003.
2) Tony Oursler: Notes on Mysticism and Visual Transects. In: Séance. Ed. by Shannon Taggart, Atelier Éditions, Los Angeles, 2022.
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Public Events
Artist Talk & Guided Tour | All Welcome
Main Lecture Theatre, Kingston School of Art
Thursday 25 April 2 – 4pm
Meet our Fellow Thomas Pausz and learn more about his practice, followed by a guided visit to his solo exhibition at Stanley Picker Gallery.
Curator’s Tour | All Welcome
Thursday June 27 12.30 – 1.30pm
As part of the London Rivers Week, Stanley Picker Gallery Curator Borbála Soós will lead a free lunchtime tour in the exhibition. Book your free ticket HERE.
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Thomas Pausz is an artist and designer born in Paris and based in Reykjavík. Pausz holds an MA from the Royal College of Arts (UK) and a BA in Philosophy from Paris X University (France). Pausz´ fictional ecosystems take various forms to explore unforeseen interactions between humans, non-human life forms, and media. His worldbuilding projects are informed by field research in specific environments, and critical dialogues with researchers in the fields of biology, climate science, and bioethics. Pausz puts a particular emphasis on the design of exotic technologies as a medium to redefine interspecies relations. Can VR for pollinators, software to read seashells, or ´spectral´ wildlife photography refocuses the human gaze and offer poetic spaces, where biological and technological are renegotiated? Recent projects include Hide & Seek at Listval Gallery, Reykjavík; Interspecies Futures at Centre for Book Arts, New York; Nature in Transition, Shifting Identities at The Nordic House, Iceland; The Wildflower at Hafnarborg Museum, Iceland; The Swamp Pavilion at the Venice Architecture Biennale; Species Without Spaces at Atelier Luma & Istanbul Design Biennale; Food: Bigger than the Plate at the Victoria & Albert Museum, London UK and Out of the Sea at Passerelle Contemporary Art Centre Brest, France. Previously he was a fellow of the Academy Schloss Solitude (DE), artist in residence at the Politics of Food programme at the Delfina Foundation (UK), and member of the interdisciplinary Swamp School (LT).
Thomas Pausz was appointed a Stanley Picker Fellow in Art and Design in 2022. The Open Call for Applicants to the Stanley Picker Fellowships in Art & Design 2024 opens in May with a deadline of 1 July.