I'm a par

Background information to Fading Footprints

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Visual art can be a powerful activist tool to combat biodiversity loss and foster greater emotional regard for non-human animals in a consumer audience (Kalof, 2016). As an Artist Scientist it may be considered one is in a privileged position to undertake this research and address the current ecological situation sweeping through our culture from a creative perspective. My passion for this project is supported by a lifelong ambition to be part of this important matter both as an artist and conservationist.

 

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Many people are not able to access wildlife directly and instead are subjected to influences that are driven by consumerism (Sollund et al. 2015; Baker et al. 2013). These negative behaviors towards wildlife contribute to species declines and can affect public perceptions (Zhou 2015). Within the tourism industry animals are unethically taken from the wild to provide human entertainment (Dodds 2018). People are unlikely to be privy to animal’s backgrounds and are likely to only experience the animal in its exhibited present state. These and similar scenarios have inspired me personally and challenged me as an artist to change my practice to attempt to impact people’s perceptions differently.  

Habitat destruction, human encroachment and climate change and globalization have accelerated the loss of our primate species and almost all of Africa's great apes are now decreasing in number. In Uganda over 60% of primates are claimed to be at risk. Conservation of species is a key concern, and careful management is essential to ensure the ecological system does not deteriorate further.  

The project aims to support growing conservation concerns by stimulating awareness of endangered and vulnerable species and evoke increased empathy towards supporting conservation. Currently there are elevated levels of anthropomorphism and zoomorphism affecting the environment and it is critical that these are addressed. This is because unintended consequences may result, and people's perceptions of nature may be distorted (Chan, 2012). This study focusses on primates which have been the focus of some of these concerns because of their relatedness with humans. Historically there has always been public fascination with primates so it is a good subject to start with (Scott. 2018). 

This study will present alternatives and expose benefits from an eco-tourism perspective. It will make it tangible for local communities to engage with conservation perspectives by its art in science approach.  Some examples of these are explained further in terms of Dodds (2018) wildlife trafficking research. Dodd’s study illustrates how strong desires emerge from ecotourism and firsthand observations lead to emotionally connecting art to communicate better with consumer communities. Dodds understands that visual art is the most effective communication tool to communicate these issues (Dodds, 2018). 

Further aims of this research include communicating some key scientific information about conservation to unlimited audiences and potentially contributing to important key research. Artists may present complicated information in a more accessible form to wider audiences (Kalof, 2016). Reflecting upon my original practice as artist,’ Suzanne Grace’ of ‘Wild Art’ I was driven mostly by personal emotive experiences. This led me to create some of my earlier works such as the Polar Bear painting below and the White Rhino. These were created purely for personal pleasure with possible commercial viability but not really appreciating the deeper perspectives and intricacies that inform the wider contexts. Both the Polar Bear and Rhino, whilst it was understood their status was vulnerable, I had not fully explored the circumstances surrounding them and my practices of representing them.

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​​​​​​​​​​​​​​​​​​This project will also develop my own skills and experience enabling me to critically produce more impactful work that supports conservation. Impactful work will have been created using all the afore-mentioned methods and I will also have acquired a deeper understanding supported by wider professionals' knowledge by working in a collaborative manner.  

It is expected the combination of my painting practice and public engagement skills will allow me to generate powerful tools to support critical conservation struggles. 

Alongside literature I reviewed it was important to gain knowledge from other aspects to inform the context including relevant professionals, conferences, and organizations. I engaged with the Great Britain Primate Society and attended a conference representing current research in primatology. I also researched art related conservation practices and acquired deeper understanding of how they operate in the commercial world. I also spoke with relevant professionals to gain some insight into their work to be able to critically reflect on this important matter.  

I gained real life field experience to authenticate my work. This was important because I am mostly a kinesthetic experiential learner, and the benefits became more impactful when creating the works. I undertook several trips to different institutions representing animals including museums (NHM), Zoological Parks and Wildlife spaces (Chester Zoo). I was able to gain my own interpretations and generate an auto ethnographical account. 

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