‘Bird Eyes View’ / Fundus in Tangible Territory Journal Vol 1. Issue 3


Artist Tereza Stehlikova’s Tangible Territory is ‘a platform that offers a space for various voices to meet and discuss themes relating to the role of the body, the importance of place and embodied experience, in giving meaning to our every day experience of life and art. By extension, it also reflects on some of the transformations initiated by technology, globalisation and now also the pandemic and to it related questions of embodiment versus disembodiment, being simultaneously here and elsewhere, present and absent in our bodies and our surroundings.’ The Tangible Territory Journal is a ‘celebration of power of creative process and as such, is an ongoing project of collective learning and improving, of sharing, collaboration, curiosity and open mindedness.’

Tereza Stehlikova works as ‘an artist, filmmaker and a senior lecturer. She holds a PhD from the Royal College of Art, where she researched the tactile language of moving image. She is currently engaged in a cross-disciplinary research, investigating how moving image can be used to communicate embodied experience. Stehlikova is a senior lecturer in still and moving image theory and practice, at the University of Westminster and also supervises PhD students at the Royal College of Art. She is a founder of Sensory Sites, an international collective based in London, generating collaborative exhibitions, installations and research projects that explore multi-sensory perception and bodily experience. She also co-founded Artesian, a journal for committed creativity, featuring the writings of John Berger, Don DeLillo amongst many others. Stehlikova has presented her research at a number of international conferences and her films and performances have been shown at a variety of film and music festivals around the world. More about her projects here: cinestheticfeasts.com‘.


Responding to Tereza’s call for submissions for the third edition of her Tangible Territory Journal, I shared Fundus, the short film made in response to The Kick-About No.30, and likewise wrote a short accompanying piece about lock-down, The Kick-About and of ‘making directly’ and ‘doing quickly:

“A few weeks back, the prompt for the Kick-About was ‘Fundus Photography’, with fundus pertaining to categories of retinal photography.  Challenged to respond to imagery that was both ‘of the human body’, but also suggestive of more galaxial realms, I set about inflating a latex glove with water and floating it in a goldfish bowl filled with water coloured with some old black ink cartridges I found at the back of a drawer.  As I was assembling these ad-hoc components (only let’s call it ‘playing’, for that is what it was), I had no idea I would soon be making a short experimental film in collaboration with another artist, Deanna Crisbacher.  As I was holding the latex glove under the tap, I had no guarantee (or indeed much hope), that my idea would come to anything at all.  Importantly, I suppose, I didn’t care.  I didn’t know then, as I turned the water black with squirrelled ink, that I was in the early stages of making a strange little film offering up expansive, cosmic impressions born from a combination of domestic objects.   I didn’t know then I might be writing about this project, even going as far as drawing out from it some final conclusion about the transformative and transportive power of creativity, of making directly, of doing quickly, and the value of community.”  

You can read the complete article here and explore a whole host of other fascinating responses on a theme of creativity-under-lock-down in Tereza’s Tangible Territory Journal No. 3.