Research Catalogue

Illustration as research from within the field is of relatively new practice. The illustrators discourse on representation (Yannicopoulou & Alaca 2018 ), theory (Doyle, Grove and Sherman 2018, Male 2019, Gannon and Fauchon 2021), and critical writing on illustration practice was hardly found before The Journal of Illustration was first issued in 2014, followed by artistic research through illustration (Black, 2014; Rysjedal, 2019; Spicer, 2019). This research project developed as response to a rise in hate crime towards refugees and the targeting of European Jews in recent decade. A pilot project (This Is a Human Being 2016-2019) treated how narratives of the Holocaust may avoid contributing to overwriting of history or cultural appropriation. Asking how illustration in an expanded approach may communicate profound human issues typically considered unrepresentable, this new project hopes to explore representation and the narratives of “us” and “the others” in the contemporary world through illustration as starting-point for cross-disciplinary projects. The participants from different disciplines, have interacted democratically on common humanist themes to explore the transformative role of illustration in contemporary communication. our projects should afford contemplation of illustration as an enhanced, decelerated way of looking; and drawing as a process for understanding - a way of engaging in understanding the other, as much as expressing one’s own needs (McCartney, 2016). This AR project consisted of three symposia and three work packages, and the artistic research unfolded in the symbiosis of these elements. Our investigation of illustration across media and materials continues as dissemination and exhibitions even after the conclusion of the work packages in 2024.

A visual, emotional & conceptual archive of Performative Reharsals and Performative installations that anticipated the LGP Method's integrative logic by Transdisciplinary artist. This archive links 2019-2025 anti autobiographic artistic process trough creative collaborations. This article presents a series of digital collages created through the daily reworking of personal archives—photos, performance records, and installations. These images are not final works but a catalogue of affective documents in motion. They explore the blurred boundaries between memory, artwork, and archive. This visual practice is part of the ongoing evolution of the LGP Method, showing how transformation and process are central to its structure. After the method's formalization, a new identity—New Art—emerged, emphasizing mobility, reinvention, and the spiritual-emotional dimension of creative work. This archive also acknowledges the valuable collaborations with artists, performers, and institutions who engaged with different stages of the process, activating the method from multiple perspectives.

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

This exposition introduces an experimental framework for acquiring the “inner power” improvisation associated with 19th‑century non-literate Karelian kantele players. While their precise thought processes remain unknowable, it is clear they did not focus on finger control. The method emphasizes internalizing traditional plucking patterns without sheet music, allowing subconscious decision‑making to guide improvisation. Stepwise learning of increasingly complex patterns enables musicians to combine and vary them freely, creating a continuous flow of tones in which the player becomes part of the sound field. Contemporary practice thus reconnects with what kantele players once described as “playing their inner power” (“soitan omaa mahtia”), a style later termed “Quiet Exaltation” by folk music researcher Armas Otto Väisänen.

Guided by the members of the project PÁR-A-GEM (Bruno Pereira, Fernando José Pereira and Mário Azevedo) as guest editors, this edition offers in-depth explorations of the intersections between media, temporality, and embodied artistic research.

Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.