Living and working for a month at the Sanskriti Foundation in Delhi, the artist’s life was watched and observed by a group of resident monkeys. This paper is based on notes begun during that studio residency and represents the critical reflections emerging alongside the hands-on sculptural practice. It is illustrated with close-up photographs of the artist’s sculpture that asks how encounters with fabled animals in densely populated 21st century urban areas can alter our understanding of the gaze as an inter-species gaze. The sculpture and paper begin to ask broader questions, including how can sculpture provide a different, and perhaps more tacit and empathetic, encounter with the other to enable a physical, mental or spiritual experience of cultural entanglement between the various onlookers? In how far is modelling the other’s gaze a form of embodiment and mimicry? Do the fast-changing camera angles and soundtracks of natural history programmes hinder an empathic inter-species encounter? Or, does the slow animation of the artist’s sculpted surface heighten a sense of being alongside equally curious, cunning and adaptable others such as crows, foxes and monkeys?

中文翻译：

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你看着我看着你看着我

在德里的 Sanskriti 基金会生活和工作了一个月，艺术家的生活被一群常驻猴子观察和观察。本文基于该工作室驻留期间开始的笔记，代表了与动手雕塑实践一起出现的批判性反思。它配有艺术家雕塑的特写照片，询问在人口稠密的 21 世纪城市地区与传说中的动物的相遇如何改变我们对作为跨物种凝视的凝视的理解。雕塑和纸开始提出更广泛的问题，包括雕塑如何提供一种不同的，也许更默契和同理心的与他人的相遇，以实现身体上的，各种围观者之间的文化纠葛的心理或精神体验？在多大程度上模仿他人的目光是一种体现和模仿的形式？自然历史节目中快速变化的摄像机角度和配乐是否会阻碍物种间的共鸣？或者，艺术家雕刻表面的缓慢动画是否增强了一种与同样好奇、狡猾和适应性强的其他动物（如乌鸦、狐狸和猴子）并肩作战的感觉？