Death comes to life at ‘Beyond the Body’

Anna: I like to create images that convey different narratives – a visual transmission of thoughts – images that create a space for interpretation and imagination and can be easily engaged with and interpreted by all viewers. I have approached this project from the perspective of shedding light on what is perceived in our society as darkness. I think that the visual world and imaginative thinking has huge power. It allows us to discuss difficult subjects and share new ideas, which ultimately facilitates understanding.

 The exhibition artwork itself is a contrast to medical research and scientific perspective on the meaning of autopsy. It’s a journey of metaphors. For example, a heart is a metaphor for life. For me, the heart is almost a magical organ that both cultivates emotions and maybe even hosts the human soul.

The exhibition is bright and beautiful. Were you surprised to see the findings from your research interpreted and communicated by the artist in this way?

Halina: I was surprised to some extent. We discussed with Anna from the outset that the artwork should not be too graphic, as we didn’t want to make the visitors feel uncomfortable or upset. To the contrary, we wanted to surprise the visitors and provoke the question ‘Is there life in death?’. I didn’t expect the paintings would be so beautiful with so many details that are so subtle yet so clear. The paintings present the body in a way one is not prone to think of it.

Your research inquiry informed and inspired the art/artist. Did the art/artist, in turn, inform and inspire your research? 

Halina: Definitely. Working with the artist and seeing the process of creating this exhibition made me realise the importance of stories and narratives when communicating my research. I had to take a step back or rather many steps back and stop thinking about the specifics of ‘the findings’ and instead think about the symbols and visuals and the personal stories recorded in my interviews. It was challenging to keep the balance between the story being ‘universal’ and accessible for everyone, and at the same time give enough details so it felt personal.

The views of relatives and involvement of family are reoccurring themes in your research. It seems rather fitting that you undertook this project with your sister, Anna. What were some of the joys and challenges of working together and did you learn more about each other’s (or your family’s) views on the subject?

Halina: Anna thinks in images and metaphors, I was concerned with the words and presenting the content of my research. It took us a bit of time to balance those two streams.

This is the first time we’ve worked with each other in a professional capacity. I’m very lucky to have such a creative and innovative collaborator who happens to be my sister. She had my full trust and creative freedom, which I think is the key element of a good collaborative project. We were supportive of each other, but the feedback was sometimes brutally honest because we’re sisters.

One exhibition attendee remarked, “This makes me feel uneasy – in a good way!” What experience have you tried to create or facilitate for ‘Beyond the Body’ attendees?

Halina: We wanted to create a powerful and exciting exhibition combining art and science to discuss the complex ethical questions surrounding autopsy in a way that’s accessible to everyone who would enter the gallery. It was a very challenging project, one that had to address two key challenges: how does one present ethical dilemmas visually?; and how can we present ethical dilemmas in conducting autopsy procedures without being too literal or too morbid? Anna has done great work here and I am very pleased with the outcome.

 Anna: An interdisciplinary project allows for the presentation of academic study through new lenses – a new imaginative perspective. The art does not need to explain, it should raise questions to provoke a discussion. For me, that is the core of any public engagement project.

I left the exhibition with more questions than I arrived with: does data privacy and ownership exist beyond the grave?; how can we balance respect for individual beliefs with collective public health knowledge gains?; can we refer to procedures as ‘gold standard’ if they are contextually inappropriate? Salient among all this uncertainty was one confirmatory experience: this is what accessible and effective creative communications looks and feels like. Huge congratulations to both Anna and Halina and thank you for brining this uncomfortable and important conversation to life.

The exhibition is supported by the Wellcome Centre for Ethics and Humanities and is free to view at the Jam Factory on Hollybush Row from 15 October until 24 November. For those wanting to continue the conversation, the Jam Factory is hosting ‘Death at teatime’ on November 23rd – an opportunity to engage in wider conversations around death and dying in the UK and overseas.

Jessica Renzella (interviewer) is a DPhil student researching public health policy making in Sri Lanka.