My goodness it has been a while since I blogged. I have been swept away by clients and business trips and it has been difficult to find the time. Hoping to get back on track soon. I have been working on some truly wonderful graphic design projects and would like to start sharing them with you. First up are the wonderful ladies from Sunken Bank Collective in Norway. Have a look at the work that I have created for them and read a little more about visual anthropology.
Sunken Bank Collective
Collaborating as the Sunken Bank Collective, Siri Linn Brandsøy and Suneeta Rani Gill are deep mappers and storytellers with roots in Norway, Punjab, the UK and the US. Trained as visual anthropologists at the Granada Centre for Visual Anthropology (The University of Manchester), we document and share people’s stories using text, sound, still and moving images.
In both Norse and Vedic traditions, the Sunken Bank is the home of Saga, the goddess of story and poetry. Some say it is located in the depths of waters, under the waves, and serves as a portal to other lifeworlds. We believe that stories connect us and approach our work with an understanding that we come to know the world through sensory engagement. We find creative ways to represent these lifeworlds—sharing stories that matter, be it in form of documentary film, photography, radio documentary and art installation.
Deep mapping is a method that we use to explore the topics that we’re interested in when telling stories. They are often connected to place, people and the environment. Some call it vertical travel writing, and we think of it as vertical storytelling that is multi-layered and multi-medial. When we do fieldwork we don’t only listen to people’s stories, but also look for traces in the landscape that tell stories from further back in time. In the present they show a layering of many stories that cannot be completely erased.
Deep maps have many definitions, and this is one that we use in our work:
“Reflecting eighteenth century antiquarian approaches to place, which included history, folklore, natural history and hearsay, the deep map attempts to record and represent the grain and patina of place through juxtapositions and interpenetrations of the historical and the contemporary, the political and the poetic, the discursive and the sensual; the conflation of oral testimony, anthology, memoir, biography, natural history and everything you might ever want to say about a place …”
(Mike Pearson and Michael Shanks, Theatre/Archaeology (Routledge 2001) page 64-65.
It was such a pleasure crafting a visual language for these talented ladies and I wish them all the best with their new collaboration.