LAUREN JETTY
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The biblical story of the 3 wise men contains a curious mistranslation: Frankincense, Myrrh and a 'Golden Smell': 3 smells and no gold

This rich and conflicting history, from the divine to the diseased, as well as its potential for intimacy is captivating. It is intimate both physically and mentally. It infiltrates the body and generates potent memory/recall. The cross modality of sensory experience is often at play, exploring the potential for collaboration and/or contradiction between our senses. As of yet, smell has no place on The Internet and there is a compelling disparity between the documentation, the language and the work.
Notes, 2019-present
Video by Konstantin Guz & Lyubov Matyunina
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Notes, 3-part storm accord and 3-part vocal accord cast into 3 ice records, 2019
Notes, 3-part storm accord and 3-part vocal accord cast into 3 ice records, 2019
Notes, 3-part storm accord and 3-part vocal accord cast into 3 ice records, 2019
Art Science Perfume, 2019
Talk at MediaMatic Odorama, 2018
Smelly Knight, 3D printed chess piece with Cedar Wood Scented resin, 2018
Smelly Knight (miniature), 3D printed chess piece with Cedar Wood Scented resin, 2018
Spicy Ribbon, kinetic scented sculpture, distillations from dinners including curry, pasta and stew, De Fabriek Eindhoven, 2018
Apertio Typha, Opening Reed, Mixed plant extractions to create a hybrid smell for the hybrid plant, 2017
Excerpt from [Na]Scent Language, 2019
Our opinions of smells and colours are subjective however our associations are seemingly objective. All of our senses contain subjective aspects: I like animal print, you may think it’s too kitsch to bare, I enjoy the jittering bass lines of Thundercat, you may find it unnerving. The point is we have language (written and verbal) to explain these subjectivities and tastes. Smell extends to like/dislike, musty/fragrant and the rest of the explanations are object or experience dependent (in colloquial language). These seemingly objective associations, however, highlight the potential of a collective (un)consciousness[20] encompassing smell. For example warm and pink being a fruity smell and cold and blue being a plastic smell. This gives us the possibilities of a basis of another synesthetic language, like perfume and music, from which to build upon to develop our [na]scent language. 
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