‘Prehistory - A Modern Enigma’ with Rebecca Halliwell Sutton.

“The most exact Scientific Knowledge of nature, plants, animals and the Earth and its history, and the stars, is of no use if we are not equipped for its representation. We can have the most spiritual conception of the combined action of these subjects in the universe, but it serves no purpose if, in this regard, we are not equipped with forms. The deepest spirit, the most noble soul, is useless if we do not have the right forms at hand”

In the summer of 2019, I travelled to Les Eyzies-de-Tayac in the South of France with the artist Rebecca Halliwell Sutton to conduct research on a number of cave systems there. Through exploring the Dordogne we were both struck by the high limestone mountains, flowing rivers, and the imposing landscape that was a first home to prehistoric European man. It is not a puzzling as to why our ancient cousins settled there. The warm climate is 832.6 miles away from Manchester’s grey skies. Nor is it a struggle as to how they were able to maintain a level of culture that produced the endless archaeological bounty of artefacts and cave paintings. Indeed, the Vézére Valley itself boasting 14 UNESCO world heritage sites alone. It is a place of intricate waterways and an extensive hidden cave systems perfect for movement and protection. Indeed, its climate, geography, and ecology provide an ideal environmental basis for a flourishing of craftsmanship and culture. After a few red wines and a series of poorly delivered Werner Herzog impressions (Herzog’s 2014 documentary is a poetic exploration of the region). Rebecca and I returned to a series of conversations about art, utilitarian process, proto-cinema, craftmanship, and historical epochs. This provides an important conceptual framework for the future development of art-science in the Arctic and ARcTic Lab.