Abstract
ABSTRACT I represent an ethnographic inquiry on sacrifice, precarity and reconciliation in a sectarian context through an amalgam of photographs and poetry, to transubstantiate fieldnotes and journal entries into an aesthetic account embodying the art installations that are this ritual process incarnate. I explore the production, consumption and disposition of an artwork called ‘Temple’ by sectarian communities in Northern Ireland through the orchestration of bricoleur artist David Best, which took place in Derry/Londonderry in the spring of 2015. I present a set of photographs that limns the event to anchor a series of poems that unpack the researcher’s and participants’ apprehension of their engagement with the installation. I emphasise material, spatial, emotional and ideological dimensions of the event. Photopoetic representation greatly enhances the researcher’s sensual attention and emotional resonance in the field, challenges the imagination to craft an evocative account of deep, multi-perspectival fidelity, and opens up lived experience to the possibility of empathic intervention.
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