What are the mechanisms that have rendered the Gypsy invisible to themselves and to others?

The central concern of this research is to determine how this invisibility has been constructed, and how it is enacted / embodied?

An unfolding theoretical understanding of these mechanisms will be used to stimulate a body of visual work that can be used to test, embody, question and generate developing theory. The resulting theorisation of connections between cultural visibility and identity can be used to enhance existing visual culture discourse.

Little has been published concerning aesthetics within Romany Culture. This research offers an analysis of the, so far overlooked, subject of Gypsy visuality at doctoral level. The project operates within discourses of identity theory, anthropology of art and visual culture, and in this context will reference the representation of cultural difference or 'otherness' in the Fine Art arena. Given the absence of the 'art object' in Gypsy culture, ornamentation combined with function is key a combination usually associated with craft.

A textual review of related material will be carried out in order to define the patterns and influence Gypsy visuality thus far. A concurrent review of relevant discourse relating to the fields of identity (Butler, Foucault, Weeks), semiotics (Barthes, Peirce) Romani Studies (Acton, Hancock, Kenrick) and anthropology of art (Gell, Bateson) will define the theoretical basis for the research. Studio practice will perform a central role throughout the project in order to test, embody and question my research issues and processes.

Fieldwork is an important element of the research and includes:

• Exhibition and analysis of works by Gypsy and Traveller makers to test ideas relating to the research concerns.
• Participation and analysis of art events showcasing Gypsy visuality e.g. Roma Pavilion at Venice Biennale '07, Refusing Exclusion at Prague Biennale '07