Doubtful Species, Paul Tuppeny 2016

The presentation of our own species to ourselves becomes a preoccupation of civilised societies. The importance of museum, gallery and heritage institutions in developing a shared conscience is well recognised by those who hold power.

The Doubtful Species installation has 3 components, the bench, comprising a series of cased exhibits, and two vertical panels upon which there are paintings of the ‘Doubtful Species’ and further vitrines.

The artefacts within the vitrines are attributed to a co-descendant human species. Through minimal intervention, they deliver natural objects that seemingly invite a higher interpretation and the possibility of connection with divine forces.

The encased objects form part of a human collection, valued and presented, drawing attention to their geometry and their apparent message. A single-planet theme runs throughout.

The Doubtful Species installation seems to embody several layers of human action. The attribution of the encased objects to a fictitious co- descendant human species emphasises the curatorial actions of our own species in their presentation. Further human interpretations of the co-species in the form of historic paintings propagate a temporal legend but also give the co-species a presence which the viewer can feel. The paintings are configured to accuse and lead.

The piece carries a message. Its form, materials and detail draw on the language of the museum and the travelling exhibition.

The term ‘doubtful species’ was developed by Charles Darwin to describe varieties within a species that have diverged to such an extent that they might be separate species. Within this artwork, there is a useful ambiguity as to the meaning of the term and to which species the title refers. The ‘Doubtful Species’ is, of course, a fairy tale, and we know the work can only be about us.

Doubtful Species, Paul Tuppeny 2016

The presentation of our own species to ourselves becomes a preoccupation of civilised societies. The importance of museum, gallery and heritage institutions in developing a shared conscience is well recognised by those who hold power.

The Doubtful Species installation has 3 components, the bench, comprising a series of cased exhibits, and two vertical panels upon which there are paintings of the ‘Doubtful Species’ and further vitrines.

The artefacts within the vitrines are attributed to a co-descendant human species. Through minimal intervention, they deliver natural objects that seemingly invite a higher interpretation and the possibility of connection with divine forces.

The encased objects form part of a human collection, valued and presented, drawing attention to their geometry and their apparent message. A single-planet theme runs throughout.

The Doubtful Species installation seems to embody several layers of human action. The attribution of the encased objects to a fictitious co- descendant human species emphasises the curatorial actions of our own species in their presentation. Further human interpretations of the co-species in the form of historic paintings propagate a temporal legend but also give the co-species a presence which the viewer can feel. The paintings are configured to accuse and lead.

The piece carries a message. Its form, materials and detail draw on the language of the museum and the travelling exhibition.

The term ‘doubtful species’ was developed by Charles Darwin to describe varieties within a species that have diverged to such an extent that they might be separate species. Within this artwork, there is a useful ambiguity as to the meaning of the term and to which species the title refers. The ‘Doubtful Species’ is, of course, a fairy tale, and we know the work can only be about us.