There are interesting intersections between art and science. Some such intersections have been seen in the fields of biological and forensic anthropology which rethinks ancestry, population affinity, and gender identity to understand the full spectrum of what it means to be human. Science only makes up a part of that knowledge while the intersection of forensic art with various disciplines allows a broader exploration into culture and science. Art is known as a dynamic way to connect with people and convey important information, yet it is apparently an aid in investigating unsolved crimes in new ways and analysing political wrongs of the past and present.
Forensic art has its origin in anatomy and human heritage. It is an unregulated field with many starting out as artists, scientists, or in law enforcement. Much of the work is collaborative which means one can never really sign their name on it individually, but the work leads to massive increases in our knowledge of the world. From being able to reconstruct someone’s face using their bare skull, to using information uncovered to make art projects that shed light on criminal cases, forensic art may be a unique way to expand our exploration and knowledge and unveil past and present secrets.
One such example of ‘forensic art’ is Kathryn Smith’s project, Incident Room (1949-2012) showcases a collection of objects, images, videos, and documents predominantly derived from archives. Kathryn Smith is an interdisciplinary artist and forensic facial-imaging specialist based in Cape Town. She holds a master’s degree in fine art, as well as a master’s degree in forensic art. More recently, Smith completed her PhD specialising in forensic art. Beyond these considerable qualifications, Smith currently holds the positions of Chair of GUS Gallery, and Associate Professor of and Chair of the Department of Visual Arts at Stellenbosch University through which she brings into practice the interdisciplinary link between the Faculty of Law and the Faculty of Arts. Smith’s work, presenting itself as a critical interrogation of knowledge systems at the interface of art and applied science, can be seen as a directed and intentional approach that seeks to reconcile the somewhat polarised relationship between these two fields.
Through Incident Room, Smith offers fascinating insights into the unsolved murder case of Jacoba ‘Bubbles’ Schroeder. In 1949, the body of this 18-year-old girl was discovered in a partially burnt bushveld in Johannesburg. Schroeder had been strangled and a chalky material had evidently been forced into her mouth. It seemed apparent that she had spent the night with three men who came from apparently wealthy families. However, there was no evidence that later linked these men to her murder. This incident occurred during apartheid, and as such, the racist assumption that Schroeder had been killed by an African man was also projected onto the case. These accusations were investigated but no one was ever brought to trial. Many have commented that her story feels like something straight out of a movie: an Afrikaans girl from the farms moves to the bustling city of Johannesburg in search of a job and a fresh start, only to find herself in the company of three middle-aged men willing to pay to be entertained by her.
This narrative has however been proved unsatisfactory through Smith’s work. To realise Incident Room, the artist recovered unpublished documents and information pertaining to Schroeder’s case in an attempt to cast a spotlight on the fact that no one has since been held responsible for the murder, 63 years later. Through this intersection of art and forensics, Smith was able to reconstruct the narrative around Schroeder to bring back her subjectivity, dignity, and memory, thereby pushing back against Schroeder’s stereotypical identity as merely a ‘good time girl’ whose life came to an abrupt, brutal end.
Edited by Vikisha Ranchod & Bryce Crockart
This is so interesting!