Bodies of Water is a site-specific installation that investigates the interconnections between human and natural bodies through an ecofeminist lens. Presented in April 2018 at StudioRCA Riverlight in London the work critiques the commodification of water and its role in enforcing social divisions. Situated in a corridor flanked by glass walls overlooking a private swimming pool, the installation explored the exclusivity of water as a privileged commodity, juxtaposing urban luxury with broader hydrosocial interdependencies. The project combined ethnographic and artistic methods. I conducted fieldwork at the Ladies Pond, photographing organic textures like tree bark and water ripples, and collaborated with a participant to capture close-up imagery of human skin. This process revealed striking visual parallels: stretch marks resembling rivers, wrinkles mimicking tree textures, and hair echoing roots. These patterns were digitally merged and printed on translucent chiffon fabric, chosen for its fluidity and responsiveness to light and movement. The installation invited participants to navigate through hanging fabric panels, evoking the protective yet isolating qualities of the natural sanctuary. Sensory elements enriched the experience, including ambient sounds of flowing water, earthy smells, and shifts in temperature, creating a layered and immersive environment. The work highlighted the dualities inherent in such spaces—tranquility for some, discomfort for others—reflecting societal norms and exclusions. Inspired by ecofeminist and hydrofeminist thinkers and artists, the installation blurred boundaries between human and natural, challenging binaries such as body versus environment, nature versus culture. By fostering reflection on shared vulnerabilities and interdependencies, Bodies of Water invites participants to consider the fluid relationships between self, society, and the environment, creating a space for dialogue on belonging, identity, and ecological interconnectedness.

Félicie Kertudo completed an MRes in Fine Arts & Humanities at the Royal College of Art, London. With a background in history and political science from Université Paris 1 Panthéon-Sorbonne, her research explored “Women-Only”-spaces through a watery (auto)ethnography of the Kenwood Ladies Pond in London. Using her diseased skin as interface with nature, she advocates for diverse bodily subjectivities. Her site-specific curatorial work engages ecofeminism, hydrofeminism, and phenomenology.