Aesthetics of more-than-human worlds in the Art of Sonia Levy


"Whether it is the nightly activities of urban foxes (Vulpine Domesticity, 2010-2013), a humpback whale telling the story of how it moves about (I Roam, 2015), or wolves attending to their ‘crystal palace’ (Pole, 2008), Sonia Levy’s artistic work places encounters between non-humans and humans at its centre. That is, her work is always implicitly or explicitly imaginatively vibrating between realities—some more scientific and some more fictional, sometimes seemingly departing in human imaginaries and at other times, and importantly, in more-than-human worldings." 

Thorsen, Line Marie. 2019. “Aesthetics of More-than-Human Worlds in the Art of Sonia Levy.” NatureCulture (blog). April 12, 2019.


Creative Commons Licence


Created Date

January 13, 2021 - 12:45am


Contributed date

January 13, 2021 - 2:46am

Critical Commentary

Thorsen discusses how multiple technologies mediate sensorial relations to the world of whales. Place is displaced in the slippery in-between created by the art of Sonia Levy allows for a speculative engagement with the worlds of science, whale hunters and whales.

Cite as

Line Marie Thorsen, 13 January 2021, "Aesthetics of more-than-human worlds in the Art of Sonia Levy", contributed by Emile St-Pierre, STS Infrastructures, Platform for Experimental Collaborative Ethnography, last modified 22 March 2022, accessed 17 June 2024.