Sinner develops walking as an a-r-tographic mode of inquiry in which artist, researcher and teacher are not separate roles but overlapping dispositions. The work’s central contribution is to shift research from the studio or classroom into public space, where body, object and environment jointly produce the conditions of interpretation. Walking with public art becomes a method for interrogating presumptions about curriculum, pedagogy and the boundaries of artistic practice. The methodological operation is relational: students encounter artworks, infrastructures and more-than-human contexts while documenting and mapping how their assumptions change through movement. The wider bridge is to new materialism and arts-based research, where knowledge is understood as emergent from relations rather than extracted from objects. Sinner’s model is particularly useful for curatorial practice because it shows how walking can reorganise attention without prescribing a single reading of the site.
