Areas of interest
Biography
Based in West Wales, Erin Kavanagh is a practitioner whose commercial and academic work spans myth and science, site-specific performance, heritage interpretation, geography, poetry, and art — held together under the broad framework of "creative archaeology." With degrees in philosophy and environmental archaeology and a current PhD in art practice, they bring additional backgrounds in music, theatre, illustration, photography, literature, and management to every project.
Kavanagh's focus remains on storying and narrative: from excavation and finds work to geomyths and deep mapping, their practice treats story — across fact, fiction, and the space between — as a layered game that admits no compromise. Each project functions as a cat's cradle, a conversation across disciplines that seeks sympoiesis — an interfaith of ideas rather than ivory isolation. This is more than hybridisation: it stands independently across multiple fields, responding to more than one set of boundaries simultaneously.
Central to Kavanagh's practice is a concern with the hostility faced by intellectuals who work across more than one area, and with the tensions that arise between specialisms. That impulse to break down convention carries through into their poetry, which moves between traditional and progressive forms, appearing in media mosaics and live performance as well as on the page. It also informs their approach to heritage interpretation, rooted in the conviction that no place truly belongs to any one person.
Kavanagh's focus remains on storying and narrative: from excavation and finds work to geomyths and deep mapping, their practice treats story — across fact, fiction, and the space between — as a layered game that admits no compromise. Each project functions as a cat's cradle, a conversation across disciplines that seeks sympoiesis — an interfaith of ideas rather than ivory isolation. This is more than hybridisation: it stands independently across multiple fields, responding to more than one set of boundaries simultaneously.
Central to Kavanagh's practice is a concern with the hostility faced by intellectuals who work across more than one area, and with the tensions that arise between specialisms. That impulse to break down convention carries through into their poetry, which moves between traditional and progressive forms, appearing in media mosaics and live performance as well as on the page. It also informs their approach to heritage interpretation, rooted in the conviction that no place truly belongs to any one person.
Biographical details correct as of 21.05.26