One of the things I’m interested in exploring is how to connect in to what people already think about their homes in ways which connect to the wider world. To try and show and persuade people that this is about tapping into ways of seeing the home and the connection people have to their home and beyond to the world, I don’t anticipate it being a kind of Buzzfeed ‘This one trick will convince you’ kind of approach. That feels too risky, too easily pulled apart and then you’re back to where you were before. Crucially though, I also don’t think that’s true. There are a myriad connections and, they are likely to manifest differently for people, which makes sense given the plethora of experiences of home that people can have.

Doing this feels helpful because there can be a reticence to try and engage with how people use their homes because they are seen to be private spaces. Getting involved in that kind of space then feels like it is transgressing and people feel uncomfortable. An English(wo)man’s home is their castle and all that. By identifying ways people already make those connections

Lots of work has questioned and problematised that view of the binary splits that the public/private one is part of. This binary is often accompanied by others – with the home, classified as a private space, and one that is associated with the feminine. By contrast, the public sphere is then classified as masculine. Nonetheless, this idea that the home is a private endures for many, and in a policy context, makes people more reluctant to intervene. Despite the fact there are lots of ways in which regulation reaches into the home. From infrastructure to health and safety standards for materials and products.

In that context I enjoyed finding out about Halle’s work (1993) looking at the artwork that people choose to have in their homes. They did some statistical analysis of the themes and, where they were reproductions, the artists, using this to investigate landscape paintings as markers of status and class differences. Landscapes, family photographs, abstract and ‘primitive’ art and religious iconography were the main things he found. Across classes he found a commonality in terms of landscape paintings being there, but those of foreign or historical scenes were more often found in upper-middle class homes.

Rose (eg 2003 & 2004) writes about photo’s and she also notes how their inclusion in the home connects the occupants to the outside world. They find their inclusion is an important way a building is made a home, but it is also another way we use images to stretch our integration with the outside world.

And it’s one of those things that, when I read it, seemed so obvious. Cieraad talks about how the home can become so familiar that it’s a great place for anthropologists to study because there is so much that is obscured in plain sight. Reading about the different ways we choose things to decorate our homes, reminding us of the world outside and our place in it. It perhaps isn’t enough on its own to show and convince, to allow people to feel more comfortable about accepting that divide isn’t so real. For many people though, it should feel tangible and resonate with them as they look around their homes. Most people will be able to see things they choose to display because they connect them to friends, family and their world. A story and way of thinking about things that resonates, and cumulatively can help engage people.