SPECIAL SECTION: ANTHRO-ARTISTS: ANTHROPOLOGISTS AS MAKERS AND CREATIVES Pauses and flow in art making and ethnographic research Lydia Nakashima D EGARROD , California College of the Arts I examine my dual role as artist and ethnographer in the creation of artworks including mixed-media paintings and installations. Drawing from four works that combine art making and anthropological research, I present, from the perspective of anthropol- ogy, the process of the creation of artworks as dynamic sites for creating and observing the emergence of knowledge, as well as the development of empathy between researcher/artist and participants. Art making provided the tools to unveil ephemeral sub- jects such as the internal images of exile, the traces of memorable dreams in cities, and the memories and legacy of World War II among Japanese Latin Americans. Art making was possible by using approaches from anthropology that emphasize the senses as a means of both acquiring and expressing knowledge, the view of the anthropologist as a conductor of experiences and events, and multimodal anthropology. Keywords: art making, dérive, exile, dreams, lucid dreams, trauma, performance, empathy, knowledge, mapping, participatory art, frottage, multimodal anthropology, sensory ethnography, relational aesthetics I am a practicing visual artist and cultural anthropolo- gist. For the past twenty-three years, I have been creating hybrid works—in the form of mixed-media paintings, videos, and installations—that blur the lines between ethnography and visual art. In these hybrid works, I have incorporated visual art not in the traditional role of il- lustrating the ethnographic text but as an integral com- ponent of ethnographic research. My participation as both artist and anthropologist has given me a unique vantage to observe and participate in knowledge in the making. My observations of this dual practice have been facilitated by the processual nature of art making, which consists of stages that allow contem- plation and reflection. 1 As I manufactured the artwork, I had the opportunity to observe the emergence of knowl- edge. The incorporation of art making in these hybrid works has been made possible by using approaches and methods from anthropology that emphasize the use of the senses as a means of both acquiring and expressing knowledge (Pink 2009), the view of the anthropologist as a conductor of experiences and events (Fabian 1990), and multimodal anthropology, which includes fine arts among the different media used and aims at engagement with communities through collaborative work and pub- lic anthropology (Collins et al. 2017). These approaches, united with the practice of relational aesthetics, de-center the artwork and focus attention on the relations and ex- changes created by artists, audiences, and participants (Bourriaud 2006), which makes possible the creation of hybrid works. Writing from my perspective as an anthropologist, I present the emergence of evolving and embodied forms of knowledge during the creation of the artworks. Spe- cifically, I will show how the artistic creation contributed to observing knowledge in the making and to participat- ing in and experiencing embodied forms of knowledge in the following projects: (1) Geographies of the Imagina- tion, a collaborative/participatory project (2007–8) in which my participation in the creation of drawings and prints HAU: Journal of Ethnographic Theory, volume 11, number 3, winter 2021. © 2021 The Society for Ethnographic Theory. All rights reserved. Published by The University of Chicago Press for the Society for Ethnographic Theory. https://doi.org/10.1086/718376 1. The processual nature of art making has been noted by art-based research scholars (Eisner 2008; Knowles 2008; Leavy 2009), as well as anthropologists studying art and an- thropology (Schneider 2008; Schneider and Wright 2013). 2021FHAU: Journal of Ethnographic Theory 11 (3): 1101–1115