ABSTRACT
In Withdrawn (2015), Luke Jerram installed five boats in Leigh Woods (United Kingdom). In so doing, he unsettled any neat divide between woods and sea, imagining future effects of climate change. In reflecting on Withdrawn, I argue for the importance of sensing and practising place, to protect ourselves from the potential for loneliness, as it may result from the impact of climate change on place. In so doing, I identify artistic practice as a mode of engaging with loneliness, and ways in which attending to loneliness can enhance artistic engagement with place.
