I was grateful to attend USING SMELLS IN MUSEUMS: An International Themed Smell Day (event link), an online event co-organised by Sofia Collette Ehrich (The Olfactory Contractor) and Liam R. Findlay (International Themed Smell Day), and hosted by the Fragrance Alliance Network.

The speakers presented projects from museums, exhibitions, and the entertainment sector. I was fascinated by the diversity of their practices and by the many ways scent can enrich an experience when combined with other sensory elements.

I especially appreciated that the organisers included the panel discussion, "What are the challenges of using scent in museums?", as part of the event. The discussion covered accessibility, risk management, conservation, and visitor comfort. Since I am also exploring smell as a way of creating more inclusive art experiences, it was valuable to hear how these issues are addressed in artistic practice.

One of the biggest challenges of working with scent is that it directly enters our bodies. Some people may have allergies, scent sensitivities, or other health concerns. Therefore, it is important to communicate clearly when and where scent is present. Sensory guides and sensory maps are useful tools because they help visitors understand what kinds of sensory experiences they can expect before entering a space.

According to IBCCES, a sensory guide provides clear information about how an activity or space may affect each of the senses by using visual icons, numerical indicators, and short descriptions (source). Likewise, the Sensory Trust describes sensory mapping as a flexible method for identifying sensory highlights in a place, including sights, sounds, smells, textures, and tastes, with the aim of creating more inclusive visitor experiences (source).

Another challenge is the lack of knowledge and information about working with scent. Several venues are hesitant to present scent-based artworks because of safety concerns or worries that the smell will linger in the exhibition space.

I believe many of these concerns can be addressed through clear communication and good planning. For example, regarding safety, the International Fragrance Association (IFRA, website) publishes internationally recognised guidelines for the safe use of fragrance materials. Artists should follow these guidelines and provide venues with clear information about the materials they use. This can help build trust and increase knowledge.

Concerns about scent remaining in a space can also be managed through practical measures, such as ensuring good ventilation, leaving enough time between exhibitions, and carefully considering how scent is presented within ab artwork. In my opinion, open dialogue and the sharing of knowledge between artists and venues can lead to effective solutions and make it easier to present scent-based artworks responsibly.

I believe scent is an unique artistic medium because it can trigger memories and evoke vivid imagination. Smell is also deeply connected to our everyday lives. It helps us detect danger, such as smoke or burning, and plays an important role in social connection through shared experiences like eating together. During the COVID-19 pandemic, many people experienced a loss of smell, which also affected their ability to taste food. This reminded us how fundamental our sense of smell is, even though we often take it for granted.

This event gave me many ideas for my artistic practice, both in exploring scent as an artistic medium and in thinking more deeply about accessibility and safety considerations for audiences with different needs. I look forward to continuing to explore how scent can contribute to creating more inclusive and multisensory art experiences.