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A personal response to Steve McQueen's 'Grenfell'
Get PDFReview of Steve McQueen's 'Grenfell' drawing on my own positionality as a former resident of Grenfell
Lover's Leap
No full textLovers Leap is a 40-page risograph-printed comic book exploring the emotional, psychological, and symbolic dimensions of the “leap of faith.” Through layered colour, texture, and sequential imagery, the work offers a visual meditation on trust, risk, transformation, and the thresholds between uncertainty and desire.
Printed in seven colours and hand-bound at RisoLab, New York, the book extends my ongoing research into the narrative and expressive potential of analogue print processes. Produced in a limited edition of 100, each copy is signed and numbered, emphasising its materiality and artisanal production
Virtuosity Knowledge and Violence
No full textThis chapter, published in the book Contemporary Musical Virtuosities, edited by Louise Devenish and Cat Hope, responds to their call to reconsider virtuosity in a contemporary context. As its contribution the chapter develops unfinished, imperfect and in-progress thoughts on the relationship between virtuosity, pleasure and violence. It considers virtuosity as a pleasure in perfection and discusses the violence of its exlusiveness. In response it shifts the discourse from finding virtuosity and quality in a work and its performance, to the pleasure of the body, as a plural body and a local body, that does not obey the politics of perfection but experiences its own pleasure beyond foundational lines of judgment
From early interventions to Secret Library, how Moodle, Panopto & Outlook can automate parts of in-person teaching
No full textA presentation for the LCC Sonic Screen Podcast
How to be in the Future?
No full textReliquiengarten staub in How to be in the Future?
Salon for a Speculative Future: Women Artists’ Print Portfolio
MOCA London presents How to be in the Future? - Salon for a Speculative Future: Women Artists’ Print Portfolio exhibition and publication launch.
8-11 March 2023
This new Salon for a Speculative Future (SFASF) publication How to be in the Future? accompanies a bespoke print portfolio by twenty women artists with printed artworks and texts, including the contributing artists’ thoughts on their inspirations and future thinking. Following the exhibition, the print portfolio and publication will be exhibited in national and international educational institutions and bequeathed to two major archives.
Inaugurated in March 2019 in celebration of Women’s History Month the SFASF is a platform for inter-disciplinary and cross-generational creative exchange. The mission of the SFASF is to champion the wealth of historical and contemporary contributions made by women across all areas of culture and society. SFASF aims to facilitate creative exchange amongst contemporary artists, build on the visions of previous generations of women and to foster an expanding community of contemporary creative practitioners. By honouring existing legacies, the Salon connects and invites contemporary creative practitioners to share new and historic insights and engage in experimental thinking towards a positive future.
In celebration of Women’s History Month, March 2022, twenty artists were invited to create a unique print for a bespoke Salon for a Speculative Future Women Artists’ Print Portfolio considering the question: How to be in the future? Imagining a positive future is inspired by Rebecca Solnit’s historical analysis, suggesting that the productive tensions between disruption and transformation hold a potential for positive change. The SFASF print portfolio was first exhibited during the IMPACT 12, Multidisciplinary Printmaking Conference, 21 - 25 September 2022, hosted by the Centre for Print Research, UWE Bristol, UK.
The project is a collaboration, produced by Monika Oechsler and Sarah Bodman, and financially supported by the University of the West of England & the Centre for Print Research UWE.
Artists:
Abigail Reynolds - Angie Butler - Catherine Ade - Conway and Young - Harriet Bowman - Huma Mulji - Janice Kerbel - Johanna Love - Karen Russo - Koushna Navabi - Liane Lang - Lubaina Himid - Magda Stawarska-Bevan - Monika Oechsler - Nick Grellier and Emily Lucas - Oona Grimes - Sammy Paloma - Sophy Rickett - Tracy Hill - Young In Hong
Living Memory: British-German Memory Culture in London
Get PDFIn May 2020 the world was trying to recover from the first global wave of coronavirus. At that point, no one realized how many more waves would follow and how many more people would die. Still, it was obvious that the pandemic was a serious threat to cultural diversity, which needs personal contact. For this reason, the German Embassy and the Goethe-Institut in London invited creative minds from all over the UK to confront this challenge conceptually and digitally. Stand Together and Go Virtual was a call to think deeply about how we could equip our world culturally for the post-Covid era and at the same time encourage a critical debate about the effects of the virtual or digital realm on art and culture
Newly Forgotten Technologies
No full textIn this installation, two hundred discarded and abandoned smartphones, iPads, and smart speakers are laying in a darkened e-waste dump sometime in the near-future, while their onboard voice assistants (Siri, Alexa, Google Assistant, etc) tell stories about how and why they were thrown away. Across the dozens of stories, many different possible futures are described where speculative technological, social, and ecological events change our relationship to AI and ‘smart’ technologies to the point where devices like these have been discarded. Some of these are futures we might want, and some we should try to avoid. None of these stories describe computers becoming sentient, but all of them talk about the different ways that humans react and respond over time to a changing world
The Tacit-turn: textile design in design research
Get PDFAddressing textiles as a distinctive area of cultural practice and field of scholarly research, The Textile Reader introduces students to the key issues essential to the exploration of the textile from both a critical and a creative perspective. The second edition brings together lectures, catalogue essays, academic articles, fiction and poetry, as well as several articles available in English translation for the first time, to capture the diversity of voices informing textile studies today.
Content is organized around the themes of touch, memory, structure, politics, and production plus a new section exploring the role of community. With 22 new contributors, this revised edition includes selected work from Maria Fusco, Ursula le Guin, Elaine Igoe, Faith Ringgold, and T'ai Smith. Extended introductions and annotated suggestions for further reading by the editor Jessica Hemmings make the second edition an invaluable resource to students of textiles, craft and material culture
Provocation as Care
Get PDFFor MOULD — a team of architects and academics working at the intersection between spatial practice and climate breakdown—the climate crisis demands a radical rethinking of architecture. Band-aid solutions won't cut it. Architecture IS climate, entangled as it is in the causes, conditions and futures of climate breakdown.
This essay is part of Issue #1 “Agents Provocateurs: agitate normality”, a bimonthly series curated by KoozArch on the agency of architecture and the architect
Man Lost in the Convergence of Time, Avebury (2022): Reconfiguring film through human figure removal and collage
Get PDFThis article outlines the processes taken in composing the piece man lost in the convergence of time, a series of prints in which generative diffusion models are used to abstract video through language, by initially removing the human from a film shoot at Avebury’s ceremonial path, Wiltshire (2022). With this work we seek to reveal intrinsic bias in high- resolution image models released to the public for appropriation, introducing sets of text prompts which anchor video-to-video translation allegorical to science fiction. We developed a collage methodology where a secondary model opposed to the diffusion process predicts masks using dichotomous image segmentation, allowing us to composite the footage and mask to further diffusion steps recursively. Our series illustrates different attempts where we were successful in creating formal abstraction with semantic consistency and carry on a discussion on possible futures of experimental compositing techniques with CLIP-guidance conditioned by field recordings. We acknowledge our work promotes reinterpretation of space in moving image, as it has been in different generative model contexts