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Home - photographic folio series
Get PDFThis photo folio explores concepts drawn from intergenerational post-genomic research, exploring my own close family history, genealogical archives and the history of the child welfare system.
My theoretical approaches are drawn from Barad’s account of quantum entanglement and post-human performativity and Baer’s conceptual frame working of second witnessing.
The work reflects on post-genomic research suggests that experiences, in the form of epigenetic cues, can be passed down from generation to generation. The conceptual premise of Remembering the Unknown is based on the second witnessing of my father's life within the ideological landscape of the “sunshine “cottage homes orphanage colony of Styal, Wilmslow established on the Cheshire/Greater Manchester borders in 1895. The colony, as it was called, was envisaged as an island apart from society, a utopian children’s orphanage village set in the open air and in the countryside beyond the established overcrowded workhouse conditions and systems of Manchester. The Victorian buildings of what was a small village are now part of HM Prison Styal, a closed category establishment for female adults and young offenders. In effect, a trans-historical environment of moral reform.
My father arrived at Styal Cottage Homes colony in 1923, having been abandoned with siblings by his mother after her return from Canada. His mother was a WWI war bride, born in a London Workhouse hospital and later sent to charity schools before going into domestic service. On arriving at around 2 years old my father had suffered extreme malnourishment and had the bone disease Rickets. Life at Styal Cottage homes in the mid-1920s was harsh. Children in institutional situations like these learn that they can only count on themselves and to trust no-one. My father was visibly marked by bone deformities caused by childhood rickets and was deeply psychologically scarred from his early abandonment experience and his life within the closed gates of Styal.
He spent his whole childhood and youth there as children were rarely allowed to leave the enclosed community. This kind of early hardship, lack of warmth and affection and socialisation is known to lead to permanent developmental changes in the fundamental structures material structures of the body. It was commented that the Styal “home” children were almost mute and had difficulties communicating with outsiders. My father was discharged from Styal Cottage Homes directly into Merchant Ship training in Liverpool at 14. The militaristic regime and the endeavour to construct model citizens from orphaned and abandoned children had an overwhelming impact on all the children who had already experienced neglect – it was a harsh regime where everything was done to a schedule - there was no self-directed play - everyone would eat at the same time – sets of repeated acts – patterned rules – movements – regulations – a state of enforced isolation.
New epigenetic research goes beyond the model of the genome as the sole agency in inheritance to provide new evidence of how trauma such as my fathers’ may be passed on intergenerationally to impact family life and family relationships of future generations.
Mining my own experience, Remembering the Unknown, resonates and brings together poetic and philosophical accounts and themes advanced in earlier FATE-MAPS-ENTANGLEMENTS projects
A German childhood - re-evaluating migrant myths
No full textWhy do many liberal-minded women in Germany experience resentment towards Muslim women who express their faith by wearing a headscarf? I have investigated my childhood to search for answers
Projecting the Pen: Real-Time composition.
Get PDFIn 'Project the Pen' I use an Overhead projector (OHP) to write music in real time for musicians to perform and interpret. The boundary of improvisation and composition is challenged through this process. With the exhibition of the written score there is a concurrent representation and realisation of the music by the performing musicians, and a single reference point for an audience to understand and consider. The dichotomy between score (artifact) and music (sound) made manifest; making evident not just what the score conveys to a musician, but also what it doesn't. In all musical genre, there is an understood level of required interprtation by a musician. In Baroque music musicians will interpret dynamics and orniments, whereas in Jazz musicans can improvise more or less freely depending on theier location and role within a score. Related to other ‘comprovisational’ practices such as live coding or conduction, ‘projecting the pen’ is an adaptable practice. The techniques allow for an intuitive approach combining graphic notation, Lutoslawski inspired aleatoric boxes, standard notation, chord symbols. Each workshop and performance has been a new negotiation with the ensemble as the expectations of performers, composer and conductor are created. I first experimented with this technique in 2012 and developed it more fully with the Tinderbox Project since 2014. It has been performed with full orchestra, Jazz Ensembles and String Quartets at the Hidden Door Festival, Edinburgh Summer Hall, Edinburgh Jazz Bar and London Eklectic
THE WAC AWARDS — WELLS ART CONTEMPORARY 2019
Get PDFThe WAC Awards is an open competition for contemporary visual art that is gaining praise and respect in the UK and abroad. It was established in 2012 by a group of artists and their friends in Wells, the beautiful cathedral city in the South-West of England.
The invitation to exhibit 9 works in Camery Gardens Wells Cathedral WAC -one of the chosen outdoor installations curated by Simon Periton and Susanna lisle gave me the opportunity to finish a series of works and consolidate the install
Artist's page. Contribution to The Blue Notebook: Journal for artists’ books
No full textArtist's pages for the peer reviewed The Blue Notebook: Journal for artists’ books, Volume 13 No 2, Spring – Summer 2019.
Images from my drawing research in preparation for the book 'Yappo', conducted in Ardnamurchan on the Scottish Highlands
Emotional objects: things overloaded with feeling
Get PDFEmotional objects: things overloaded with feeling
Clothes are amongst our most emotional objects- sites where multiple feelings may be produced, performed and contained. Though the capacity to contain and induce emotion is a common to all material things, those we associate with garments are often particularly potent. This exhibition explores clothing’s emotional affects through two everyday objects: the handkerchief and the glove. They are emotional objects, artefacts which convey, stand-in for and embody emotion. These artefacts, mundane, yet overdetermined, are bound up with the etiquette and traditions of courting and mourning, of private and public, of work and of war. They are souvenirs, love tokens, and mementoes: deeply entangled with performances of love, labour and grief. Despite their ritualized and socially proscribed modes of use gloves and handkerchiefs are also deeply personal and tactile objects, often understood as indivisible from those who used them. They are bodily objects, objects that stand in for and act upon us in lieu of absent bodies
‘Look Out’ in Fast Forward special issue
No full textKATALOG is 30 years in print.
Celebrating we include a supplement issue to all subscribers: Fast Forward: Women in Photography.
The forthcoming issues will be launched during Paris Photo and again in December at the Fast Forward: Women in Photography conference at Tate Modern in London (Nov 30 – Dec 2).
Join the many readers all over the world – in Europe, the Americas, Asia, and Australia.
And enjoy the TWO issues filled with articles and images by Mark Klett, Byron Wolfe, Thor-Björn Johansson, Beth Yarnelle Edwards, Finn Thrane, Kevin O. Mooney, Michael Marten, Jenny Rova, Tage Poulsen, Cássio Vasconcellos, Lucas Lenci, Gilvan Barreto, Ilana Bar, Andréa Bernardelli, Pedro David, Magnus Cederlund, Thomas H Johnsson as well as Claudia Andujar, Marilene Ribeiro, Maureen Bisilliat, Lorie Novak, Nona Faustine, Jesse Chun, Indu Antony, Gauri Gill, Azadeh Akhlaghi, Nelli Palomäki, Leena Saraste, Merja Salo, Josephine Ngminvielu Kuuire, Yagazie Emezi, Jenevieve Aken, Joy Gregory, Sharon Morris, and Heather Agyepong.
Among many others, texts by Carlos Carvalho, Anna Fox, Sinara Sandri, and Henning Wettendorff
Architecture and resilience: a series of interdisciplinary dialogues
No full textResilience will be a defining quality of the twenty-first century. As we witness the increasingly turbulent effects of climate change, the multiple challenges of resource depletion and wage stagnation, we know that our current ways of living are not resilient.
This volume takes resilience as a transformative concept to ask where and what architecture might contribute. Bringing together cross-disciplinary perspectives from architecture, urban design, art, geography, building science and psychoanalysis, it aims to open up multiple perspectives of research, spatial strategies and projects that are testing how we can build local resilience in preparation for major societal challenges, defining the position of architecture in urban resilience discourse
Post/documentary: referential multimodality in "Animated Documentaries" and "Documentary Games"
Get PDFFrom John Grierson’s influential early definition of documentary as “the creative treatment of actuality” through documentary studies’ reconstruction of the multitude of existing forms to philosophers’ attempts to develop comprehensive accounts of documentary as a specific kind of nonfiction film, the concept of documentary has been both fiercely contested and, through these debates, continuously expanded to refer to an ever more extensive corpus of works. By now, there is a broad consensus that documentary film as a genre cannot be reduced to supposedly “objective” recordings of the “actual world,” as both various kinds of reenactments and sometimes radical forms of subjectivity have (yet again) become well-established elements of many documentary films. However, it would seem that summarily treating “hybrid” documentary films, “animated documentaries,” and “documentary games” as nothing but the most recent chapter of the history of documentary occludes more than it illuminates. Instead, this article proposes to examine “animated documentaries” such as Chicago 10: Say Your Peace (Brett Morgen, 2007) or Waltz with Bashir (Ari Folman, 2008) and “documentary games” such as JFK Reloaded (Traffic Games, 2004) or The Cat and the Coup (Peter Brinson and Kurosh ValaNejad, 2011) through the lens of post/documentary, thus emphasizing not just their semiotic but also their occasionally rather complex referential multimodality
Isovists and the metrics of architectural space
Get PDFJoel Lamere’s prompt for this session of the 2019 ACSA Conference asks whether there are metrics other than the calculus of curved surfaces for making architecture. There are, and isovist theory provides a family of them. Developed continuously since 1979, isovist theory (and its ‘cousin,’ space syntax) has accumulated a considerable literature. With advances in computing power and coding techniques, isovist theory is poised to enter both design and design research processes fluidly and in a visually arresting way. This paper reviews the basics of isovist theory, discusses the software application ISOVIST, and concludes by discussing how isovists and isovist fields represent a new approach to deploying geometry’s experiential/relational power, to “metricising” architectural space, and to understanding what space is
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