My latest poetry film 'Dark' with poet/performer James E. Kenward and with music performed by multiple award winning concert pianist Bota Zakir previewed at Weaving Poetry, Piano and Film at Mountshannon Arts, Ireland, on 24th November 2023. This was shown amongst an evening of live performances of poetry by James, with Bota playing piano pieces by Chopin, Debussy, Rachmaninov and more in accompaniment. The whole event looked like a wonderfully atmospheric evening in the setting of St Caimin's Church. I very much hope they can repeat the event elsewhere and I'll be able to attend.
A fun couple of days taking part in TEN:th - the 10th anniversary of the first exhibition of Art Language Location in Cambridge. I took part in the 2015 edition. An anniversary of sorts for me too, because it was the first time I had exhibited a film piece to the public and this time I was showing a recent film 'Gethsemane'. The support and encouragement of Robert Good and his team back in 2015 made a big impact on me, and what it means to exhibit and take part in events. It was lovely to catch up with old faces and new ones in the Cambridge crowd and those that had travelled from further, far and wide.
With thanks to the other photographers who captured more images of the events than me: Sara Lerota, Robert Good, Josepa Munoz, Alan Culverhouse, Veronique Chance. Loads more to see on the Art Language Location website.
The Procreate Project selected my work for the Mother Art Prize back in 2017. They are a brilliant organisation that aims to 'support the professional development of contemporary artists who are also (m)others, working across disciplines'. There is so much to admire about the vision and tenacity of the organisation and of its founder Dyana Gravina. They push forward with new initiatives but also continue to support and champion the artists they have worked with in the past. I don't think that's a small thing. Motherhood is tough, and feeling like you've got long-term creative friends in the background cheering you on is valuable to help keep your creative life going.
This is a project in which they are creating a series of public exhibitions using hoardings. The idea is to increase visibility for artists who are mothers and carers. This is my work as part of the exhibition currently in Deptford, London. Other venues have included Modern Art Oxford, Hastings Contemporary and Lewisham Shopping Centre
Deptford hoardings also featuring @littlefiresstudio @mamapaynter
@kimhopsonstudio @leenowellwilson @sarahsudhoff
Photos by Katie Edwards.
The finale! The closing event to my exhibition in Cambridge - 'Herstories: problems & solutions' went really well I think - with huge thanks and appreciation for my collaborators for joining me and allowing me to show their films 🤩 to an appreciative audience. Special thanks to Chaucer Cameron and Katie Dale-Everett for talking so eloquently about their work and their concerns.
Cheers to Richard DeDominici for Sylvia:Redux, for documenting the event with these great photos & for helping my coin toss 'Listening or Not Listening game'. Congratulations to the winner a copy of 'The Authority Gap' by Mary Ann Sieghart Please digest and pass on! 😁
Thanks to everyone who came, to Art at the ARB, and to Judith for all her support and organisation.
Very honoured to (remotely) be part of the preview event on 6th September for this year's Bucharest Feminist Film Festival. The curators selected four films from previous festivals to discuss how art and activism intertwine, and consider them in relation to the mural made by Wanda Hutira on the terrace of J'ai Bistrot Bucharest.
Sissy Doutsiou is an actor and director of the Institute for Experimental Arts in Athens, Greece. I'd met Sissy in 2019 when I attended the Athens International Video Poetry Festival, organised by Sissy and the Institute. There was so much to see in that Festival, but I particularly remember being blown away by the intensity of her live performance that I watched. So it was exciting back in April when Sissy approached me to make a film together. It's been a challenging project - a new way of collaborating, the subject matter, and working with two languages. Take a look at the results ... or some screenshots below.
I was fortunate to be invited to present in Panel 12: Remixing the archive – creative digital reimaging, reworking and reuse. I shared the new project that I’m working on with writer Toby Martinez de las Rivas and sound artist Neda Milenova Mirova that uses, and is inspired by, a photographic archive at the Museum of English Rural Life.
This stream aims to set up a discursive space to explore Warhol’s well-known love of repetition paired with Koestler’s seemingly condemnation of repetition. We will seek to theorise, articulate and demonstrate how radical forms of repetition can be creative, transgressive, disruptive, politicized subversion and acts of liberation within themselves."
In my session 'Repetition and Collaging of the Self' I talked about my filmmaking process - 'Repetition at 25 frames per second', alongside Shirley Chubb - 'Repetition as performance: from commemoration to constancy' and Sinead Kempley - 'Mining the same seam, dredging and composting: mythopoetic art practice and discard studies'. And many more presentations over the 2 day conference.
I first understood Haiku through the character of Ricky in the wonderful film Hunt for the Wilderpeople (a film written and directed by Taika Waikiki), and began to enjoy more of them through Dave Bonta. Haibun combines prose with a haiku.
Dave Bonta and MovingPoems.com have been involved with a competition for Haibun, and along with Dave and James Brush, I was invited to be involved in judging the filmmaking stage of the competition. As Dave explained, in his presentation to Haiku North America 2023 in Cincinnatti, where the Haibun films were screened:
"Videopoetry (AKA cinepoetry or filmpoetry) is a hybrid of film and poetry that can work especially well with haibun. Like haibun, it hijacks a narrative medium for lyrical ends in a creative subversion of a typical audience’s expectations."
It was the first time I've been on the other side of the festival fence as a judge. While the three of us had some different views on what we thought were the strengths of the films submitted, we had a unanimous decision on the winner - Table for One by Matt Mullins.