420 x 490mm 160gsm paper, ink, adhesive film October 2015
An effort to make a piece of paper imitate an oilskin tablecloth. Exploring artifice and the futility of attempting replication. This fragile, partially water-proof fabric may be used as if it is robust and protective within a performance at a later date.
The comic sans flavoured print was designed as a stripped down 'happy birthday', isolating the manufacture of emotion.
Shown in November 2015 as part of RE:fold at the National Taiwan University of Arts. Each paper piece folded down to the dimensions of an OS map in order to be carried from Northumbria to Taiwan.
The year of the clown
November 2015 Baltic 39, Newcastle
A presentation without content. The start of a clownish conversation with my own practice and the art world. Performing the learning process I went through to find my place within contemporary art.
With thanks to Jodie Marks for the use of her postcards as 'notes'.
the female, the uncanny
video, photographs, research documentation, plants, ephemera June 2015, Leeds College of Art
The working space presented in this exhibition reflects continued research into artifice and being a woman. The desk and its contents were free to be handled and read.
The collaboration with Audrey Marvel (Grace's grandmother) in making the film and producing documentation was a factor that both enriched and complicated the process. The work presented here is as much about that process as the outcome. A conversation still underway.
With many thanks to Audrey Marvel, Sue Marvel, Roy Denton, Jenn Jordan and Andrew Stephenson.
Music Video - Trust Fund
When I was asked by Ellis (Trust Fund) to make this video I decided to put the song into the charge of loads of amazing women who I met/saw in the north of England over two weeks in June 2015.
I’m really interested in how a song can be altered when you experience it through a different person or situation. I first noticed this when I heard the Roy Orbison version of “I Drove All Night” which I had previously only heard by Cindi Lauper. I want to see if the tone or meaning of the song changes when the gender of the person presenting it is different.
I wanted the character of each person to come through, so I didn’t direct them to lip sync in any particular way - I really love the mixture of responses. I’m so grateful to everyone involved.
With thanks to Anne-Marie Atkinson, Asmaa, Cherry Styles, Daniela John-Charles, Esther Gamsu, Flis Mitchell, F. Norton, Hannah Williams Walton, Ingrid Francis, Isobel Harrop, Jenn Jordan, Jo Kimber, Jodie Marks, Julia Bear, K Tapply, Kate Rosanne Johnson, Mavis Boampong, Melissa J-C, Saffa Kahn, Sammaneh Poursh, Sue Marvel and Winnie Bear. To Andrew Stephenson, Devin O'Leary, Leeds College of Art and Northwest Zinefest.
Trust Fund - Dreams (Official Video)
An ongoing photo diary and observational exercise. Started April 2013.
The first exploration into the traces left by the performance of gender.
With thanks to Ben Owen
Recorded as part of a sound-making workshop for children and families, each moving image here adds to a cacophony of colour, performance, personality and haywire sound. Demonstrating hand-made instruments each child approaches the microphone with encouragement and sometimes discouragement from onlooking adults only half seen. The spliced sequences form their own chaotic patterns and synchronous moments.
in association with Benjamin Owen, Michael Sims and Arnolfini.
Still Lifes was my first collection of photographs.
After six years of shooting 35mm as a compulsion or way of processing the world around me, I noticed I was repeatedly drawn to still moments, and to objects placed naturally in tableaux.
In June 2014 I presented six A1 prints in Cafe Kino, Bristol, and a printed publication.
The book is still available to buy from Good Press, Glasgow. Large prints can also be requested, please email for details.
Music Video - The Nervy Betters
I filmed the footage for this video in Zurich in April 2014, on my phone. I then put it to these two songs by The Nervy Betters. Love those guys.