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Ungentle, etc.

Performing and Visual Arts 

Exhibitions, Winter 2022-2023

British Espionage & Male Homosexuality: Ungentle 

 

Huw Lemmey in collaboration with Onyeka Igwe

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Courtesy of Studio Voltaire 

Studio Voltaire is a hidden oasis in  busy Clapham Common. Renovated in 2021, the space functions as both artist studios and a gallery along with a limited edition shop: House of Voltaire. 

 

As visitors navigate through the multifunctional space, the gallery presents a black curtain dividing work and outer reality. A gentle narrator’s  voice is heard through the walls. 

Ungentle is filmed entirely on 16mm and is on a continuous loop between 10am to 5 pm, Wednesday to Sunday, at Studio Voltaire’s Gallery space. Watching the film, the audience experiences a sense of ‘spying’ on busy streets, calm countryside picturesques and historically significant places of the espionage. The protagonist directs the entire film from outside the camera lens, making the camera itself a pair of binoculars. As the narrator softly continues, one gets the sense of an intimate  conversation with someone about something not so secret. 

 

The film preserves a conversational sincerity throughout ,despite the critical themes it touches on such as: imperialism and sex. As described by the gallery, “It moves from St James’s Park, a historical cruising ground at the center of British power, to Beaulieu, a historic country house in Hampshire that served as a Special Operations Executive training school, and its surrounding countryside.”



More information can be found here.

  

Ungentle can be seen in Studio Voltaire until January 8th 2023. 

INSOMNIA  by LEAH CLEMENTS 

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Leah Clements new work INSOMNIA transports the viewer to 3 in the morning, no matter what time you visit the exhibition. Inspired by the artist’s own sleep paralysis and insomnia, South Kiosk hosts the artist’s first photographic solo exhibition. Curated by Marianna Lemos, visitors are placed in a setting with big  linen sheets and a bright blue carpet serving like a body of water underneath. Purple and green lights come through the photos, and doors from the photos open to hallways with an uncomfortable sensation of stuckness. Objects are thrown out of time, stuck in a  state between wakefulness and  sleep, moving but not going anywhere. Clement’s work is informed by this in-between state, where mind and body exist in a parallel world. Her world resembles reality, but simultaneously, space, time and the body are compromised. The photographs suggest  time that moves at an irregular pace, a space that appears disproportionate to its dimensions and a body stripped from its regular functions. 

 

 

 

 

 

 

The exhibition is accompanied by a sound piece with image descriptions. The viewer is given gentle suggestions as to how to navigate the space. The installation is produced so as to be accessible. From the gallery brochure: “Leah Clements’ practice includes performance, installation, writing and film to develop a language of chronic illness and disability.”

 

The exhibition can be seen at South Kiosk until 29 January 2023. There is a public programme with talks, workshops and in-person live events.

 

More information here: https://southkiosk.com/Current

BLOOMBERG NEW CONTEMPORARIES 2022
 

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Lou Baker- Red is the colour of….. 2019-2021

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Nicole Sheppard- Entanglement Study 2021 

Bloomberg New Contemporaries’ yearly exhibition is now open for its second show in the UK at South London Gallery. Supporting early career artists who are currently enrolled or recently graduated from UK art schools, New Contemporaries has been championing emerging creative talent through annual exhibitions since 1949. 

 

After a two stage process, 47 artists have been selected by renowned artists such as James Richards, Veronica Ryan and Zadie Xa. A diverse group  are showing work in various mediums such as painting, print,  photography, moving image, sculpture, installations, digital media as well as performance. The works explore many different themes, deriving from both personal and collective experience. 

 

The exhibition is on until 12 March 2023.

 

More information is here: https://www.southlondongallery.org/exhibitions/new-contemporaries-2022/

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Ishwari Bhalerao and Leonie Rousham 

End to Continual Cycles of Exhaustion, 2019

Noga

Noga Shatz 

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Eating a peacock for breakfast and staying alive - Mono-print Ink on tissue paper

Painting, Print-making, Sculpture and everything in between 

I usually just start working in my studio, using what’s available in the space. I begin with drawing and painting, experimenting with materials; I like to create monotype prints in my studio, without using a presser. It results in making drumming sounds which I see as part of the process/rituals. The beauty of working inter or multi disciplinary is that the work informs you what medium best serves. I don’t decide in advance. 

 

I have an idea of what I want to explore beforehand. Then I see what arises in the studio. My research is studio based. The work in the studio generates the research itself. From that process, images or experimentation with materials takes place, which I later explore in depth on my computer. I trace and explore the origins, cultural heritage, popular uses of these images, and how they are linked to me. And then I try things out from a more informed perspective. I then experiment further to see what medium is best for that particular work.

 

It’s a process, and I keep myself open for surprises. Plans are often fragile, dynamic. 

I mainly work with printing and painting, but sometimes I think the work needs sound too. I’m also a musician. And sometimes, instead of painting on the walls or canvas, the piece can be a sculpture or an installation. I like to keep those two worlds separate. Sometimes they link naturally, but I don’t set out to do that. My paintings have a lot of rhythms and sounds, a kind of relationship to music without sound.

 

I’m interested in pieces that are distorted. Distortion is a key word for me in both music and visual art. This translates to studio work using materials which go against one another, manipulating material in an unconventional way. For example: my work “ Handkerchief”xx is a monoprint made of tissue paper. The paper is fragile yet I am sculpting with it. That goes against the nature of the material. This is an example of how I use --and abuse --the materials. 

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Modern and classic female position, 2019- Monotype print on tissue paper 

Foreign subject, 2019 - Monoprint ink on paper

Both painting and printing have a long tradition behind them. Painting has a wealth of contemporary examples, but contemporary printmaking as a practice is not very common. There are amazing printmakers, but it is still seen as an edition-based discipline. I try to move away from assumptions like that by printing large scale monoprints in-house. They are basically in a contemporary setting instead of in a print studio environment. 

 

There is something about printmaking that has an element of surprise. For instance, in a monotype, print is a mirrored image. I like to work on a big scale, going against the way prints are traditionally made. So I don’t use the press. I am the press. I drum on the monoprints for the paint to transfer. I like experimenting with the monotype print-making because it's very fast, unstable, and unpredictable. It’s kind of a pirate way of working.

I like to work in this way because it resonates with who I am as an artist and with the contemporary world we inhabit. The uncertainty allows me to produce image after image, whereas painting can take months. It’s a different pace. My work ‘Foreign Subject’xx is from a 2019 exhibition. All are monotype prints, and all were done by the process I described. I was interested in peacocks and their relation to the female figure. Peacocks originated in India, and were brought into the UK to serve as moving decoration.

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"High society would look at them and say, ‘how beautiful.’ I asked myself why I was interested in peacocks? I felt a connection around the immigration and integration process, specifically having to do with the UK. The work started from that."

Foreign Subject detail

My last solo exhibition, ‘Wobble’,xx, was a year ago. All small paintings can originate as part of a larger painting re-edited. I was interested in fragmentation of images and how these can create new narratives. Just now I am retracing narratives of female figures from the sixteenth to seventeenth centuries. My focus is on how to paint these female figures from a female gaze, not from the gaze of famous male painters.  

 

In my paintings the female figure is quite different. The head might be cut off or the figure might not have legs. I will research these women to bring out her stories, not his stories. My research is quite wide at the moment, but it will narrow down to  figures of those centuries who were persecuted during witch hunt trials. 

 

Fragmentation of the human figure has a big presence in contemporary painting. For me it’s about the defragmentation of my own self image. It’s also about creating new narratives and new ways to portray women's stories. 

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Wobble, 2021- Acrylic on canvas

It links back to the fragmented narratives based on my personal experience of being a female artist, of how I experience imagery and distortion. It also relates to reality as I see it. We are never in one place. We are never a whole image. We are part of an environment that’s fragmented. We live in multi-layered realities, in several places at the same time. 

 

For example, there will be a message on my phone, and my mind will be somewhere else. Our lifestyles are fragmented. It’s not just that there isn’t only one environment. We’ve moved far away from any organic experience. My work is a reflection of my personal feelings and my surroundings. 

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Wrapped In DATA, Wobble, 2021- Acrylic on canvas
Photo by Peter Mallet 

My work is constantly changing. I like to be in dialogue with the work I’ve done in the past. The further away I get from some of my past work, the more clearly I can see links to what I’ve done. One major change was moving from painting with oil to a completely water-based practice. I find it less heavy, and therefore the weight of painting tradition is less burdensome. Water-based paints dry more quickly so they provide a faster working rhythm. 

During my MA degree at Slade School of Fine Art-UCL, I was exploring printmaking, and I shifted into a more water based approach. I also like the ability to mix and match, and to move between ink, watercolour, and acrylic. This is part of the  experimentation aspect of my work.

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Noga Shatz will be exhibiting her first UK solo show at One Paved Court Gallery this spring. 
Private View 17.5  Save the date! 6pm-8pm

The show will run between 17.5- 5.6
Noga will hold several talks and workshops in the gallery space
 

Artist website https://www.nogashatz.com/

Email: nogashatz@yahoo.com

Instagram: @noga_shatz_ 

Facebook: Noga Shatz

Twitter: @noga_shatz

jeremy

Photography &
Resilience 

Jeremy Alvarez 

I was born in a very small city, more like a town, in the Southern Philippines. I grew up on a farm and later moved to the capital, Manila. I work at a digital bank, handling their app. I actually do not know how I got this job three years ago. My degree is in Behavioural Sciences, which focuses on social systems. I’m looking for more creative opportunities, but everything offered me so far leads to yet another bank.

I started doing photography when I was in a very small high school in Manila. There were photography classes offered, and you were required to take them. The first semester was about basics, and we did a lot of shots on jeepneys. Jeepneys are basically vehicles left over from World War II. They are a cultural symbol in the Philippines, open air vans like a bus or truck, painted in all kinds of colours and symbols. 

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I didn't really get into photography until 2015. I went to the States for a month to see friends. We drove down Highway One in Northern California. It’s along the coast. At one point we stopped at a cliff looking directly into the Pacific Ocean. Everything was in Northern California colours--deep browns and dark greens. Watching the waves crashing to the shore, I realised: ‘I need a camera’. Back home, I immediately bought myself a cheap Pentax. My godfather, a professional photographer for years, took me under his wings for a while. I learnt more about photography from him than I had in my classes.

 

When I am hired to do a ‘photoshoot’, I use my digital camera because it’s practical. Film photography, though, forces me to be in the moment. As an anxious person, I value this quality. Most of my shots are candid, taken on walks with friends. My personal projects are on film. With analogue photography, you don't see the results right away, so it adds preciousness to the viewing. When you print out the photos, it means more than it does with digital photography. 

 

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Overall, the reason I like photography has less to do with the image and more to do with the story of the image. It’s why I like photographing people. As human beings, we’re drawn to one another's stories. I’d rather shoot a portrait of someone I know because their story is familiar, and I can empathise with what they’re feeling. Merging images with writing, putting a face to the words, is what I enjoy. Writing and photography work well together. Lately I’ve been playing around with personal projects that combine the two. I do portraits of people who have helped me through very dark periods of my life, explaining through words what they mean to me  and showing their faces in the photographs. 

 

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From Jeremy's article Barangay Riverside:

 

A lot of natural disasters happen in the Philippines. There’s a glorified idea of Filipino resilience, how we smile in the face of danger and tragedy. A lot of Western coverage portrays us this way. This quality of resilience is co-opted by politicians, both local and international, as a way of formulating a narrative which insists we are strong. Therefore, nothing has to be done.

 

Bad things are going to keep on happening to a lot of people, their lost lives reduced to numbers on a screen. But these are real people. With every disaster, every one of these people’s lives is harder than ever. If we keep using resilience as an excuse, there will be even more hurt. Resilience is not an excuse not to act, either locally, nationally or internationally. 

 

My photographs show who these people are and what their houses look like. In some of the images, you will see smiling faces. But we cannot rely on that. We do not need to be cheerful in the face of destructive circumstances. We need bad things not to happen. For a lot of people, words are just words. But the moment you look at photos, suddenly you see people. Their houses are real. The children who run on the streets are vital, breathing beings with lives to be lived. 

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When Photography Serves Film 

Gülce Tulçalı is a London-based visual artist whose practice includes moving image, photography, and performance art. She visualises women and authority relationships from a citizen-government point of view. Emphasis is put on technologies and nature. Gülce uses a variety of methods from digital processes to darkroom printing. She writes and edits her own films. Recent shows includes with fists, it kicks, it bites at Webber Gallery, and Hang Ten at ArtLacuna.

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Gulce
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The variety of media I use gives me the gaps I need to breathe. Often the work calls for the medium it wants to be in. I just try to generate a set of skills that can succeed in them when the time comes. Recently I have realised the photographs I take serve as a storyboarding/planning phase of the movies I shoot. It took me a while but it made me very happy to finally discover this pattern. I visualise a moving image in my mind. Because the way I shoot is experimental, taking the photographs of the sequence makes the path from inspiration to reality a step closer. I have only done one installation in public. It was accompanied by a piece of writing. I would like to do more if the context is right. I am still forming/learning as an artist; I am trying to enjoy without fear what other mediums have to offer my practice. The process does not work all the time, but I am determined to keep my options open with moving image being a constant.

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Representation of women is a tricky subject, and the obsession with getting it right has made me pause for a long time in my art practice. After the first wave of work on the subject, what I created was so charged, it was difficult to imagine another way. My approach towards my own work had to change. I decided to accept that I am never going to get it right. My aim is authenticity. I often keep things abstract to run from stereotypes. One way of dealing with conventional visuals is to leave the image empty, an absent segment like negative space in the darkroom. Now I believe it is time to go deeper and more structured and quit assuming the issues I am dealing with are obvious. The themes I address are not yet part of mainstream conversations.

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Emel
          "Many of my female students said, 'I want to be a photographer and travel the world just like you.' When you see this spark in girls’ eyes, as they realize another life is possible when they cast off the limiting side of customs of where they live, you feel your mission is completed."

How long have you been a Londoner? Where are you from, where do you live right now? 


 

      I’ve been living in East London for three and a half years. I moved from Turkey with my partner because we felt more and more constrained in Turkey. I’ve always found London an inspiring, soul-nurturing city. At the moment, I’m searching for what I can do instead of photography. I’m trying to be nurtured from multiple channels at the same time. We’ve been vegan for the last six years, and I’m heavily invested in this journey. I  just finished vegan chef training. I keep thinking that what will save us is giving up harmful habits. Therefore, I’m leading a life focused on food at the moment. I’m not going onto the streets with signs protesting animal consumption. But I’m trying to help end this and other things by being involved with what we eat.


 

How did you come to be conscious of what you eat and its impact? 

 

      In Turkey, adults teach children to befriend animals. Then all of a sudden, children see animals being slaughtered right in front of them during the Feast of Sacrifice. Of course, the adults do not realise the trauma they’re causing. After witnessing animal slaughter when I was four years old, I stopped eating meat. My twin brother has not reacted in the same way and is not troubled. I have been researching the ways women are more prone to understand and grieve wounded beings, whereas most men seem to have no problem adjusting to killing animals to eat. There are more vegan women than vegan men. As a four year old, I vividly remember being the “problematic” child, forced to eat white meat, running away from the bone broth smell. 

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Happiness of making your own fermented vegan cheese 

There are so many aspects to your personality: you are a photographer and founder of a darkroom for refugee children. Now you are working as an assistant in a kitchen. You’re a mother and a migrant from Turkey to the UK. What ideals keep you going?

 

  Oh wow, now I understand why I’m tired! I studied journalism and photography in university. We had photography classes, even a darkroom in my high school. My dream was to be a war correspondent, but I became scared of this dream when I saw that  journalists were dying. But when I saw their photos, I always felt, “I should have been there.” I’ve always been idealistic. Where did this come from? I do not really know.  My family is from the Black Sea region. I don't know why, but I have always felt closer to Kurdish people. I left Istanbul where I was settled, became a travel photographer and moved to Mardin where I fell in love with Can and decided to stay there. 

 

  With an Istanbul mentality, you would not choose to live in Mardin. You would not want to visit. It’s a border zone, too far away from Istanbul. It’s seen as dangerous, even though people are ignorant about life there. Throughout my life, I’ve wanted to be on the side of the disadvantaged and hurt. When I married and decided to stay in Mardin, I made friends with women who were married just like me but did not have the same freedom. Many women could not go shopping; they had to ask their husbands for clothing. Our neighbor's daughter ran away from her family because of this. I wanted to be the voice of these women, to communicate their reality to others. The "others" were those in the western part of Turkey. Sirkhane Darkroom started from this same desire. The darkroom was a place for Syrian children to take photos about their experiences.  The drive to share what I learn is what keeps me going, a search to answer the question, "what difference can I make to another person?" My mind keeps making connections, like a spider web, and  how  I can show this to others drives me. 

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Dappa Drop – vegan food enterprises photographed by Emel

A girl selling fresh chickpeas in Mardin

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Emel's co-authored new book on "50 ideas on Veganism"

Fermenti – another vegan female-led small business photographed by Emel

  Without realizing it, you find nourishment from many channels. Even though I still doubt whether I made the right decision to have a child in this troubled world, I learn so much from my son. Meanwhile, my views on motherhood and the way I see my own mother have completely changed. I look at women who are mothers and trying to survive, women whose lives are lived differently from mine, who work slavishly their whole lives. What keeps me going is these women, the women who cannot go to the shopping centre alone, the young woman forced to leave her house, the Kurdish women who need to escape to the mountains. These are the women who keep me going, who are forever in my mind. The most inspiring feeling for me in Mardin was being an example for the local girls. It’s the custom for teenage girls to be married, burdened by house maintenance and raising kids at a young age. When they see a female like me working independently, they respond in amazement. They see it’s possible for them too. They saw me as a role model, saying “I want to be  like her.” Many of my female students said, “I want to be a photographer and travel the world just like you.” When you see this spark in girls’ eyes, as they realize another life is possible when they cast off the customs of where they live, you feel your mission is completed. Through the workshops in and around the darkroom, we witnessed young women unwilling to accept a life defined largely by the pressures of life as a traditional housekeeper and wife.


 

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Sirkhane's first exhibition poster in Arabic 

When Emel used to bring darkroom home 

What are the difficulties you face, both in Turkey and in the UK? 

 

  When I first came to London, I was twenty-four. I had given up a dream photo editor job on a leading magazine in Istanbul/Bebek. I used to commute with a Vespa, and my dad used to tell me, "please Emel, cover your hair." Because I was a woman driving a motorbike, I got cornered by other drivers, assaulted on the road. I used my middle finger quite often during those times. I wanted to move into a loft, alone. Despite being modern, my family was not supportive as I was not married. When I arrived here, I felt liberated. I was tired of the values and societal dynamics exhausting women. Now as a woman who is also a mother, I value so much here. I feel taken care of. The fact that you can walk everywhere with a baby around London is significant for me. When people see my son Aki with me, they offer their seats. That’s important to me. Whilst I feel more valued in London as a woman, I struggle as a migrant. No matter what you do, you begin from behind. This is a fact, but I still think this could be more intense in other cities which are less multicultural.

Can we say making your recipes from scratch demonstrates your will to maintain an interspecies harmony? Your food choices are a way of addressing grief around the climate? 

 

   Absolutely. My drive to be vegan peaked after I started breastfeeding. Not eating meat is important, but milk cannot be left unaddressed. I gave birth in London at a breastfeeding-friendly hospital. Nurses and midwives came around to assist me with the feeding. Somehow, I managed to breastfeed Aki for two years. Despite my son's needs, my memories are painful. I remember the electric breast pump, resulting in pain, irritation, and cystitis. I considered that I had to do this one time, but the cows have to do it all their lives for us to have milk. It doesn’t sit right with me. I understand this being misunderstood. However, if we want to end interspecies suffering, lifestyle changes must happen. There cannot be fundamental change without stopping milk consumption.


You are the founder of Sirkhane Darkroom. How do you feel about something you started from zero receiving international recognition? 

 

   I want people who support it to go visit if they can, to be inspired. It’s my dream to found a plant-based culinary school as a community kitchen in Mardin, with people from all cultural backgrounds. It would be like Made in Hackney is here. Everybody will cook together, share the experience and learn to live together eventually. 

 

  That was the aim of the Sirkhane Darkroom. The children had been exposed to countless biased stories about people from other backgrounds. This changed through the children’s photos. Children from Syrian, Turkish, and Kurdish backgrounds exposed their families to each other through the photographs they took. These are the kinds of projects we should offer in areas where there is a lot of forced immigration. Projects of cohesion are not supported because of the excuse of limited resources. There were so many children who did not know the function of the camera they were holding, what this box was about. Now they tell me they can never look at the world the same way after seeing it through the lens, without thinking about making "a good photograph”.

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Photos taken by Sirkhane students  

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Sirkhane Darkroom is now continued by Serbest Salih. You can purchase Sirkhane's photobook "i saw the air fly" published by Mack Books here.

Features, Summer 2021

Fizzy Sherbet Summer
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Emerging Voices is pleased to present further voices from Fizzy Sherbet Podcast and Plays: Carving the space for Womxn Writers.

Our March issue features a video of the co-founders, Lily McLeish and Tamara von Werthern, along with the
other members of the collective.

 

See this here.

Here’s a further introduction to three of the team, along with the works they’ve directed and/or written.

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Bio:
Sandra Theresa Buch works in theatre education as a dramaturg, workshop leader and lecturer. She trained
as a director and dramaturg at RADA and Copenhagen University. Since 2016, she has been head of the BA
in Play Writing Program at the Danish National School of Performing Arts. She is currently a member of The
Reumert Prize committee, the prestigious annual awards ceremony which recognizes excellence in theatre achievement in Denmark.  
 
Director of Lemons:
Lemons by Tamara von Werthern is a beautiful and disturbing memory piece – a poetic essay about
unrequited love. Reading it, I remember feeling a sense of recognition. It was exactly how I felt about Brexit.
The piece embodies opposites like love and loathing, engagement and alienation, revenge and (perhaps)
acceptance. It’s full of inspiring images and landscapes. Above all, it has a serene, honest and authentic feel
to its structure and language. I asked Tamara to perform the piece herself, rather than having an actor do so.
Keeping it simple, I went with a spoken word concept, supporting her words and story with atmospheric
soundscapes and a recurring, brutal sound event to move and disturb the listener. The brutality of Brexit is
expressed through and against Tamara's soft voice and personal story.

Sandra Theresa Buch - Director & Dramaturg

Lemons

Excerpt of 'Lemons' – listen to the full play here.

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Bio:

Anna Girvan is a theatre director from Newcastle Upon Tyne, now based in London. She is Associate Director for Tom Stoppard’s Olivier Award winning latest play Leopoldstadt. Anna will be directing a new adaptation of The Invisible Man by Philip Correia for Northern Stage in Newcastle in January 2022. Past experiences range
from devising adult pantomimes to being a Creative Fellow at the RSC. Presently, Anna is working with a stand-up comedian directing their upcoming piece for the Camden Fringe in August.

Director of …blackbird hour:

...blackbird hour is one play from a trilogy by babirye bukilwa. A painfully honest, multi-layered and poetic journey, it follows a woman dealing with mental health issues. babirye has created a complex character, one who is black, female and queer. Profoundly unique in one sense, this creation also mirrors the universality of countless mental health struggles. babirye’s stylistic boldness and fearless writing drew me in from the start. I’m compelled to dive into stories and lives far different from my own, ones which frighten me with the realization of how ignorant I am. blackbird overwhelmed and moved me.

Director of Jellyfish Blooms:
Jellyfish Blooms is a monologue from the perspective of a jellyfish. Inspired by the book, Art of Living on a Damaged Planet, Marie Bjørn originally wrote this piece for stage where it has been performed in Denmark by a trio of actors. In our podcast, it is one voice reaching out from the depths of the ocean. The voice is an ignored, forgotten, feared and misunderstood ‘monster’. It has come to remind us it has been around for a lot
longer than us humans and knows a thing or two. I loved the absurdity, dark comedy and intelligence of this piece. The voice is one of revolution, optimism and defiance but also nostalgia, play and wonderment. Working with a Danish playwright and Danish actor was a dream come true .

Anna Girvan - Director

Blackbird Hour
Jellyfish Blooms

Excerpt of '...blackbird hour' – listen to the full play here.

Excerpt of 'Jellyfish Blooms' – listen to the full play here.

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Bio:
Josephine Starte is an award-winning writer performer working in theatre and film. She’s particularly interested in tragicomedy, poetry, psychoanalysis, and the space between fiction and documentary. Josephine co-directs the critically acclaimed theatre company Live Beasts (called "a reason to be cheerful" by Tim Crouch), and co-founded GUM Improv, nominated for Best Group at the Phoenix Comedy Awards.
A member of BFI Network and BAFTA Crew, she was an invited Drama Fellow for the Alpine Fellowship at
their Venice Symposium. Her past work has been called "very cool" by show-runner Joey Soloway and
"beautiful, hilarious and painful at once" by poet John Burnside.

Writer of Hornet:

Set in a gallery, Hornet takes us into the mind of a pregnant young woman as she recalls a relationship with an older artist. It may have been coercive, and equally, may have been a passionate love story.
Partially inspired by a true story, I wrote it as an exploration of how a relationship is archived and held in the body, and the slipperiness of language surrounding love and abuse.

Josephine Starte -
Writer; Performer;
Co-Host of the Fizzy Sherbet Podcast

Hornet

Excerpt of 'Hornet' – listen to the full play here.

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Tom Medwell
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I was born and mostly raised in London – 41 years now – with a little bit of Germany in the
story. I currently live in North London’s Haringey, where I’ve been most of my life.
My stepfather was a photographer, and I used to assist him when I was a teenager. My
first career was actually as a writer. I worked for a few newspapers and did freelance
work. I still write, but I started photography when I was about 26. I was given an
analogue camera, a Minolta, which I still have and which still works. I discovered that
everything I tried to express in writing came so much easier in photography. When I
was developing films, they emerged right out of my head, and I became addicted to

that.


In Summer 2019, I worked on a number of series. I took a lot of photographs, in
different stages, with very small changes in between, and displayed them as darkroom
prints. Then I had a moment when I knew I wanted to compress them all into one
image. That’s when I started working with multiple exposures where a small action
takes place in every exposure . I thought about how time can become a material thing
and how human perception of time is not something we learn; it’s a natural way of
existence. But to make ourselves aware of time is a project in itself. That’s what I try to
do with my work.

I always shoot analogue for my artwork because the relationship between camera and time is integral and much stronger with analogue photography. There’s a direct link to the passage of time, whether it’s light hitting the camera or shutter speed or the time it takes to process a negative.


I’ve been making darkroom prints only recently – just two years. In the past, when I was only photographing for work, I made fun of film photographers. I saw them as people buying into this expensive Instagram filter, being retro-cool. I didn’t try to get into analogue processes until I tried to master it. That involved hours and days and evenings in the darkroom: learning the skill of analogue photography again. Skill is essential to fluency, and fluency is crucial to being clear.

 

A strongly developed technical approach is central in exploring the relationship between time and analogue. Darkroom work is very meditative. It’s not something to be rushed. Making one print can take a day, a week, or a month to get right. A concentration of time goes into this object: the photograph. It brings “weight” to the work, manifesting time as a physical thing.

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"So much time in our hands.

Hours spent watching the sun trace slow points of arc across the flock wallpaper,

shadows thrown by the plants standing guard by the window.

The sounds of the high-street drifting by, scooters and sirens, gulls and crows.

Time becomes this solid thing, a weight, a pressure.

Something to be held in two hands and put into place: and so we build."

Apocalypse literally means "unveiling or uncovering". I may sound old now and I know I
am not, but for the last 10-15 years time has been speeding up. Lockdown was like a
hand brake. Everything had to pause, to stop. Everybody stayed home, and the reality
of time manifested in daily lives. Weeks and days passed without anything happening,
dislocating time. I was interested in finding clues to this frozenness, especially in the
first lockdown right before Easter. It’s weird to be documenting something historically
important. At the moment, you’re not aware of being at a turning point. When I realized

the significance of the time I was inhabiting, I sought to document the world at standstill. Something personal for me was universal.

Another lockdown work, Manifold Series, has several meanings. In physics, it means
dimension. For me, it was manifesting sites of trauma from my personal history, creating
time-based sculptures which represent my traumas and my memories. In the primary
school shots, I was seeking to occupy the space with memories that exist in and out
of time, the relationship between space and memory. Memory doesn’t rest in a fixed
position and is never precise. Most of our memories are a series of time past,
compressed into one moment. I am trying to make things that signify that time/memory
relationship.

A lot of my work has to do with personal history. When you extract the trauma, you separate it from yourself, quarantining it. I took a lot of photos in different parts of the school. There was a room with perfect light in it, and a chair right at the corner. It reminded me of sitting on the chair and looking up to the teacher while she spoke.
 

When I was at school, I was unhappy and felt hidden in the corner, fading away. I wanted to build a structure to represent that. In these pieces, the point of view looks down on the sculpture. I sought to spread in and out of time and space, capturing how I felt as a child. It was an attempt to rehabilitate myself. In modeling moments of trauma, you can accept yourself in the space. It’s a healing process.

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Joel Katz 

Filmmaker 

  • The #1 Bus Chronicles

  • ​White: A Memoir in Color

  • Strange Fruit





 

Joel Katz is an American filmmaker and educator whose chosen genres are documentary and memoir/essay. His best-known film Strange Fruit, about the history of the anti-lynching protest song made famous by Billie Holiday, is in the permanent collection of New York’s Museum of Modern Art. Since 1996 Joel has been a Professor in the Media Arts Department of New Jersey City University

 

We’re pleased to introduce Joel via a video conversation recorded in April, 2021. In addition, we’re presenting six clips to introduce his three films: Strange Fruit (2002); White: A Memoir in Color (2011) and The #1 Bus Chronicles (2020).

To view any and all of Joel's films, you can get an access password by emailing editors@emergingvoices.co.uk. We'll send it to you.

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Joel Katz interview: Origins

Joel Katz interview: Film Summaries

The #1 Bus Chronicles Trailer

Joel Katz interview: My Father's Story

Joel Katz interview: Whiteness: An Acquired Status

Joel Katz

Joel Katz - My Father's Story 

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White: A Memoir in Color. Trailer 1

Joel Katz interview: The Adoption Process

White: A Memoir in Color. Trailer 2

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Joel Katz interview: Color Isn't All There Is

Joel Katz interview: High School Kids

Joel Katz interview: Teacher

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Strange Fruit Trailer 

To view any and all of Joel's films, you can get an access password by emailing editors@emergingvoices.co.uk. We'll send it to you.

Features, Spring 2021

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Co-founder
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Fizzy Sherbet was born at the end of 2016, just after the US presidential election. Theatre director
Lily McLeish and playwright Tamara von Werthern met for a coffee. They were enraged that a man,
on record saying horrible things about women and accused of unforgivable acts, had just moved into a position of massive power. Women’s voices were being silenced and female narratives were dismissed.


Born in outrage, Fizzy Sherbet aims to amplify women’s voices and provide a safe space in which they can be heard loud and clear. Lily and Tamara already had a strong interest in addressing gender inequality in the theatre industry. The logical next step was to put these ideas into practice. A call-out sought short plays written by women. The language was to be English, but worldwide submissions were invited. There were no restrictions nor given themes, simply compelling stories.


They were overwhelmed by the response. Many hundreds of plays from all over landed in the Fizzy Sherbet inbox, from places including Hawaii, Italy, Germany, the US, Canada, and the UK. Tamara organized a series of readings at an East London venue, the Hackney Attic. Not only did they sell well (the most-attended gig at the venue that year), but a lot of attention from the theatre industry ensued. Most importantly, they connected writers, actors, and directors, all of whom mingled in the bar in that pre-Covid era of freedom to mix.

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Seven writers began the pilot season: Marie Bjørn (Denmark), Babirye Bukilwa (UK), Eve Leigh
(UK/US/Ukraine), Amy Ng (UK/Hong Kong), Buhle Ngaba (South Africa), Josephine Starte
(UK/Australia) and Tamara von Werthern (Germany/UK). After their play reading, each writer was
interviewed, alongside a guest who added another dimension to issues raised by the play.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Fizzy Sherbet has gained listeners in over 25 countries around the world, and has had over 1600
downloads of its initial eight episodes. In November 2020, Fizzy Sherbet won a Special Mention at
The Sarah Awards, an international fiction in podcasting award based in New York. It honoured
episode six of their pilot season, WHITE TUESDAY, written by Eve Leigh and directed by Lily McLeish.

Lemons by Tamara von Werthern
Special Occasions by Amy Ng
White Tuesday by Eve Leigh

Lemons was written and performed by Tamara von Werthern, directed by Sandra Theresa Buch, Sound Design by Esben Tjalve (Extract from Episode 1)

Special Occasions was written by Amy Ng, directed by Lily McLeish, performed by Jenna Augen and Ruth Marie Kröger, Sound Design by Julian Starr (Extract from Episode 4)

White Tuesday was written by Eve Leigh, directed by Lily McLeish, performed by Jennifer Jackson and Evelyn Miller, Sound Design by Julian Starr (Extract from Episode 6) 

 

For the entire podcast of White Tuesday please visit fizzysherbet.podbean.com


Go to 

Find Fizzy Sherbet on Apple, Spotify or
 


All women and non-binary people from anywhere in the world, and of any age, can submit short
plays (10-20 minutes) written (or translated into) English on any topic (but with a cast of no more
than four actors). Send your plays to fizzysherbetsubmissions@gmail.com to be considered for the
next series.

 

When the first lockdown started, Lily and Tamara recreated Fizzy Sherbet so it could function independently of venues being open or shut. They launched as a podcast. An added benefit was the ability to reach audiences across the globe as well as to encourage worldwide submissions.


The impact of continuous lockdowns on the theatre industry is dire. Early indications are that women will be more affected than men, and women are already underrepresented and in increased danger of being pushed out of the industry. Gains made in the last three and a half years in redressing gender inequality are in danger of being erased. Fizzy Sherbet seeks to prevent further erosion and to build a robust female theatrical presence.


Lily and Tamara assembled a team of seven female theatremakers. It includes producer Steph Weller, director Anna Girvan, dramaturge/director (and leader of the Playwriting School Denmark) Sandra Theresa Buch, producer Ameena Hamid and actor/writer Josephine Starte. The team started zooming across three different countries, thinking and planning together. Working as a collective brought strong connections and counteracted the depressing reality of lockdown. See the collective in action above. 

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Fizzy Sherbet

Cover Art by Alice Mueller 

Daniel Bracken
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Visual Arts Features, Winter 2020 

Veronica Viacava, W2020

Veronica Viacava  

Visual Arts Feature, Winter 2020

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Emil Lombardo, W2020

Emil Lombardo

Visual Arts Feature, Winter 2020 

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Biddy Peppin, W2020

Biddy Peppin

Visual Arts Feature, Winter 2020

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Summer Features, 2020: 

Click on Image to Read Individual Feature

Amanda Holiday, Summer 2020

Amanda Holiday

Visual Arts Feature, Summer 2020

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Artist, poet & filmmaker Amanda Holiday completed a degree in Fine Art before moving into film & scriptwriting. She directed several short experimental films for the Arts Council, BFI and Channel 4. Between 2001-10, she lived in Cape Town where she wrote and directed educational television series'.

Her chapbook 'The Art Poems' was published in April 2018, as part of New Generation African Poets, a chapbook series by Akashic books (US). Her text ‘A Posthumous Conversation about Black Art’ was published in the first edition of Critical Fish Journal. She completed her Poetry MA at UEA in 2019 and has published poetry in journals internationally. This year she founded the UK’s first crowdfunded poetry press, Black Sunflowers, to promote the work of older women and black poets.

Woman with scissors

 

This drawing is from 2009 and is chalk and pastel on paper. It is around 1m x 1m and was drawn at a time when my marriage was coming to an end and I was planning to leave South Africa and return to London with my daughter. I had been drawing a series of giant women. My nickname for this piece is ‘Rapunzel’ because of all the hair. Years before in 1989, I made a strange experimental film ‘Umbrage’ with a Rapunzel who leaned out of a window of a white tower. The art director wove together masses of artificial afro-hair to create an enormous plait which then had to be weighted with a bolt so it could be thrown cleanly out of the window for the rescue. 

This towering woman however has freed herself. She wields scissors as proof.

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Jean Keale, Summer 2020

Jean Sugarbroad Keele

Visual Arts Feature, Summer 2020

Jean Sugarbroad Keele, born in London, England, moved to Toronto, Canada, in 1977.  Now a retired teacher, she has volunteered for over four years in the Palliative Care Unit of a large Toronto regional hospital. In this time of Covid-19, she is also using her hospice training to contact seriously ill people isolated from others. 

 

She shares a small downtown apartment with her husband. Private space is at a premium for both of them. They have two bathrooms, and hers was large enough to use for other purposes. During "lockdown" anything goes! Oh Canada!

O CANADA! (National Anthem of Canada)

 

 

O CANADA, OUR HOME AND NATIVE LAND

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"Lockdown - new office space - the only private space in my apartment to work in during Covid"

WITH GLOWING HEARTS WE SEE THEE RISE, 

THE TRUE NORTH PROUD AND FREE

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"Not just Toronto, but the world seems on fire at dawn in early April 2020"

FROM FAR AND WIDE, O CANADA,

WE STAND ON GUARD FOR THEE

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"Ready and masked"

GOD KEEP OUR LAND, GLORIOUS AND FREE 

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"NO MORE BRAS... now just masks"

OH CANADA, WE STAND ON GUARD FOR THEE

 

  

By mid July 2020 the COVID stats for Canada are:

9,000 dead

108,000 cases

80% deaths in Long Term Care homes

Border with USA still closed to non-essential travel

Lorell, Summer 2020
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Lorell Harris

Visual Arts Feature, Summer 2020

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My name is Lorell Harris. I am 19 years old. I have a passion for photography and graphic design, which I'm now studying at college.  My dream job is to have my own photography business. In my creativity journey so far, I have achieved my Level 2 in Creative Media. This was a big achievement for me. I didn’t pass it the first time around, which really affected my confidence. However, my determination and commitment enabled me to succeed and attain this level. I have grown in confidence in my work, and I have learned not to give up. As I am not academic, I struggle in subjects like English and Maths. But when it comes to my photography and design work, I feel I really excel in communicating a message. The imagery and the words I use give me a sense of freedom. 

 

These photos were taken in north London's Finsbury Park.

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Chekia, Summer 2020
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Chekia Madiridze

Visual Arts Feature, Summer 2020

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Chekai Madiridze, forty seven, is a talented and passionate artist. He teaches art at a high school in Harare, Zimbabwe. He says of his work, "Art is how I communicate what is inside me. I seek a platform to exhibit my thoughts, a platform that reaches out and helps the world interpret reality in different ways."

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Prav Menon-Johannson

Visual Arts Feature, Summer 2020

Prav Menon-Johannson is a theatre producer and director in London. In 2019, she moved for a year to Cambridge Massachusetts, where these photographs were made. Currently engaged in  documentary filmmaking, Prav travelled to Ghana and Senegal in January, creating a short documentary for a sexual health contact tracker (www.sxt.org.uk.). Covid-19 brought new insights as friends from all over the world told their stories about the virus’ impact. The emergence of Black Lives Matter also came to the fore, creating more essential narratives. Based on these new realities, Prav is assembling a world photomontage of how people in different countries perceive the shutdown and the impact of BLM on individuals and communities. Her newly formed PMJ films will release a film in 2021, a look back at this tumultuous time. See her current work at www.pmjproductionsltd.com.

These photos were taken in Cambridge, Massachusetts, in June, 2020.

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Prav Menon, Summer 2020

Tamara Capellaro

Visual Arts and Poetry Feature, Spring 2020

I earned my living as an artist from 1981 until I 'retired' in 2013, partly in response to the closure of an Arts Council funded project I was leading at St. Ann's Psychiatric Hospital for inpatients, outpatients and staff.  The Water Tower, where the project resided, and the Walking the Wire Well sculpture were both made for the hospital. I was an inpatient there in early two thousand.

 

Since retiring from drawing and sculpture, I have been improving my writing skills, partly because I am 'manic-depressive' . Writing enables me to channel some of the visionary states and anger which both inspire and plague me during mania.  The desire and ability to write desert me entirely during depressions. 

 

For years I worked as an art teacher (not art therapist) in HMP Pentonville, often with suicidal prisoners.  A lot of my writing is about issues around imprisonment in London and about mental illness. It does not always make light reading, despite my devotion to humour. But I work to tell my truths clearly. 
 

www.walkingthewirewell.co.uk

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TIPSY


The paced sound of birdsong accompanied my digging, quiet rain watering my work.
I lay my dog’s body in the grave and covered her with the hard clay of London.
Wooden planks made a barrier between my old companion and the appetites of foxes.
A posy of white sweetpea, scabious and faded rose pays tribute to her qualities of
constancy, spirit and grace.

Ten years ago she arrived with an angry-eyed girl, both refugees from a crueller home.
Pregnant with nine puppies, she ate earth, dug nests and taught me how to be wild.
Soon she breathed out her brood and we fed them with bitch milk and porridge.
When the last puppy left, we settled into a serene alliance between human and hound.

Five years later I was taken to live in a hellish lunatic asylum.
Denied the right to be with my daughter, I sat on a bed’s edge and planned my death.
At night I stretched out my hand, thirsting for my dog’s tempered sighs.
On release, my dog and I dashed to the wild woods and stood still in our little patch of
freedom.

Now I haunt the woods alone, held stable by the songs of birds and the leaps of
squirrels.


My doctor and the blackbirds warn me to pace myself as I stamp the earth with bitter
love.


I rest my ear against a tree and see a picture of my daughter crying for her lost dog.
I rest my head against a tree and see a mirror picture of my daughter crying

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Thinking Man

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I compared myself to my dog


She’s a bitch.
She doesn’t mind that I haven’t had a sheet on my mattress for over a year.
She doesn’t mind that the duvet has no cover.
She only minds a little bit that the duvet has torn and each day more and more duck
feathers float around the tiny bedroom and get stuck on the end of her nose.
She’s a black dog and the white feathers look silly on her.
She’s a long-haired black dog and her fur floats around the room and gathers in
corners like the brushwood in deserted cowboy towns.
Each day I look at the state of my bedroom and ask myself
“Should I do something about the state of this room?”
Each day I answer: “If my dog doesn’t mind, why should I? it’s our lair, It’s private.”
The white feathers and the black fur remind me of the sort of fairy tale where a
princess is locked into a room full of thousands of different bird feathers and if she
can’t sort them by the morning something terrible will happen.
Well, I know I’m not a princess but here I am in my room and the morning never
comes in my story and the Terrible Thing has already happened.
Time is stopped and the only movement is the breathing of my dog and the floating of
the feathers and fur.
In the middle of the night I put my hand out and find my dog and pat her and say
“Good girl .... good girl.” because once she lived in a home where she was tied up at
night and beaten in the morning if she had wet the floor - and now she needs to know
that she is ‘good’ just for being alive. Sometimes I say “You’re precious.”
Once I lay in a hospital bed in a psychiatric hospital and I longed to feel the breathing
of my dog under my hand and hear the sound of her sighing in the way that only dogs
do when they expel air and their whole bodies relax. It’s a comforting sound when
you are trying to hold onto life.
My daughter told me she is writing her autobiography: it is English homework.
She said that one part describes our living room floor. She won’t read it to me
but said that, if I want, I can send it to Dr. M, who is my psychiatrist.
I know that in this writing she mentions the empty tin of tuna that our dog raided
from the kitchen and has kept her company for a week or so. And other mess.
Each day I look at the state of the living room and ask myself:
“Should I do something about the state of this room?”
Each day I answer:“Yes, it is bad for my daughter to live like this. I must try to do something about it.”
Some days I try to tidy up. Most days I say to myself:
“It seems so unimportant compared to other things.”
I look at the cello on the floor, the keyboard on the chair, the microphone stand, the amplifier, the
bass guitar in the corner and the whole contents of my old, enormous studio crammed
into one end of the living room.
The only living things in this room are my dog and my daughter and her music.
I get home sometimes very tired.
I walk down the path and see and hear my daughter playing cello through the window.
She doesn’t stop when I walk in and I have to cuddle our dog to stop her barking.
She doesn’t stop when I walk in because she knows that listening to her playing is
another thing that keeps me alive. She doesn’t stop because it is her own world.
I look at her and wonder “How could this have happened? That something,
someone so profound and balanced could have grown out of this room? This home?”

Tamara Capellaro,Spring 2020
Biddy Peppin, Winter 2020

Biddy Peppin

Visual Arts Feature, Winter 2020

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The  left hemisphere of my brain is like a loose-leaf sketchbook full of doodles and half-formed thoughts.  I find words slippery, provisional and often treacherous. Strung together, they can easily be manipulated into ‘fake news’.  Though words may pour onto the screen, core ideas are hard to capture.  I have to hack through undergrowth, navigating hidden crevasses while struggling to maintain a sense of what is honest and authentic. 

Brushes and paint are my weapons of choice.  Visual images, lodged in the brain’s right hemisphere, have a reassuring clarity and permanence, particularly when given physical form on canvas.  I can spend months wrestling with a painting; it may not ever work in the way I’d hoped. But some paintings make it through to independence, bearing authentic witness to particular moments in time.   

When viewers of my work say, as they occasionally do, “Your paintings don’t look like anyone else’s”, I take it as the greatest possible compliment.  

This is one of my first attempts using words to discuss my work.  I returned to full-time painting in 2004, after a career teaching Art History, latterly at the University of East London. What fascinates me about artworks from the past (from yesterday backwards) is the physical evidence they provide of other minds at work.

 

I’m going to take a few of my paintings as case-studies.  My work isn’t primarily or overtly political. But I’ve found it impossible to cut my practice loose from the succession of menacing situations tainting the 21st century, so I’ll attempt to uncover the contexts of these images.

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‘Fence’, 2007 (oil on heritage paper, 27” x 40”).  Private Collection

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‘On Edge’, 2016 (oil on canvas, 24” x 36”).  Private collection

I work without a plan. One painting leads to another, though I usually have some sense of what each metaphorically represents.  The idea for ‘On Edge’ emerged when I jumped in fury on a cardboard box, outraged by the result of the Brexit referendum. The black object on the right was a piece of PVC, sellotaped at the back.  At one level, the painting was intended to stand for what I saw as the unjustifiable attack on pan-European ideals of sharing and co-operation, and the lies that were spread during the campaign.  The angular brown and black shapes confront and argue with each other, so the image can also be read as a more general response to the ways of the world. At the same time, I was thinking about formal issues. I wanted a composition that contained quite a lot of empty space (I often spend more time working on backgrounds than on the objects represented).

 

And the title ‘On Edge’ refers not only to a state of mind, but also to the fact that the represented shapes of the cardboard and PVC are firmly attached to the borders of the canvas.

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In this painting, ‘Flight’, my starting-point was my partner David’s torn pyjama top.  In placing it, I was thinking about the flight of birds (as seen, for example, in some late paintings by Braque) as well as the suffering of human refugees, at that time prominent in the news.  The background in this painting shows a slight gradation from lighter (on the left) to darker, an attempt at  spatial ambiguity. The actual pyjama top was lying on the floor while I painted it, but the picture was intended to be viewed hanging vertically on a wall; the flying bird references the sky.  I was hoping to open up the possibility of more than one spatial reading.

‘Flight’, 2018 (oil on canvas, 24” x 32”)

‘Abandoned’ was  triggered by an old sweater and a piece of twisted metal my sister found.  Like ‘On Edge’ it reflects, but doesn’t exactly illustrate, a state of mind.  My brother-in-law Donald Curtis wrote the following poem after seeing it, and I think  it sums up what the painting is about:

‘Abandoned’

Like; divested

apparel dumped upon a beach

before the long swim to oblivion? 

Like; a mantle, cast aside 

to be taken up by another

belt ready to be buckled on?

Like; o.k., we have taken leave 

of our collective senses

not a scarecrow of ourselves remaining

to garb in cobalt [?] blue

Like, Biddy, you leave us lonely

each with a conundrum.

We know not what to do.  

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‘Abandoned’, 2017 (oil on canvas, 24” x 32”)

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‘Nameless Fears’, begun in late 2016, uses paper packaging and a soldier’s belt from a charity shop. At that time I was obsessed with what I saw as the lies disseminated by the Brexit campaigners and the folly of those who believed them. I was aware that my fears for Britain’s political future constituted the main subject of the painting.  Subsequently I’ve been wondering if it unintentionally illustrates the workings of my own mind.  The crumpled paper can be seen as a metaphor for the furrows and grooves in the brain’s physical structure, while its apparent unravelling may come out of the deep anxiety about mental decay experienced by many in my generation.

‘Nameless Fears’, 2017 (oil on canvas, 28” x 39”)

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‘Confrontation’, 2019 (oil on canvas, 23.5” x 31.5” approx.)

This fairly recent painting references both ‘On Edge’ (in its bipartite composition) and ‘Nameless Fears’ (in its use of crumpled paper).  The paper packaging was retrieved from a dustbin and faces a red painting-smock stiffened by paint brushes wiped on it over many years.  During its evolution, the image gradually came to signify the bullying tactics becoming increasingly widespread in public life, and the spectacle of Donald Trump throwing his weight around during the months I was working on it.  

I wrote earlier I sometimes find words ‘slippery’, and I’ve had particular difficulties finding a title for this painting.   It started as ‘Face to Face’, then became ‘Debate’, then ‘Challenge’. Its current title is ‘Confrontation’, but I’m wondering whether to re-name it ‘Fake News’ or ‘War Path’.  With visual metaphors, there’s a fine line between stating the obvious and failing to communicate. Titles are supposed to help, so it’s important to get them right.   

Incidentally,  the photos of ‘On Edge’ and ‘Accident’ (below) show the wooden fillets that I almost always attach to the edges to emphasise both the physical limits of the canvas and the compositional design.  Nailed directly to the stretchers, these fillets don’t overlap the canvas, allowing the whole picture surface to be seen.

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‘Accident’, was started in 2018. Like  ‘Confrontation’, it was painted over quite a long period.  Breaking a teapot is is probably something we’ve all done. But as the painting evolved, it came to stand for the potentially disastrous results of simple human error.  As a ‘war baby’ (conceived during the Battle of Britain and christened --by unbelieving parents--on the day Germany invaded Russia), I reached adulthood at the height of the Cold War. This era was saturated with the widespread realisation that civilisation and most of the natural world could be obliterated if either an American or Russian finger landed on the nuclear button.  My life experiences make it hard to close my eyes to the possibility of catastrophe now.

‘Accident’, 2019 (oil on canvas, 12” x 12”).

Private Collection

Fortunately, not all my paintings  turn out to be pessimistic. I see ‘Housemaid’s Knee’ as cheerful in mood, despite it stemming from a realisation that my knees have seen better days.  A relative had undergone a successful knee replacement, which suggested the inclusion of the mysterious wrought iron implement, found in a Somerset ditch.  The crumpled blue fabric is a pair of denim jeans which, as a messy worker, I wear for painting. Does the broom ‘stand in’ for a paintbrush? I’m not sure.

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Housemaid’s Knee, 2014 (oil on canvas, 36” x 28”)

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‘Rust’ is also fairly buoyant in feeling.  I really like old, rusty stuff. Objects that are decayed, discarded and of little or no monetary value have formed the mainstay of my work since 2004.  I’m delighted that, belatedly, we’re now being urged to re-use and recycle. I like to think an underlying idea in my work is a rejection of consumerism.

‘Rust’, 2015 (oil on canvas, 27” x 36”)

And I had fun with ‘Anatomy’ even though it’s about mortality!

Looking back over my fifteen years of practice, I realise I’m wedded to a sense that by pursuing truthfulness and authenticity in my art, I can somehow make a minuscule contribution to a now much-needed bulwark against contemporary threats, which include international capitalism, neo-Liberalism, religious oppression, ‘fake news’ and environmental degradation.  We can all only do what we can do. If any of my paintings survive into the future, perhaps they will at least offer viewers a glimpse of one artist’s particular experience of being alive at a particular time.

Please visit my website - biddypeppin.crevado.com –  for more info and other examples of my work.

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Anatomy, 2016 (oil on canvas, 30” x 24”)

‘Fence’, dating from more than 12 years ago, shows a broken and twisted metal barrier and pieces of bent wire.  It was painted at a time of extreme anger at Britain’s continuing involvement in the Iraq war.  The fence serves as a metaphor for a particular idea: destruction caused by bombing.  However, I did not deliberately set out to make a painting with a political message.  Political content seeps uninvited into my work, reflecting contemporary issues about which I feel strongly.

Paintings carry layers of meaning.  ‘Fence’ references a simple fact – the idea that underlies most of my paintings - that everything in the world starts new and then dies, wears out or is destroyed.  In this painting a further layer (only recently recognised) is that as well as recording the interesting shapes of randomly-discovered metal objects, the image draws on childhood memories of the terrifying anti-tank defences that ran the length of Chesil Beach during WW2. Navigating these in c.1944 provided my earliest experience of the seaside.  This anxiety-enhancing wartime recollection probably lies behind the genesis of this painting.  

Gulce Tulcali

Visual Arts Feature, Summer 2019

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 I was a self-involved photographer with a background in business management before attending Royal College of Arts. I was raised with art in my life.  My grandfather was a painter and an art history teacher, one of the first teachers after the Republic of Turkey was founded. I completed a month long filmmaking program at New York Film Academy after my bachelors degree. Due to my country's political circumstances, I was also reared with a sense of activism. This led me to discover more about women and their place in society, especially in the chaotic circumstances of the Middle East.

Milk and the Middle East is a portrayal of how the politics of religion oppresses women in many Muslim cultures. A society grows up on women's' milk. Yet it demands women cover up. This kind of society prevents natural feminine pleasure, inhibiting the development of a full identity for millions of women. I believe that when a human condition is suppressed or prohibited, it comes back in absurd and mostly harmful practices.

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As a living, evolving being, I am fond of fluidity. It's a sense of a continuous flow of the consciousness we live in, despite being limited by particular space and time. I find the discipline of photography in line with this essence of being. Authentic visual simulation enables the viewer to travel to someone else’s consciousness, to an unaware part of their own consciousness, to past or future or all at the same moment. A photograph can simultaneously capture past and present. The photos I take, especially the staged ones, reflect my own desires, fears, experiences, opinions. They also reflect my disturbance about causes larger than my own being, especially societal conflicts and political systems.

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My goal is to create an umbrella of creative work which people feel safe to gaze upon and then connect to their suppressed sexual senses. I strive to construct a community conscious of its sexuality, therefore in control over it and in peace.

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Gulce Tulcali, Summer 2019

Tiwalade Ibironba Olulode

Performing Arts Feature, Summer 2019

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My name is Tiwalade Ibirogba Olulode.

I'm an emerging artist from Northampton. I trained at the American Academy of Dramatic Arts in New York. From there I moved to Lagos, Nigeria, where my writing sparked interest. One of my plays has been produced  by respected theatres around London including Lyric Hammersmith, Barons Court Theatre and The Space Theatre.

I'm currently with the National Youth Theatre Rep Company. I will perform in three shows from October 2019 through January 2020: Great Expectations, Frankenstein and A Midsummer Night's Dream at the Southwark Playhouse and The Criterion in the West End. It's been deeply rewarding to build a relationship with a company of actors. I'm so excited to channel the incredible energy we've developed in workshops into our rehearsals for the shows.

 

I've always dreamt of a future as a respected artist-- acting, writing and directing. Acting is my first love, and I can't see that fading. I always enjoyed creative writing, but it wasn't until I graduated from drama school that I started my first play Rush. When it was selected for a couple of runs, I decided to put on the director's hat as I had a clear vision of how I wanted my writing to be presented.  For now, I'm going to focus primarily on acting. But in the future, I can't see anything stopping me from being successful in all mediums. The future is bright! 

The Colored Museum, George C. Wolfe 

My friend recommended this play to me whilst I was at drama school. I hadn't read anything like it before. It made me laugh to the point of tears. I also felt the tension build in my stomach, emotions on two extreme ends. I  knew I had to do a monologue from this riveting play. The Colored Museum is a dark comedy that looks into the African American story, spins it on its head and leaves you with a satire that at times can be hard to swallow. 

The Girl with the Brightest Smile, Tiwalade Ibirogba Olulode 

I wrote this poem  shortly after I was diagnosed with depression and anxiety. It was therapeutic to write about how I was feeling. I didn't feel ashamed of my inner thoughts. The smile is about the mask we put on for the world. A mask is needed in social settings, but it can be dangerous when you don't get the opportunity to be free. Growing up, my smile was repeatedly praised, something that became part of my core personality. I asked myself:  when I don't have that, who am I? The smile is something that had become automatic, even when I was feeling terrible inside. This poem is an exploration of those feelings.

Tiwalade IO Perfoming Arts Summr 2019
Chris Avis, Spring 2019
Joan McLane - Visual Artist Jan 2019
Alexandra Baraitser, Autumn 2018
Jackie Hopfinger, Summer 18

Chris Avis

Visual Arts Feature, Spring 2019

Why am I so curious about women? I think it's because, as a woman,  I want to find out why.

 

Why do we so often react according to stereotype; why do we let ourselves fade into insecurity; who are we here for? Is it for ourselves or for those around us?

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"Desolation" from Voices in the Shadows

My work explores the many facets of being female. Using a camera, digital manipulation, digital animation, light, sound and the spoken word, I create photographs, videos, installations and performance art. At the heart of my work is a curiosity about females.

My work includes:

‘Red Lips’,  an installation of eight mannequins. The 'ladies' speak  with pride about their red lips. Normally silent, I have given them a voice.

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Labeled for Life

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Red Lips

‘Labeled for Life’ is an installation wherein a seated mannequin, dressed in an antique rusted gown, celebrates her own decadent decay.  It's a challenge to the invisibility of the older woman.

‘Time Passing’ is a series of digital prints celebrating the strength of women in their sixties, seventies and eighties.

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Time Passing

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Voices in the Shadows

‘Voices in the Shadows’ was part of a cross disciplinary collective of four artists working collaboratively.  

 

We produced a provocative body of work focused on how fear, despair, and loss of trust impacts our sense of reality and mental wellbeing.

 

The videos produced for the performance art focus on women’s vulnerability, lack of confidence and fear of isolation.

No. I have not exhausted my quest, it will continue to be a fundamental element in my future work.

Shoreline, a video by Chris Avis

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Voices in the Shadows

Chris Avis Blast from Voices in the Shad

"Blast" from Voices in the Shadows

www.chrisavisartist.com

1980/1990 Designer maker in porcelain glass and mixed media

1994 BA. Fine Art. First Class Hons

1996 MA. Art in Architecture

1996-2009 Senior Manager

2013 Winston Churchill Travel Fellowship six weeks researching the attitudes of the arts communities in the cities of Berlin, Copenhagen and Amsterdam towards older artists.

2014 Devised and directed a Barbican and Guildhall Open Lab.

Revelation: Artists of the third Age

2009 -2019 Exhibitions/ video screenings/ installations in London/ UK / parts of Europe

Joan McLane

Visual Arts Feature, Winter 2019

Joan McLane is a painter living and working in Chicago, Illinois 

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Impending, mixed medium, 20" x 20"

In Joan's words...

About 18 years ago, I retired from training teachers of young children and after a long absence returned to painting . When asked what I do in retirement, I respond: “I paint.”  But I don’t call myself a “painter”. This term implies a professional status I haven’t attained. On the other hand, I resist the term “hobby” because it sounds unserious—and I am serious about my painting. 

Dancing on the Edge (mixed media, 30 (1)

It's difficult for me to categorize my work.  My paintings are abstract. However, they often contain forms which suggest animated figures. I paint in oil, and several years ago I began to incorporate bits of fabric—linen, silk, cheesecloth. I now use mostly cheesecloth because its loose weave makes it an ideal medium to create interesting, fluid forms. These forms emerge in the process of manipulating fabric and paint—a process that is both exploratory and playful. 

Dancing on the Edge, mixed medium, 30" x 30"

I examine aspects of movement and emotion, particularly with figures moving in and on the edges of space. Figures are in flight or on the verge of flight, some leaping freely into or through space, others on the brink of taking off. Many figures hover precariously on the edge of of a vast open space that is both inviting and terrifying, full of possibility and risk. Figures are caught at particular, unsettled moments which suggest possible relationships and narratives.The relationship between the figures and the spaces they inhabit is open to multiple interpretations: tension, excitement, fear, anxiety, exuberance, exhilaration, freedom and play.

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Surprise, mixed medium, 24" x 24"

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Exhilaration, mixed media, 30" x 30" 

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Elation, mixed medium, 24” x 24"


website: joanmclane.com

Alexandra Baraitser

Visual Arts Feature, Autumn 2018

My recent paintings are my individual interpretation of what might be called 'contemporary culture' or 'iconic twentieth century design'. The fashionable scenes I paint are peopled, but focus on the non-communication or separation of each figure from the other. My aim is to infer an emotional absence. The iconic frozen-in-time scenes depict a human presence, but the characters in these minimal spaces are speechless and isolated. The work explores the relationship between the figures and the space around them and invokes the silences within the relationship.

I am both an artist and a curator with experience curating at ArtKapsule, APT Gallery, Cambridge University, Tripp Gallery and Stour Space. I have exhibited (and my work is in art collections) internationally, from Cork Street in London to Tasmania, Australia. I was selected for the final round of judging at the Royal Academy Summer Exhibition 2017. Shows include John Moores Painting Prize, British School at Rome, NatWest Art Prize, Kettles Yard, Art Basel, University of Cambridge, Hirschl Contemporary Art, Mark Jason Gallery and Tripp Gallery.

See more of my work at  www.alexandrab.org.uk.

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'CHARLES AND RAY EAMES AT HOME'

Oil on Canvas 2015 120cmx110cm

 

The painting 'Charles and Ray Eames at Home' is based on a famous photograph of the couple in the house they designed and built at 203 North Chautauqua Boulevard in the Pacific Palisades, Los Angeles. I painted them alongside their unique and eclectic collection of objects and designed pieces. This work reflects my fascination with design and the way light falls on interior artefacts. I sought also to express the designers' emotional relationship.

'POUL HENNINGSEN

IN THE DEMONSTRATION ROOM 1939'

Oil on Canvas 2016 26cmx100cm

 

I was drawn to this photograph taken in 1939 of Poul Henningsen in the demonstration room he designed for the Danish lighting company Louis Poulsen.  Henningsen's startlingly modern electric lights orbit above the figures like planets and provide a glare of cool brightness. 

Poul Henningsen in the demonstration Roo
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'DONALD JUDD'S BEDROOM'

Oil on Canvas 2017 63.5cmx 79cm

 

The artist Donald Judd's bedroom in central New York is now open to the public as part of a museum on Spring Street. I love to paint empty interiors. Judd's minimalist bedroom and his iconic neon light pieces produce an array of coloured reflection on the polished wooden floor.

MORE ON ALEXANDRA BARAITSER

Awards and Prizes:

Grants for the Arts, Arts Council England (2005)

Commissions East, Awards for Artists for mentoring with Rachel Thomas (2001)

Shortlisted for MOMART Fellowship (1999)

NatWest Art Prize (1998)

The Abbey Scholarship in Painting, The British School at Rome (1997)

The John Moores 19 (1996)

The Ray-Finnis Trust Art Funding (1995)

The Florence Trust Studio Award (1995-6)

Collections: Design Centre, Tasmania, J Sainsbury PLC, BP Amoco, Cambridge University (Clare Hall Art Collection).

 

Essay by Eva Bensasson for the catalogue The Future Past March 2007 at Mark Jason Gallery: "Alexandra Baraitser's paintings pay homage to some of the greatest designs of the twentieth century. Visions of the future pertain to history, firmly rooted in the time-specific aspirations of the societies and cultures that create them. Yet the utopian dream that characterised twentieth century Modernism has left a vision so compelling that the revolutionary designs of the fifty years ago still inform the popular imagination today. Baraitser's paintings highlight the contradictions of the current condition of modern furniture, still denoting 'the new' while simultaneously acting as 'design classics'; embodying socialist thought while serving as symbols of social status. The relationship of painting to these subjects is itself highly relevant in Baraitser's work. Using paint she labours to represent the patina and tone of objects which were designed in order to be mass produced. Through her dedication to each painting she emphasises the fetishistic qualities that these objects have aquired. Baraitser's paintings are based on photographs, this imbues them with a quality at once slighlty distant and , through the human touch, particularly individual."

Jackie Hopfinger

Visual Arts Feature, Summer 2018

Even in the Rain I was Happy choreographed by Catherine Lafleur, 2014

I’m based in London N4 , and have a lifetime love of photography.  I’ve been taking photos for over 40 years. In 2010, I went back to college to study photography and to learn more about digital imaging.  I was lucky enough to get the opportunity to photograph this Montreal dance festival in 2012, and have gone back every year since. I love dance and I love photography, so for me it’s the ideal combination. 

I had an exhibition in 2014 at Lauderdale House. It was  a large body of work called “Without the Past the Future is Formless”.  I used old photos of my friends, added up- to- date pictures and interviewed each person about their life then and now.

Photo documentaries, travel and dance photography continue as my focus.

A piece by choreographer Alix Dufresne, 2015

Dirt by Catherine Lafleur, 2017

Festival Quartiers Danses

Festival Quartiers Danses is a contemporary dance festival which has taken place in Montreal for the last 15 years. The festival aims to be accessible to all audiences, especially those who would not normally attend dance shows.  The performances are in a variety of venues across the city, both indoors and outdoors. Works often feature both older and disabled dancers. The festival predominantly showcases local artists, but each year has included works  from both national and international companies.

Tentacle Tribe performing Threesixnine, 2017

Under my Skin by choreographer and dancer Morgane Le Tien, 2015

Athena Stevens & Lily McLeish

Performing Arts Feature, Winter 2019

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Lily McLeish (left), Athena Stevens (right)

Athena Stevens wrote and stars in Schism,a play about two people finding each other, exploring what they cannot be for one another, powerful as is their twenty year relationship.  Lily McLeish directed the production.

These clips, from the May 2018 north London Park Theatre performance, give a flavour of the connection between Katherine, played by Stevens, and her lover Harrison, played by Jonathan McGuinness. The interviews between director and writer/actor provide an insight into their creative process as individuals and as a team.

See an excerpt from Schism and two video excerpts from an interview with Lily McLeish and Athena Stevens below. 

Lily McLeish and Athena Stevens in conversation about Schism

Athena Stevens Lily McLeash,Winter 2019

Prav MJ, PMJ Productions

Performing Arts Feature, Summer 2018

Prav PMJ Productions
Watch Now

Prav MJ, PMJ Productions, 

www.pmjproductionsltd.com

VIDEO EXCERPTS FROM FACELESS,

written by Selina Fillinger, produced & directed by Prav MJ.

Claire Fathi
Watch Now

Claire Fathi as Paige Round in Faceless, produced and directed by Prav MJ

Fiona Gent
Watch Now

Fiona Gent as Susie Glenn in Faceless, produced and directed by Prav MJ

Prav MJ,Summer 2018
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