‘The ‘Waste Land’ project: framing practice-based research through literary adaptation’ by Sally Waterman has been published in Vol.20, issue 2 of the Journal of Media Practice and Education.
This article examines how T. S Eliot’s poem, ‘The Waste Land’ (1922) was chosen as an explorative text to acquire an understanding of Waterman’s interpretation methods for her practice-based PhD. She considers the way in which her early video experiments were informed by film adaptation theory and the contextual framework of European avant-garde films, testing out different modes of adaptation in order to reflect upon her process.
By utilising adaptation as autobiography, Waterman emotionally embodies the text, appropriating particular lines, concepts or images from the poem in order to construct fragmented narratives concerning the marital breakdown and divorce of Waterman’s parents.
‘Movement and Identity’ symposium / Who Are We project, Tate Modern
(Southwark Room, Level 5, Blavatnik Building)
Thursday 23rd May 2019 (12-4pm)
Sally Waterman’s video ‘Syncopation’ (2017) from the ’Twenty’ project was included in a pop-up exhibition at the ‘Movement and Identity’ symposium at Tate Modern. The curators, Manuela Perteghella and Ricarda Vidal discussed their ‘Talking Transformations: Home on the Move’ project which commissioned six artists to produce videos derived from poetry by Rafał Gawin and Deryn Rees-Jones at this event, which interrogated movement and identity through exploring experiences of belonging.
SPLICE Film Fest, Brooklyn, NYC, USA (22nd June 2019)
Sally Waterman’s artist film, ‘So Cheerio for Now’ (2016) was selected for the experimental programme in this year’s SPLICE Film festival held at the Film Noir cinema in Brooklyn, New York.
The film is from her ‘Letters Home’ project (2015-16), which considers the generational difference in modes of communication, reflecting on the role of analogue photography and traditional letter writing through a re-staging of the self as a student in the early 1990’s.
Dwelling on the letters she received from her grandparent’s whilst she was away from home, their written words of endearment are contrasted with her own pensive reflections in the accompanying voiceover that traces an emotional journey. This autobiographical narrative employs edited extracts from the diaries and letters of the poet, Sylvia Plath, whilst she was at Smith College in the early 1950’s, which mirrors Waterman’s own experiences.
Photo Therapy Day Symposium, Royal Photographic Society, Bristol (22nd May 2019)
Rosy Martin, Artist & Pioneer of Phototherapy gave a lecture on “Inhabiting the image: Photography, Therapy and Re-enactment Phototherapy” as part of this Photo-Therapy Symposium at the Royal Photographic Society.
DCA 20th Anniversary Artists in Print
13th March 2019, Dundee Contemporary Art Centre
As part of Dundee Contemporary Art Centre’s 20th Anniversary, Jacqueline Butler contributed to conversations around printmaking (including photography) and contemporary art in Scotland at a special event ‘Artists in Print.’ Jacqueline discussed the work produced during her residency at the Print Studio in 2017, titled ‘Neither Here Nor There’. This includes photography, printmaking, laser and lenticular printing, and 3d printing. Thanks to Rachel Adams for organising this and the support of the Director of DCA Print Studio Annis Fitzhugh.
‘Talking Transformations: Home on the Move’
26th July – 23rd September 2018, Poetry Library, Southbank Centre, London
Sally Waterman’s recent video, ‘Syncopation’ (2017) based on the poem by Polish poet, Rafał Gawin is included in this group exhibition at the Poetry Library at the Southbank Centre. Waterman’s video also forms part of a new body of work in progress which reflects upon her twenty year relationship with her partner, in the light of his treatment from heart failure over the last ten months. You can view the video here:
https://vimeo.com/248846355This exhibition of European artist films, sound art and poetry in translation is the result of a journey undertaken by two poems about ‘home’: British poet Deryn Rees-Jones’ poem ‘HOME’ travelled from the UK via France to Spain and back and Polish poet Rafał Gawin’s poem ‘DOM. KONSTRUKCJA W PROCESIE SĄDOWYM’ (‘Home. Structure on Trial’) travelled via Romania to the UK and back to Poland. Both poems were written on the basis of workshops with local communities in the UK and Poland. In each country they visited, the poems were translated by a literary translator and a local film artist.
Artists, poets, translators: Teodor Ajder (RO), Elise Aru (FR), Heather Connelly (UK) in collaboration with Belén Cerezo (SP), Noèlia Díaz Vicedo (SP), Marta Dziurozs (PL), Rafał Gawin (PL), Anna Hyde (PL), Zuzanna Janin (PL), Jozefina Komporaly (RO), Benoît Laffiché (FR), Domingo Martínez (SP), Timothy Mathews (UK), Kate McMillan (UK), Ghenadie Popescu (RO), Deryn Rees-Jones (UK), Silvia Terrón (SP), Sally Waterman (UK)
Curated by Manuela Perteghella and Ricarda Vidal
‘Home, Belonging & Language’ Symposium
King’s College, London, 27th July 2018 (9:00 – 18:00)
Free, but please book your ticket here: tinyurl.com/tixhbl
Speakers included experts and practitioners from a variety of disciplines which aimed to examine ‘home’ and ‘belonging’ from different angles and perspectives from group-analysis, language education and fine arts to translation theory and practice.
Speakers included: Teodor Ajder (Mamaliga, Warsaw), Maria-José Blanco (KCL), Briony Campbell (photographer/filmmaker), Simon Coffey (KCL), Zuzanna Janin (artist), Manuela Perteghella & Ricarda Vidal (KCL/Talking Transformations), Joanna Kosmalska (Lodz), Maria MacLintock (System of Systems), Loredana Polezzi (Cardiff)
‘Picturing the Family: Media, Narrative, Memory’
Editors: Silke Arnold-de Simine and Joanne Leal
This new publication derived from papers delivered at the ‘Picturing the Family: Media, Narrative, Memory’ conference held at Birkbeck, University of London in 2014 considers the role of the family photograph in forming both personal and collective cultural memory:
“Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film.”
The contributors include Martha Langford, Oksana Sarkisova and Olga Shevchenko, Deborah Schultz, Richard Lowell MacDonald and Silke Arnold-de Simine alongside FTN co-ordinators Suze Adams, Jacqueline Butler, Nicky Bird, Lizzie Thynne and Sally Waterman. The front cover features a photograph from ‘In Situ’ (2008) by Rosy Martin.
Table of contents
1. That Other Woman: the woman who accompanied the Cold War Tourist to Paris Martha Langford
2. Memory, subjectivity and maternal histories in Un’Ora Sola Ti Vorrei (2005), Histoire d’un Secret (2003) and On the Border (2012) Lizzie Thynne
3. Soviet heroes and Jewish victims: One family’s memories of World War II Oksana Sarkisova and Olga Shevchenko
4. Visual meditations: An island in time – (re)interpreting family albums and oral histories Suze Adams
5. Performing familial memory in Against Sally Waterman
6. In and out of focus: Visualising loss through the family album Jacqueline Butler
7. The (re)constructed self in the safe space of the family photograph: Chino Otsuka’s Imagine finding me (2005) Deborah Schultz
8. A place for memory: Family photo collections, social media and the imaginative reconstruction of the working class neighbourhood Richard Lowell MacDonald
9. Wanted – new custodians for family photographs: Vernacular photographs on eBay and the album as artwork Nicky Bird
10. Dislocating memory: Family photographs in story-centred museums Silke Arnold-de Simine
Sally Waterman: In Conversation with curator, Lucy Howarth
Liddicoat & Goldhill Project Space, The Printworks, Margate
Monday 7th May 2018 (2:30-3:30pm)
Sally Waterman gave an informal talk on her works ‘In The Cage’ and ‘Sermon’ on the last day of her solo exhibition at the Liddicoat & Goldhill Project Space.
‘Sally Waterman: In The Cage’ was part of a larger programme of events around Margate, responding to the 1922 poem by T.S. Eliot, ‘The Waste Land’, running in parallel with ‘Journeys with The Waste Land’ at Turner Contemporary. Sally’s works was featured in the Turner Contemporary exhibition, and were also in ‘At The Violet Hour’ at the Nayland Rock Hotel.
‘Brighton: Symphony of a City’ Film Screening Events with Q&A
Please find below details of two screenings of ‘Brighton: Symphony of a City’ (2016) directed by Lizzie Thynne, Reader in Film at Sussex University and fellow co-ordinator of the Family Ties Network.
“It’s a striking portrait of Brighton in all its campaigning and bohemian glory set to a sumptuous orchestral score…Ed Hughes’ score animates daily activities and extraordinary events in the seaside town of Brighton, wittily echoing the silent classic, ‘Berlin Symphony of a City’ (1927). All-weather bathers plunge into winter seas at sunrise. Residents work, commute, flirt and play and do surprising things in their offices. Homelessness and gentrification collide; we glimpse forgotten attractions in sparkling amateur movies from Screen Archive South East.”
The Cinema Museum, London: Thursday 3rd May 2018 (7:30pm-9pm)
Deptford cinema, London: Tuesday 15th May 2018 (7pm-10pm)
‘Collaborative Projects: Pleasures and Pains’
with FTN co-ordinator, Rosy Martin, Carla Mitchell, Ego Ahaiwe Sowinski, and Jacob Bard-Rosenberg. Chaired by Patrizia Di Bello
Birkbeck, University of London, 43 Gordon Square, London
Thursday 26th April 2018 (6pm-7:30pm)
This event was held in association with the ‘Cultural Sniping: Photographic Collaborations in the Jo Spence Memorial Library Archive’ exhibition in the Peltz Gallery.
Information on this and past events at: http://www.bbk.ac.uk/arts/research/photography
‘Global Photographies: Memory, History, Archives’ Editors: Sissy Helff and Stefanie Michels
This publication by Transcript features a chapter by Sally Waterman entitled, ‘Re-imagining the Family Album through Literary Adaptation’, which analyses the ‘PastPresent’ (2005) photographs and the ‘Fortune-telling/Re-telling’ (2007) and ‘The Deep Sea Swell’ (2009) videos from her ‘Waste Land’ project. Sally’s ‘Past Present No.7’ photograph (2005) is featured on the front cover.
The chapter is based on part of her practice-based PhD research, which was later developed for a paper at the ‘How History Enters Photography’ symposium held at Goethe University of Frankfurt, Germany in June 2012.
This edited collection examines “…the relationship between history, photography and memory in a global perspective on three interrelated levels: firstly, in the artistic and cultural production of pictures, secondly, in the decoding of colonial and contemporary photography, and thirdly, in collecting photographs in picture archives dealing with colonial and anthropological photography. The contributions sketch the contested field of (post-) colonial photography and trace the manifold intertwinements between historical and contemporary photographs.”
The book is available as a free PDF download.
Table of Contents
Stefanie Michels – Re-framing Photography – Some Thoughts
Jürg Schneider – African Photography in the Atlantic Visualscape: Moving Photographers – Circulating Images
Jens Jäger – Elective Affinities? History and Photography
Kokou Azamede – How to use Colonial Photography in Sub-Saharan Africa for Educational and Academic Purposes: The Case of Togo
Marie-Hélène Gutberlet – Presentness, Memory, and History: Thabiso Sekgala, “Homeland”
Hans Peter Hahn – On the Circulation of Colonial Pictures: Polyphony and Fragmentation
Richard Kuba – Portraits of Distant Worlds: Frobenius’ Pictorial Archive and its Legacy
Margrit Prussat – Reflexions on the Photographic Archive in the Humanities
Sally Waterman – Re-imagining the Family Album through Literary Adaptation
Jens Ruchatz – Public Rites/Private Memories: Reconciling the Social and Individual in Wedding Photography
‘Cultural Sniping: Photographic Collaborations in the Jo Spence Memorial Library’, Peltz Gallery, Birkbeck, 43 Gordon Square, London (9th March – 28th April 2018)
Archive private viewing and reception Friday 9th March (6-8pm)
Includes work by Jo Spence and Rosy Martin, Family Ties Network coordinator.
This exhibition showcased important materials from the archive of the late Jo Spence, British photographer, writer, and self-described ‘cultural sniper’, tracing links and collaborations in activist art, radical publications, community photography and phototherapy from the 1970s and 1980s. Consistent with Spence’s ethos of radical pedagogy, this exhibition focuses on her collaborative working methods. It opened up the archive, displaying books, magazines, journals, collages, photographs, posters, pamphlets, notes, letters and props, to provide insights into Spence’s practices and the culture, politics and activism informing them.
On display were works made in association with Spence’s collaborators, including Terry Dennett and Rosy Martin. Spence and Martin pioneered the practice of phototherapy, working through themes of working-class identity and stigmatisation, sexuality, grief and illness, using photography with therapy in an empowering and transformative way.
The exhibition was curated by Patrizia Di Bello, Frances Hatherley, and a group of Birkbeck students and part of Birkbeck’s Opening up Art History 50th anniversary celebrations.
Journeys with ‘The Waste Land’, Turner Contemporary, Margate (3rd February-7th May 2018)
FTN co-ordinator Sally Waterman is currently exhibiting work from her practice-based PhD ‘Waste Land’ project in three exhibitions in Margate which are informed by T.S Eliot’s seminal poem. Eliot wrote part III of the ‘The Waste Land’ whilst staying at Margate in 1921.
Her ‘Fortune-telling/Re-telling’ video (2007) is on show in the main group exhibition at Turner Contemporary.
Exhibiting artists include: Berenice Abbot, Fiona Banner, Christiane Baumgartner, Sir Peter Blake, William Blake, Frederick Callcott, Leonora Carrington, Cecil Collins, John Davies, Tacita Dean, Tess Denman-Cleaver, Benedict Drew & Nicholas Brooks, Jacob Epstein, Elisabeth Frink, Philip Guston, Henrik Håkansson, Rozanne Hawksley, Patrick Heron, Edward Holloway, Edward Hopper, David Jones, R.B Kitaj, Winifred Knights, Barbara Kruger, Matt Lewis, Wyndham Lewis, Nalini Malani, Helen Marten, Bernard Meadows, Ana Mendieta, Lee Miller, Olive Mudie Cooke, Henry Moore, Paul Nash, John Newling, Eduardo Paolozzi, Deanna Petherbridge, Man Ray, Paula Rego, Julia Riddiough, Martin Rowson, Monir Sharoudy Farmanfarmaian, Walter Sickert, John Smith, Lalage Snow, John Stezaker, Jo Stockham, Graham Sutherland, Emma Talbot, Berny Tan, Vibeke Tandberg, William Turnbull, JMW Turner, Cy Twombly, Sally Waterman, Jane & Louise Wilson, William Lionel Wylie, Carey Young
‘In the Cage: Sally Waterman’
Liddicoat & Goldhill Project Space, The Printworks, Margate (3rd February – 7th May 2018)
Sally is showing the ‘In the Cage’ video (2007) and a selection of photographs from ‘Sermon’ (2008) in this solo satellite exhibition curated by Lucy Howarth.
‘At the Violet Hour’, Nayland Rock Hotel, Margate (3rd February-11th March 2017)
Sally’s ‘Sermon: Vol. I Encounter’ photographs were featured in this group show curated by Chiara Williams and Shaun Stamp.
Exhibiting artists include: David Buckley, Emma Critchley, Simon Foxall, Dazzling Allgood, Susie Hamilton, Derek Jarman, Paul Knight, Victoria Lucas, Amanda Marchand, Jay Rechsteiner, Lindsay Segall, Shaun Stamp, Katie Surridge, Wolfgang Tillmans, Sally Waterman and Chiara Williams
‘So Cheerio for Now’, Stephen Lawrence Gallery, University of Greenwich, London (11th November-16th December 2017)
This exhibition featured photographic and video works by FTN co-ordinators, Sally Waterman and Jacqueline Butler.
Reflecting upon familial relationships, love, and mourning, the projects shown trace the recurring journeys each of them make to their ancestral homes in the Isle of Wight and Glasgow, drawing upon personal archives as a source material.
An accompanying FTN seminar event was held Saturday 2nd December (See Events page).
ASFF: Aesthetica Short Film Festival, York (9th-12th November 2017)
FTN co-ordinator, Sally Waterman’s ‘So Cheerio for Now’ (2016) video from the ‘Letters Home’ project was featured in the ‘Artist Film 3: Long Distance Calling’ screening in this year’s festival. The programme was screened three times in three different venues over the festival period at Friargate Theatre, National Centre for Early Music and the 1331 cinema. The Artist Film selection also included works by Andrew Kötting, Sarah Turner, Tessa Garland and Eelyn Lee.
‘So Cheerio For Now’ (2016) concentrates on the letters Waterman received from her grandparent’s whilst she was away at college. Their written words of endearment are contrasted with her own pensive reflections in the accompanying voiceover that traces an emotional journey. This autobiographical narrative is based upon carefully edited extracts taken from the diaries and letters of the poet, Sylvia Plath, whilst she was at Smith College in the early 1950’s, which mirror Waterman’s own experiences .
‘Family Reunion’, Pi Artworks, London (19th-21st September 2017)
FTN co-ordinator, Sally Waterman ‘Fortune-telling/Re-telling’ video from the ‘Waste Land’ project was featured in this group exhibition, curated by Jessica Ziskind. Other artists included Francis Almendárez, Fay Ballard, Jonny Briggs, Shinwook Kim, Yu Ping Kuo, Gur Piepskovitz, Angel Rose, Jo Scorah and Trystan Williams.
The exhibition examined “…the ritual of coming together, one that transcends culture and geography, assuming different dynamics—some humorous, some somber, some celebratory, some born of necessity. Equally the idea of ‘family’ itself is multi-faceted, encompassing not only those we share blood with but also those with whom we choose to surround ourselves.”
‘Exposure’ journal, Spring 2017 issue (50:1)
Family Ties Network is featured in the latest issue of the ‘Exposure’ journal, published by the Society for Photographic Education in the USA. This seven page article includes a summary of the work of FTN, along with full page profiles on each of the six co-ordinators recent work. This edition was launched at the ‘Family Values’ conference held in Orlando, Florida in March.
FTN co-ordinator, Jacqueline Butler Joins the Image Advisory Board
Founded in 2010, The Image Research Network is brought together around a shared interest in the nature and function of image making and images. Board members provide insights and suggestions on speakers and venues for their annual conference while also helping to foster future collaborations and thematic partnerships. Board members may also serve as Editors of the journal series. The International Journal of the Image interrogates the nature of the image and functions of image-making. This cross-disciplinary journal brings together researchers, theoreticians, practitioners, and teachers from areas of interest including: architecture, art, cognitive science, communications, computer science, cultural studies, design, education, film studies, history, linguistics, management, marketing, media studies, museum studies, philosophy, photography, psychology, religious studies, semiotics, and more.
‘Feeling Images: Photography’s Relationship with Illness, Mental Health and Wellbeing’ Watershed, Bristol
7th April (10am – 5pm)
£10 (£5 concessions)
Since its invention photography has a longstanding relationship to concerns of the physical, emotional and mental human condition. This one day symposium explores photography’s interactions with illness, mental health and wellbeing, asking fundamental questions such as who is such work for, and what are the ethics of engagement. The event is divided into three themes, The Photographer’s Personal Narratives, Photography and Therapeutic Collaboration and Photography and the Idea of Therapy.
FTN co-ordinator, Rosy Martin will speak about her explorations of photography’s relationship to memory and wellbeing in relation to her pioneering work with Jo Spence in the 1980s and her subsequent work. The other speakers include Patrick Graham, Heather Agyepong, Frankie Stone, Clare Hewitt, Tim A Shaw and Niamh White, Tim Andrews, Ruth Davey, Sian Davey and Tamany Baker.
This symposium is organised by the Bristol Photography Research Group, supported by the University of the West of England.
‘The Home Front’ extract from ‘Guilt edged bonds’ Rosy Martin in collaboration with Jo Spence
‘Mining the Gap’ Tate Britain, Clore Studio (Saturday 11th March 2017, 1-5pm)
Women artists and practitioners are invited to come together to share and exchange experience of collective working and artist networks from the 1970s onward at this forthcoming event.
Tate aims to capture these connections through a live timeline and collate materials to map out relationships which have been previously overlooked, hidden or marginalised.
You are invited to contribute to our live timeline; join discussion and conversation with starting points prompted by Dr Janice Cheddie, artist Sutapa Biswas and FTN co-ordinator, Rosy Martin at 14.00, 15.00 and 16.00. Take a self-led walking tour through the collection prompted by artist Sarah Carne; bring along your spare art slides to donate to the Women’s Art Library;
This event is FREE, but there are a restricted number of places.
Please register your interest to secure your place via email. firstname.lastname@example.org
Refreshments will be provided.
‘Filming the Personal’ Film Screening and Q&A, CCA, Glasgow (11th February 2017)
3pm, Tickets £4/3 + £1 booking fee
Sally Waterman’s recent ‘So Cheerio For Now’ video (2016) from the ‘Letters Home’ project was featured in this film screening at the Centre for Contemporary Arts.
Sally co-curated this programme with Jill Daniels and it was originally screened at Close-Up cinema in Shoreditch, London last April. Featured filmmakers apart from the artist curators included John Smith, Alia Syed, Anthea Kennedy, Duncan Cowles and Theresa Moerman.
‘Berlin Experimental Film Festival’ (1st Edition), Moviemento Kino, Berlin (17th-18th December 2016)
Sally Waterman’s ‘Against’ video (2014) from the ‘Translucence’ series was screened at this film festival which featured 50 experimental works from around the world. The event took place at Moviemento Kino in Berlin Kreuzberg, the oldest cinema in Germany, founded in 1907.
‘Crossing the Screen’ International Film Festival, Eastbourne (4th-6th November 2016)
Sally Waterman’s recent ‘So Cheerio For Now’ video (2016) from the ‘Letters Home’ project was selected for this film festival. The ‘Letters Home’ project (2015-16) considers the generational difference in modes of communication, reflecting on the role of analogue photography and traditional letter writing through a re-staging of the self as a student in the early 1990’s.
‘So Cheerio For Now’ (2016) concentrates on the letters Waterman received from her grandparent’s whilst she was away at college. Their written words of endearment are contrasted with her own pensive reflections in the accompanying voiceover that traces an emotional journey. This autobiographical narrative is based upon carefully edited extracts taken from the diaries and letters of the poet, Sylvia Plath, whilst she was at Smith College in the early 1950’s, which mirror Waterman’s own experiences .
The accompanying video, ‘Keep Smiling’ (2015) is a looping slide show sequence of twenty-eight photographic diptychs that feature extracts from letters received from Waterman’s grandparents and past boyfriends during her time away at university in south-west England. The fragmented words of support, love, regret and loss are juxtaposed with close-up views of the few snapshots taken at the time, re-photographed to emphasize the physicality of the print surface. Whilst the work is deeply personal, a reassuring tale is evoked through recognizable phrases and familiar poses.
Rosy Martin ‘Collaborative working’ Talk, Stills Gallery, Edinburgh
13th October 2016 (6pm)
Rosy Martin will be giving an artist talk in association with the current Jo Spence solo exhibition at Stills (29th July 2016 – 16th October 2016).
Rosy made phototherapy work in collaboration with Jo Spence. She will discuss portraits of the selves through collaborative work and the new relationship within photography: sitter/director and photographer/therapist.
‘Brighton: Symphony of a City’, Attenborough Centre for Creative Arts, University of Sussex, Falmer, Brighton
Friday 7th October 2016, 7.30pm (Tickets £10)
Another chance to see Lizzie Thynne’s ‘Brighton: Symphony of a City’ informed by Walter Ruttmann’s 1927 film, which evokes a day in the life of the raffish seaside town, from dawn to midnight. The film uncovers the extraordinary in the everyday activities of the city’s residents at work and play as well as celebrating Brighton’s radical, queer and bohemian past and present.
Alt-w exhibition: Heritage Site/Cycle 10 Alt-w Production Award
City Art Centre, 2 Market Street, Edinburgh EH1 2DE
(29th July to 28th August 2016, 10am-5pm)
The current Edinburgh Arts Festival group show ‘Alt-w’ features Nicky Bird‘s project ‘Heritage Site’. This is an art and archaeology project working with the Five Sisters shale bings in West Calder, Scotland and the story of Westwood House that is buried beneath. At the project’s heart are the memories of Isabella Mason Kirk, who once lived in the house.
Nicky realised the project through a series of essential collaborations. Members of the Calder History Group share their knowledge of people, history and place. Artist Clara Ursitti creates a pungent and evocative olfactory intervention working with speculative fiction and memory. From GSA Stuart Jeffrey, Research Fellow in heritage visualisation, brings a background in archaeology, computer science and digital preservation. The initial creative work of Mike Marriott, artist and lecturer in Visualisation, forms the basis for the point cloud animations of house and bings, created by Clare Graham, a postgraduate student on the MSc in International Heritage Visualisation. Mike’s model also forms the basis for the 1:12 physical model, made by Kevin Thorton.
‘Heritage Site’ has brought together artists, heritage visualisation archaeologists and local community members to create a way of imaging what lies underground in both practical and metaphorical senses.
New book out now: ‘Home/Land: Women, Citizenship, Photographies’ edited by Marion Arnold and Marsha Meskimmon. Features the work of Suze Adams, Nicky Bird and Rosy Martin among many contributions that range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography.
Cartesian Cut? Fringe Arts Festival, Bath (27th May-12th June 2016)
FAB 1: 146 Walcot Street (just round the corner from Walcot Chapel)
Suze Adams is part of this group exhibition curated by Eloise Govier, which explores the porous boundaries of the body in provocative, evocative, original ways.
Suze will be doing a ‘performed artist residency’ for much of the time between Saturday 28th May and Thursday 9th June 2016 (open daily 10am – 6pm). For details see this link:
‘Brighton: Symphony of a City’, Brighton Dome Concert Hall
Wednesday 11th May 2016, 7.30pm (Tickets £10-22.50)
Lizzie Thynne and her Sussex colleague, composer Ed Hughes were commissioned by the Brighton Festival to make a ‘city symphony’ film about Brighton. Loosely based on the silent classic ‘Berlin Symphony of a City’ (Walter Ruttmann, 1927), it evokes a day in the life of the raffish seaside town, from dawn to midnight. The film uncovers the extraordinary in the everyday activities of the city’s residents at work and play as well as celebrating Brighton’s radical, queer and bohemian past and present.
‘Filming the Personal’, Close-Up cinema, London
Thursday 21st April 2016, 8pm (Tickets £6/£5)
Sally Waterman curated a film programme with Jill Daniels, which explored the dynamics of paternal relationships and included ‘The Deep Sea Swell’ video from her ‘Waste Land’ project. This event was held in association with the Moving Image Research Centre at University of East London and featured work by the curators, as well as Duncan Cowles, Anthea Kennedy, Theresa Moerman, John Smith and Alia Syed.
‘Tall Tales’ exhibition, London, Rochdale and Glasgow
Freud Museum London
(15th April – 29th May 2016)
Swiss Cottage Gallery & Library
(21st March – 29th May 2016)
The Tavistock and Portman NHS Centre
(21st March – 8th May 2016)
Touchstones, Rochdale, Manchester (2nd July – 3rd September 2016)
Nicky Bird and Jacqueline Butler are included in ‘Tall Tales’, a national touring programme which showcases the work of 17 international women artists who employ the playful use of storytelling techniques.
Stories have been shared for centuries and across every culture as a means of entertainment, cultural preservation and education. The artists in Tall Tales use storytelling techniques to toy with our perception of myth, reality, the public and private, ideas on difference, as well as question our assumptions.
The exhibition tour launched in London at Freud Museum London, Swiss Cottage Gallery & Library and the Tavistock Clinic and tours to Touchstones, Rochdale and Rochdale Central Library, Lancashire, culminating at Glasgow Women’s Library (GWL) in Scotland.
‘Usurp Zone5 Film Festival’, Experimental Art Gallery, Habitat Centre, New Delhi, India
Saturday 19th March 2016
Sally Waterman’s video ‘Against’ from the ‘Translucence’ series was selected from last year’s Zone5 experimental short film festival and screened at a special event in New Delhi.
‘Travelling the Archive’, Hosted by Kyleakin Local History Society
Community Hall, Kyleakin, Isle of Skye, Scotland
Saturday 19th March 2016
Travelling the Archive reimagines a time and place in Kyleakin’s past, for future audiences. The project will share and make accessible the 1960’s heritage of the close community of Kyleakin on the Isle of Skye. A unique collection of 35mm slides taken during this period forms a portrait of this community before the bridge was built and the famous Skye ferry ceased to operate, changing the geography and the way of life. Now known as the Joan Wilcock Collection, the main aim is to use these slides to raise awareness of the heritage of this significantly altered village, historically known as the gateway to Skye.
Working closely with the history society, the archivist and the community; Nicky Bird has distilled the images and the memories she has been gathering during a yearlong period of research to create a night-time, outdoor exhibition and opening event.
‘Composite Approaches’ Film Screening, Roper Gallery, Bath Artists’ Studios
Tuesday 15th March, 7-9pm, £4 including complimentary drink
This film screening event featured the work of five artists; Suze Adams, Linda Ashe, Joanna Greenhill, Kirsty Limburn and Brenda Miller, who each addressed themes of internal/external space.
FTN co-ordinator, Suze Adams showed two recent works – Breath (4:55) and The Beginning & the End (1:45), which respond to family lore and the haunting landscapes of the Hebridean island of Mull.
‘Wonder Women 2016’: Playing a Part – The Story of Claude Cahun
Imperial Museum North, Manchester (6th March 2016)
Lizzie Thynne introduced the screening of her film ‘Playing a Part: The Story of Claude Cahun’ at Imperial Museum North as part of International Women’s Day. Claude Cahun, a member of the French Surrealist movement, used her art and photography to defy norms of gender and identity. While living in Nazi-occupied Jersey during the Second World War, Cahun and her partner and step sister, Marcel Moore, mounted an extraordinary resistance campaign. After the screening, Lizzie was in conversation with Jackie Stacey, Professor of Media and Cultural Studies at University of Manchester on the topic of Art as a form of resistance. Part of Manchester’s Wonder Women 2016 festival.
The North West’s leading photography organisation, Open Eye Gallery, is delighted to announce the appointment of three new board members. Jacqueline Butler is a Scottish artist living and working in Manchester and is a Principal Lecturer in Photography and Director of Studies, in the Department of Media at Manchester School of Art, MMU. Nick Swarbrick has spent the past 6 years working as the CFO of Turning Point, a £100m social enterprise delivering health and social care across England and Wales. Peter Mearns is an independent Marketing & Communications Advisor specialising in arts, tourism & business development, media and brand management, public affairs and major events
Open Eye Gallery’s Executive Director Sarah Fisher says, “As a small charity, the Board has a pivotal role providing governance and agreeing the overall direction of the organisation. I look forward to working with the new Board members to champion our work with, and for people in Liverpool, our contribution to Liverpool’s creative community and the city’s vibrant visitor economy.”
The latest issue of Photoworks Annual looks at women and their roles in photography, as subjects, creators and consumers. The new writing, new photography and powerful archival images presented in Issue 22, connect wider ideas surrounding the subject and share important recent shifts affecting women and photography today.
Rosy Martin has contributed an essay entitled ‘Looking back at the other observers’ to the section on ‘Feminist Photography in the 70s and 80s Britain’ (p.60-61).
‘Double exposure: the Minefield of Memory: A day in the life of a schoolgirl: circa 1962’ Rosy Martin and Jo Spence
Twenty Years of MAKE Magazine by Maria Walsh and Mo Throp (July 2015)
This recent publication includes an entitled ‘I pose a paradox’ (a discourse on smoking) by Rosy Martin about her relationship to her father, class, his death and how she used auto-ethnography to mediate her loss.
During the 1970s, adding “women’s” to “art” was a powerfully political act. Artists, art historians, critics and curators began to explore the women’s art practice, and to challenge its invisibility. In the 1980s, they creatively critiqued representations of female sexuality, and in the 1990s, began to embrace the “post-feminist” idea of difference and the performance of gender. Throughout, the MAKE magazine offered a unique platform to critically engage with women’s art. Beginning in 1983 as the Women Artists Slide Library Newsletter and culminating in a 100 page final issue in 2002, this pioneering publication is a vibrant document of some of the most significant moments in feminist art history and practice.
In keeping with the spirit of the magazine, this unparalleled anthology delves into the MAKE archive and presents us with a diverse range of exhibition and book reviews, interviews and features that cover sexuality and the body, race and ethnicity, the technical image and feminist art histories. Gathering together the work of eminent writers such as Griselda Pollock and Marina Warner, on celebrated artists such as Helen Chadwick, Sarah Lucas and The Guerrilla Girls, this unparalleled anthology of material from the MAKE archive allows us to trace the lineages and links between then and now.
‘Coaxial’, Cass Foyer Gallery, London Metropolitan University, London (6th – 27th November 2015)
Monday-Friday 10am-7pm, Saturday 12-5pm / Preview: Thursday 5th November 5.30pm-8pm
Rosy Martin showed her recent video, ‘Stuff: All That Remains’ (2015), alongside her ‘Acts of Reparation’ photographs (2008) in this group exhibition curated by Heather McDonough for Photomonth.
Home—a common focus; a constant; a conduit of memory, of shared threads that pull us back. The point in the familial scenery about which we form our orbit; we circulate and bind to it. Our lines are drawn, sketched and then sharply defined. We draw ourselves in. The work in this show explored change over time, with family at the heart. It brought together ideas around landscape and memory, commenting on the implications of disappearance of the analogue family album in the face of the digital archive.
‘Feminist: Stories from Women’s Liberation 1963 – 1970’, British Library, London (22nd October 2015, 18:30-20:30pm)
‘Feminist: Stories from Women’s Liberation’ is a one-hour film about the women’s liberation movement in the United States covering the years 1963-1970. The film traces the origins of the movement with archive footage and recent interviews with the women who pioneered the movement. Funny, informative, moving and at times controversial, this is essential viewing for anyone interested in the history of the 20th century, women’s history, women’s rights and struggles for justice and equality. The film won ‘Best of the Fest’ for documentary at the Los Angeles Women’s International Film Festival.
The film was followed by a panel discussion with Jennifer Lee and British film makers and feminist historians including Lizzie Thynne and Margaretta Jolly, University of Sussex, curator and film critic Karen Alexander and feminist, activist, writer & DJ Chardine Taylor-Stone.
BP spotlight: Jo Spence, Tate Britain: Display (19th October 2015 – Autumn 2016)
Jo Spence (1934–92) was a pioneer of British photographic discourse and the critique of representation. Her work waived between the personal, the political and the autobiographical. The photographs and archival material on display relate to different moments in Spence’s practice: her collaborative work with the Hackney Flashers socialist-feminist collective from 1974 into the 1980s; her interrogation of documentary as a political tool in the sequence of works done with her long-term collaborator Terry Dennett; the examination of her experience with cancer; and her adoption of a form of photo therapy that she developed in collaboration with the photographer and therapist Rosy Martin. Curated by Elena Crippa.
‘Uncertain States Open 2015’, Four Corners Gallery, London (8th -17th October 2015)
Rosy Martin was selected by curator Camilla Brown for this group exhibition which aimed to engage with the best of contemporary lens-based art. The other artists included: Julia Fullerton-Batten selected by Paul Hill, Zoe Childerley selected by Louise Clements, Jolanta Dolewska selected by Martin Usborne, Nigel Grimmer selected by Uncertain States, Flore Gardner selected by Sharon Kivland, David Severn selected by Fiona Rogers, Simon Brann Thorpe selected by Christiane Monarchi and Karolina Lebek selected by Leah Gordon.
UCS Issue 24 was launched at the Uncertain States Open 2015 exhibition and featured the nine photographers and statements from our selectors accompanying the artists work, offering insight into the selection process.
‘Composite Approaches’, Stroud Valleys Artspace, Stroud
Wednesday 30th September 2015 – 7.30pm, £4 on the door
Suze Adams showed two new films, ‘Breath’ and ‘The Beginning & the End’ at this screening of artist films in the Project Room at SVA, alongside works by Linda Ashe, Joanna Greenhill, Kirsty Limburn and Brenda Miller. All five artists addressed themes of internal/external space and the event was followed by a chaired discussion.
‘Translucence’, the […] space, Mission Gallery, Swansea (8th September-11th October 2015)
Sally Waterman’s three video works, (‘February’, ‘Wisdom’ and ‘Against’) from the ‘Translucence’ series are currently on show at the Mission Gallery in Wales. This project reflects upon mortality, bereavement and remembrance through an interpretation of Donna McKevitt’s musical score (Warner Classics, 1998) and the writings of the filmmaker, Derek Jarman.
Sally Waterman’s video ‘Against’ from the ‘Translucence’ series was selected for the exhibition programme at Usurp Gallery, Harrow during the festival (14-17th August 2015, 3-6pm). Usurp Zone5 film festival (supported by Film Hub London, Film London and the BFI) featured more than 80 experimental, short films by filmmakers and artists from over 15 countries, including Argentina, India, Jordan, Peru, Spain and South Africa.
Suze Adams was awarded a Lightlines Artist Residency in August. Housed at the Abbey Walk Gallery in Grimsby, the residency affords studio space as well as critical and creative support from the Lightlines Project director Gill Hobson. The residency programme is ‘an opportunity for artists to have time and space away from their usual environment, providing occasion for reflection, research, presentation and/or production’. Suze developed on research into her maternal ancestors on an island off the West coast of Scotland by exploring the East coast of the UK, an environment that she has not encountered before and to which she has no personal attachment. She reflected on the particular terrain of the two coastlines and questioned her relationship to the two landscapes, one of which she has intense emotional involvement with and the other to which she is somewhat removed.
Suze says: “The sea/water is visually arresting, light and movement captured on its surface, but there are deep undercurrents, psychological as well as physical reverberations. The sea/water is a familiar theme in my work and has become a metaphor for the passing of time and the vulnerability and frailty of the human body.”
Suze Adams will be exhibiting her new photographic work ‘You Can’t See Me’ (2015) and doing a performance at FAB (Fringe Arts Bath Festival: 22nd May – 7th June) http://www.fringeartsbath.co.uk/ as part of the exhibition, ‘Disobedient Art’ https://disobedientart.wordpress.com/
The show opens this Friday 22nd May, 6.30 – 10.00pm and the Disobedient Art exhibition is sited in FAB2, 8-9 New Bond Street Place, Bath BA1 1NN.
Suze’s performance is this Saturday afternoon, 23rd May 3.30 – 4.30pm and will be a quiet piece performed within the exhibition space.
Nicky Bird, awarded a Cycle 10 Alt-W Production Award for ‘Heritage Site’
This year Nicky will be working on a new body of work, entitled ‘Heritage Site’. This is a new media art and archaeology project with a difference working with a Scottish landmark: the Five Sisters in West Calder and a house that is buried within – what the Scots call – ‘bings’. The award will be spent on securing specialist technical expertise, and brings together artists, heritage visualisation archaeologists and local community members to create new ways of imaging what lies underground in both practical and metaphorical senses.
Heritage Site centres on the ‘Five Sisters’ on the edge of West Calder, a small town in West Lothian. 240 metres high, the Five Sisters are spoil heaps, products of a long gone oil shale mining industry. They have since been the subject of Land Art, Geo-Science, and community-led town planning. In 1976, artist John Latham declared these shale bings to be works of art, invoking the name of Marcel Duchamp and the ready-made. His work Derelict Land Art: Five Sisters, 1976, was included in the 2013-2014 Hayward touring show Uncommon Ground: Land Art in Britain 1966-1979. In the accompanying catalogue, the curators argue how ecology – understood through Latham’s piece – could now ‘be seen as primarily time-based… rather than merely spatial or material.’ This resonates with recent fieldwork of environmental ecologists such as Barbra Harvie, who have studied how shale bings have become ‘home to rare and protected plant and animal species and are a major focus of identity in the local population.’ The West Calder Community Action Plan 2013-2018 provide further evidence of such observations through its direct community engagement and identifies how the environment of the area is a key theme for future development, with the ‘aim to use the past as a springboard for renewal.’
Nicky has been working in West Calder over the last year on a separate photography project steered by a local community group. For some members in the group, the Five Sisters holds memories of a house and its surrounding garden of Rhododendron flowers. Westwood House was not demolished but simply buried in the bings. The image of a house buried within living memory by an industry that is defunct solicits productive questions: how can divergent practices of new media art and archaeology come together to investigate this site of layered histories and shifting environmental politics? How might the resulting artwork work with fact and hard evidence as well as memory, imagination, and speculation?
Suze Adams’s new video work ‘Breath’ was included in the group exhibition, ‘The Space Between’ curated by Fay Stevens at Salisbury Arts Centre (15th January – 22nd February 2015). This group show addressed whether the elusive space and time we crave in our busy world are indeed worth fighting for. Stevens brought together a group of artists whose works offered the potential to create just such space – The Space Between – a show that combined films, sculpture and sound. For details see the links below:
Nicky Bird is currently a resident artist at Stills Gallery, Edinburgh, working on a new project entitled Peripheral Visions: Photography & Placemaking at Scotland’s Rural Edge.
This project proposes to bring together the themes of land, photography and other interdisciplinary practices to enable dialogue about pasts and futures related to Scotland’s ‘fragile’ rural communities. Some of these communities lie on the edges of cities, while others are more remote. ‘Fragility’ is a contested term implying social and economic vulnerability on the one side, while on the other, evokes more aesthetic connotations – such as delicate beauty or balance.
During the residency, Nicky will investigate what photographic approaches are needed to visualize ‘fragility’ in specific locations with a network of key participants.
Suze Adams was included in a group exhibition called LOST – a show and series of events at Salisbury Arts Centre (21st August until 28th September 2014). The show was curated by Michele Whiting who sourced works from a range of national/international artists. Adams showed a series of polaroid photographs inspired by Francesca Woodman – performances to camera, a collaboration with her daughter behind the camera. The works explore the portrayal of self in relation to place: identity of woman/self, identity of locations/domestic which are all are taken in and around her house.
Suze Adams was represented in The Art of Walking – a show that celebrated Laurie Lee (and reveals a collection of previously unseen drawings and paintings by the writer) as well as new artwork by contemporary artists created in response to walking. The Art of Walking was held at the Museum in the Park, Stroud, Gloucestershire from 6th September until 5th October 2014. Adams showed a composite photograph comprised of 35 individual images taken in different locations and different weathers of her feet during walks around her local home territory. This montage is part of an expanded series of images taken on a daily circuit walked every day for over three years.
Sweet Thames Run Softly: Movement 2: The Time, The Mayflower Pub, Rotherhithe, London (10th July 2014, 7.30pm)
Sally Waterman’s video ‘Against’ was included in the second screening of artists’ film, video, projection, poetry and performance, curated by Lisa Peachey and Ellie Reid in response to T.S Eliot’s poem ‘The Waste Land’
‘SWEET THAMES, RUN SOFTLY’ was the second of three projects that sought to interpret ‘The Waste Land’ through contemporary eyes. The project was an amalgamation of different voices, each intimately echoing a movement within the poem, attempting to depict the soul of a sometimes vacant city full of fragile opulence, nervous masses, fading hope and malignant relationships.
‘Shoulder to Shoulder: Female Suffrage, Second-Wave Feminism and Feminist TV Drama in the 1970s’ symposium
Birkbeck Cinema, London, 16th May 2014
Lizzie Thynne screened a film from her Sisterhood project (on Lesley Abdela and the 300 group) at this symposium, which focused on women’s television history and the history of feminism on British television in the 1970s. This event explored how the women’s movement was represented in the 1970s, with a particular emphasis on Shoulder to Shoulder, but also identified various research projects concerned with the archaeological recovery of feminist history and the contribution of women to television.
Site Festival 2014
‘Viewpoints’, Merrywalks Centre, Stroud, Glocestershire, 9-11th May 2014
Suze Adams, along with Joanna Greenhill and Brenda Miller offered a series of reflections on landscape through video and associated works in this group exhibition. They addressed the physical and psychological aspects that connect us to the environments we inhabit, providing considered responses to site and place today.
Suze Adams presented new works from the Hebridean island of Mull, while Joanna Greenhill filmed the exterior of St Mary’s of the Angels, Brownshill as daylight rose and Brenda Miller showed pieces linking textiles to landscape.
The Reflexive Photographer
Jacqueline Butler’s visual essay ‘Recalling Touch: In and Out of Focus’ features in this new publication from Museums Etc. The Reflexive Photographer emphasizes the fact that a photograph rarely stands alone. When we look at a photograph we’re interested not only in the photograph itself, but in the photograph and its context. The image has a relationship to its maker, to the viewer, to the time and place it was made – and to how it is being “consumed”.
The Photograph and the Album: Histories, Practices, Futures
This publication from Museums Etc, edited by Jonathan Carson, Rosie Miller and Theresa Wilkie features two chapters by Rosy Martin (‘Time Changes Everything: Revisiting a Familial Image’) and Nicky Bird (‘Looking a Gift Horse in the Mouth: Generosity and the Digital Exchange of Family Photographs’). The foreword is written by Angela Kelly, who presented a paper at the ‘Family Ties: Recollection and Representation’ conference in 2012.
The Finnish Church, 33 Albion St, London SE16 7JG (
Wednesday 9th October 2013, 7:00pm
Film screening of ‘On the Border’ by Lizzie Thynne followed by a panel discussion with Titus Hjelm (UCL SSEES) and Annette Kuhn (Queen Mary, University of London).
Courtesy of the Finnish Church in association with the Anglo-Finnish Society.
A daughter’s exploration of her Finnish family’s history prompted by the letters, objects, and photographs left in her mother’s apartment. Fragmented memories, dreams, and diary entries are juxtaposed with the director’s journey to significant places and people in that history from during and after the Russo-Finnish wars, 1939 – 1944. Thynne’s mother, Lea, and her siblings were evacuated from the disputed border territory of Karelia. Lea’s father was killed in 1941, fighting alongside the Germans against the Soviets. His death in action contrasts with the more indirect impact of the war and its aftermath on the destinies of the remaining family.
Thynne searches for the causes of her mother’s breakdown as well as acknowledging that she can only understand her family’s past through her own experience and imagination. In this hypnotic work of mourning and remembrance, past and present, associations, memory and imagining intertwine, as the film charts the lingering traces of conflict and exile across generations.
You can view Lizzie’s film and read her research statement about the project on JMP’s Screenworks, a peer-reviewed online publication of practice research in film and screen media:
Lizzie has also created a new website that features her films and writing:
Recognising the fragility of memory and fluidity of time, Generation explores the passing of memories between generations. Acknowledging slippage between presence and absence, Adams follows her ancestors’ footsteps to make work that sits between fact and fiction, memory and imagination.
Adams fascination with the experiential landscape complements an interest in the haptic and embodied dimensions of our relationship with/in the world. For the past decade, she has focused on projects located on the Hebridean Isle of Mull (home to her maternal ancestors). Recognising the tension between longing and belonging, her work builds on oral histories to explore significant sites across the island. The constant presence of water becomes a metaphor for passage and transience – the passing of time, the transience of the body.
To mark an end to her six month artist residency at Wimbledon College of Art, London, Sally Waterman exhibited a selection of black and white photographs from her ‘Translucence’ series, in the group exhibition, ‘Liminal’ at the Camberwell Space, University of the Arts London from the 8-19th July 2013.
This group exhibition profiled the work produced by ten artists based at Camberwell, Chelsea and Wimbledon, University of the Arts during their AA2A (Artists Access to Art Colleges) residency. The ‘Translucence’ series serves as a reflection on the fragility of life, investigating Waterman’s experience of loss, in particular, that of her grandmother, who passed away nearly twenty years ago.
‘Body and Performance: Ways of Being a Body’ edited by Sandra Reeve and published by Tiarchy Press features a chapter by Suze Adams, entitled ‘’The Dwelling Body’ which draws upon her project, ‘Communion’ as a case study. This new publication brings together a wide range of contemporary approaches to the body that are being used by performers or in the context of performance training. The 12 lenses published in the book all share the notion of ‘body as flux’, of ‘no fixed or determined sense of self’ and each one uses a case study to support the performer as a skilful creative entity, emphasising the intelligence of the body at work.
Check out interviews by Nicky Bird about her series ‘Question for Seller’ and ‘Archaelogy of the Ordinary’ and FTN associate, Angela Kelly’s various projects, including ‘Sundays at Sea’ on Photoparley: