bringing together a number of experiments to submit to a conference.
Friday, 20 December 2024
Tuesday, 17 December 2024
rethinkrehang
Work continues on Sizewell C, I've been working on a couple of 'introduction' / 'talking point' pieces from conversations I've had so far, alongside organizing visits, introductions and meetings. Slowly integrating into the systems that are established. Spent the weekend cleaning, repainting and then rehanging the art in the corridor – it’s like collecting the work all over again as the new layout enables the art to be seen as if for the first time. Onto screens – traumatised by Carry On – don’t go to the airport, moved by This brings me to you - hope and honesty and finally traumatised by Heretic – don’t go into a strange house.
Tuesday, 10 December 2024
ohnoyoudidn'tohyesyoudid
Friday, 6 December 2024
thememoryofexistence
Tuesday, 3 December 2024
progcomputerrockandsomeotherstuff
Friday, 29 November 2024
Whatisbookness?Whatisittomakebookart?Oneapproachtothemakingofbooks.
The text of the article – with a ‘made-up’ dictionary definition of bookness!
bookness
/bʊkness/
abstract noun: bookness.
An object or
activity that references or contains in its conception or creation ideas,
materials, concepts, production processes, functionality or other elements that
are related to the book, its associated activities, and spaces. These include paper
making, reading, writing, calligraphy, typography, illustration, printing,
binding, folding. Spaces include libraries, archives, bookshops including
second hand and antiquarian, databases, and the internet.
synonyms: book, book
art, bookwork, artists’ book, volume, tome, work, printed
work, publication, treatise, whole book philosophy.
More
The naming of
an idea which has at its core the essence of book. Other art forms that have
bookness and encompass time-based works, including dance, film, theatre,
performance poetry and music both live and recorded.
Something
bound by the concepts that contain the idea of the book.
What is bookness? What is it to make bookart? One approach to the making of books.
This paper sets out to explore some ideas developed
around notions of bookart and the expansive possibilities available when
interrogating the idea of book through the lens of bookness. It will also
examine the making of books within an art practice alongside its position
within education, specifically the core values that were embedded within the
Book Art Course at Camberwell College of the Arts. ref 1
24 years ago, in 1995 as a visiting tutor
at Camberwell College of the Arts, working on the BA Graphic Design Course I
was asked by Alex Lumley ref 2 to help write the course documents for a
new MA Book Art Course ref 3. I had been working with students,
developing ideas around image and text within various formats. In my own practice
I had been printing books since 1983, my second year of study on the Graphic
Design course at London College of Printing (now London College of Communication).
My foray into the making of books was instigated mainly because I had
discovered the glorious design printmaking workshops and the machine printing
workshops operated by ex Fleet St printers. I often created too much work to
fit in the space allocated to individual students in crits and assessments and
the book provided the opportunity to have a lot of work in one place. Eventually
I developed an approach where I produced work specifically for the book format;
images to scale and text length developed in relationship to each other, but
still basically using the form as a container of information, repositories for
my image and text works. I tentatively started to consider the possibilities
afforded by exploring the structures associated with the book; fold, gutter,
page. These were mainly design concerns which contextualised the work within a
livre d'artiste framework rather than an experimental bookwork model. This
was something I only really understood when I found myself standing in Charlene
Gary's library at Basilisk Press in 1983 with Derek Humphries ref 4 surrounded
by things called bookart or fine press books or livre d'artiste. ref 5.
Before that exposure I think I naively believed I had invented this thing
called the book.
As part of my
role to create course documents and the need to further my understanding of the
books possibilities I corresponded with Ivor Robinson, ref
6 who was running a bookart module at
Oxford Polytechnique. Thus, my introduction to bookness was born, I was soon
reading around the subject and was subsequently drawn to the dogma of Ulises
Carrion. ref 7 There have been many people along
the way who have informed my understanding of the creative process, enabling me
to be standing at Turn the Page. Over the existence of the course at Camberwell,
under the guidance of the Course Leader of 24 years, Susan Johanknecht ref 8 I have been introduced to and learnt along with
the student’s new ways of thinking specifically about book. This led to the
development of ideas related to an understanding of bookness, a whole book philosophy, an activity that
explores concepts and actions relating to the making of bookworks; folding,
printing, sequence, order, time, control. This concept has provided me with a framework for a practice
which has enabled a focused core set of values and an approach to the making of
a wide range of artworks and presented a methodology to be used within a
teaching context.
The core of
this paper was carved out of a seminar I have been giving at Camberwell since
the course’s conception - it has evolved greatly from its first iteration,
collecting ideas like a wayward snowball gathers everything in its path as it
hurtles down a mountain, so that it now has the density of a black hole,
tightly packed, somewhat impenetrable but diametrically it melts away under interrogation.
It is this link with the concept of belief, belief in the idea of a made-up word
- bookness that I enjoy. The slippage of language means that each individual
can find their own version of what bookart means to them and it can change with
each new encounter, each new piece of information.
The
presentation titled What is bookness - finding your relationship to book ref 9 formed part of the first seminar that the new
co-hort of MA Book Art students received at the beginning of the course. It was
an attempt to create a level playing field of knowledge within the group, a way
of presenting an open approach to thinking about the book, supporting the idea
of challenging preconceived notions of what book is or could be, an idea that
went to the core of the course's philosophy. My starting point for building the
initial presentation was to challenge traditional notions and known's
associated with the book, for example that in an art practice it needs to have
anything to do with paper, pages and hard covers containing images and texts.
It attempted to present an opportunity for the students to develop their own relationship to book - book as material - image of book - paper -
words / text - binding - folding - structure / book as architecture / space -
smell - touch - codes / communication - documentation / dissemination -
collecting / ordering - performance / reading - process / making - distribution
- sequence.
Having taught
for the whole of the Course's life, from its conception to its termination, I
have delivered a version of the presentation26 times, starting off using
photographic slides and moving onto PowerPoint, each one delivered revelatory
moments for myself which in turn fuels the thinking for the specific cohort and
also informs the next one. This almost invisible reflective element of teaching
has enabled me to reinvent and redefine my understanding of book. The process
of creating presentations is a way of gathering current transitory information and
weaving it with established historical knowledge. When delivering it to a new
group of students there is no way that the inputs from students and subsequent discussion
can be anticipated. In that moment fresh hypothesis are born and original thinking
established.
For myself revelation,
and an acknowledgement of audience are at the heart of what I do and underpin my
relationship to the making of books. This lateral thinking, multi discipline approach
is what artists bring to a problem. The
world is re-imagined, viewed as having 'book-like' qualities, which could be
explored by making connections within the idea of the page, chapter, and
binding. The action of how a walk or book evolves through visiting and
revisiting, reading, and rereading. The bringing together of individuals within
structures has at its heart the idea of book.
The nature of making objects that will be held in the hand by others is
an important element when conceiving and then making the work. Consideration of
scale, weight, and texture, alongside its functionality are at the core of its
conception. The book is a physical conduit between maker and audience. Its
materiality conveys information which needs to be as considered as the content in
and on its structure. The physical form and its functionality can become the
work, form becoming content and the manipulation of the object in the hand
delivering sequence or multiple narratives, as seen in the work of Lygia Clark ref 10 The making of book art straddles and utilises the
world of craft and art. All this interdisciplinary activity confuses
institutions seeking definitive boundaries whilst creating marketing absolutes
with which to sell courses, but it is this mercurial position that excites
makers and audiences who enjoy the skill of making combined with the conceptual
thinking to deliver intriguing objects that convey ideas through the hand and
eye.
The hybrid
nature of the book form has led to undertaking an extensive range of
commissions and residencies, some examples of these will used in an attempt to present
an expanded notion of bookness, specifically
recent work within the science community but initially large-scale public art
commissions were the testing ground for the concept to be trialled.
The act of creating a text for reading in a site-specific space,
timetravel, nonlinear narrative and notions of the expanded book have been
explored and utilized in several large-scale site-specific commissions.
Texts dispersed within a space means that the audience must move between the
words to create the narrative. Rather than animating the texts the space itself
takes on the role and form of book. Text with a content that comments on or
uses information from the past that is also site-specific takes the reader back
in time. This concept was used when rethinking and redesigning 2 streets in
Lowestoft where texts were cut into stone and embedded within the structure of
the street furniture: bollards, paving, junctions, roadway. The texts mapped
the history of the street, allowing the residents the act of everyday time
travel as texts from different time periods, along with facts about the space,
connected them to moments in time as they walked. The texts are reread, rethought,
and transform as the context for their reading changes, through age or personal
circumstances. ref 11
A conceptual question I have asked often is around the space a book inhabits, could this be
mapped? What would it look like? As an
art piece I have wanted to cast this space, making physical the books wider
presence. This would include both the visualisation of the book’s physical
presence, the hinge mechanism and the influence it has, the ideas within the
work disseminated through the eyes, brain and mouth. I see a huge rhizome of nodal points and
connections that links everything with everything. My work within the robotics
department at Kings College, part of Parallel Practices, ref 12 a Crafts Council project where makers were
paired with Scientists offered a diversion to this but went some way to
exploring the idea. Working with Thrishantha Nanayakkara and Naomi Mcintosh we created a project Squeeze Fold Bend and Expand - Structural Memory in
Deformable Objects ref 13 which set out to extend an
understanding of current thinking around soft robotics through model
making. We built new structures whose functionality
and manipulation were framed and enriched by a knowledge of soft robotics. This
led to us challenging and expanding our own practices by exploring ways of
controlling movement and the articulation of objects.
As part of
the trailing and testing I created a
multi-hinged bookwork which was attached to a robotic arm where we could accurately
repeat a simple movement. This meant that the bookwork's physical movement could
be mapped with positional recognition software linked to a video camera. In
effect the bookwork was drawing the physical space it inhabited, drawing both
its influence and its existence. ref 14
The presentation What
is bookness? starts with an image of two bookworks that are
important touch stones for me and in some way encapsulate the possibilities
afforded through the engagement with books; John Latham's Noit Intercourse,
a image of two books in conversation
with each other and Mirror Book by Ron King and John Christie published
by Circle Press - a bookwork that contains the whole world and which changes
with each reading because it is made of mirrors. The concepts of revelation and
engagement are what books do best.
ref
1
the
last intake of students was in 1996, the final graduate exhibition was in 2020.
ref
2
Alex was the Course Leader for the first year and is now Associate
Dean of Academic Support at UAL.
ref
3
https://www.arts.ac.uk/subjects/fine-art/postgraduate/ma-visual-arts-book-arts-camberwell
ref
4
Derek
Humphries and I were co-founders of Oblivion Boys Press an imprint that burned
bright and intensely between 1985 - 1989
ref
5
Charlene Garry
Basilisk press
https://www.bookarts.uwe.ac.uk/pdf/canon/janssen_ii.pdf
ref
6
https://en.wikipedia.org/wiki/Ivor_Robinson_(craftsman)
ref
7
Ulises
Carrion - The new art of making books http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Ulises%20Carrion,%20The%20New%20Art%20of%20Making%20Books.pdf
ref
8
ref
9
https://www.slideshare.net/l.bicknell/001-a-what-is-book-bookness-2016
ref
10
https://www.youtube.com/watch?v=7Cq2OVD7dvA
ref
11
http://www.publicartonline.org.uk/casestudies/housing/oxbridge/index.html
ref
12
https://www.craftscouncil.org.uk/articles/craft-and-healthcare/
ref 13
http://de-reform.blogspot.com/
ref 14
https://www.youtube.com/watch?v=VfOVMb5ecsk
the presentation given at Turn the Page 2019 can be found here -
https://www.slideshare.net/l.bicknell/ttp-2019-les-b-with-links
Tuesday, 19 November 2024
ihaveanewjobamanalivewithenergyandpotential
Sunday, 17 November 2024
eatlookeatlookeateat
Friday, 15 November 2024
busyheadshotsintallinn
A busy week – lots to tell next week. Used the time in Tallinn to get some photos to use as ‘headshots’! Onto screens – Alita – a carefully crafted Pinocchio sci-fi origin story. Lee – flashbacks reminds us of the power of the image. Industry – you may not understand it fully, but you will understand enough, you are screwed and they don’t care.
Monday, 11 November 2024
backinthebackinthebackintheUSSR
So - a few days in Tallinn. A fascinating place with a both short and long history. The USSR looms everywhere, buildings and housing in general feels other. I had travelled far away enough from England for the shops to be full of food I had never seen before. Managed a glorious sauna and swam in a still, clear Baltic sea, ate tasty food - mainly smoked - ribs, salmon, elk, bear, deer, cods roe.... alongside some unusual cakes. Drank some of the most powerfully tasting beers infused with pine needles, juniper, and cloud berries. The extraordinary experience that is the old town is like stepping back in time, cycling through it is challenging with cobbles the size of a child's head but you gotta love buildings with hudge gothic text painted on them. A party at the art school, which actually feels like an art school, was unhinged, what a great place to study. Droped into some interesting, challeging exhibitions.The colours of the Ukrainian flag are everywhere, which is understandable, there is a solidarity which is complicated by history. I have just begun to get my head around some of what Tallinn is about but feel I need to return.
Wednesday, 6 November 2024
itistrueifyouseeit
Tuesday, 29 October 2024
extractsfromthepastandfuture
The profound
changes that we are experiencing on an everyday level, from the destruction of
the environment to the age of pandemics, have already transformed human subjectivity.
The prevailing sensitivity that can be discerned today is a sort of
"post-apocalyptic melancholy," the sense of an ending that is unlike
any other ending before, an ending that is inevitable if we continue with our
current world system, an ending meaning the end of the biosphere and mass
extinction, whether it is rapid or slow, the feeling that everything changes
and that the only thing that's certain is extinction. This naturally creates
anxiety-and leads to the difficulty, or rather impossibility, of coping with
the irreversible loss.
The past is
as equally contested as the future. Time itself, it seems, has become the
medium of conflict; if you unearth history, if you free time from its seemingly
logical and linear path, you can see beyond the realm of the real-which is
always constructed by those with the power to rule over the stories that govern
our societies.
Religion is a
ritual invented to create meaning here and now and today and tomorrow-and God
is needed to find a structure, to achieve community. Faith, as different from
religion, is a practice that helps you to position yourself in time and in
space.
What is human
time? What is natural time? And what if the two collide? When the British in
the seventeenth century made their way to what would later be called North
America, many of the colonists were overwhelmed by the majestic ecosystem and
abundance of wildlife. But the colonial hunger for resources quickly resulted
in mass deforestation, mass extinction, and the genocide of indigenous populations.
Human life had existed long before on the continent, but rather than claiming
to be rulers over a plot of land, native tribes saw themselves as part of the
system that surrounded them; their role was more akin to that of a steward than
an owner.
Can we tell
the story of suppression by using the master's tools? What is the price of
education, of knowledge-or rather of knowing? Who decides which voices get to
be heard? And aren't these tools in the end just perpetuating systems of
hierarchy? "It's not just about what we know, but how we come to know
it,"
What is the
mirage of power that we are presented with? What is the way politics work? And
how does it distort what we perceive as reality? How does it disfigure the
people who represent politics-politicians, lobbyists, suitcase-bearers?
Outside, inside? And what are the consequences of this spectacle of politics
for democracy in the twenty-first century?
Or, in other
words, what is power? As Europe turns itself into a fortress, the values that
helped create Europe are undermined: What is the Enlightenment, if Europe
allows thousands and thousands and thousands to drown, turning the
Mediterranean into a mass grave?
Who owns
what? First, we thought the internet was for free; then we realized that we
were the product. Facebook was not free, Twitter was not free, we were not
free. The idealism of the early days of the digital yonder is long gone. What
remains is cold calculation and doses of disgust. But is this the right
attitude? In the age of Al, can we afford to turn away and let corporations
rule this emerging new world?And connected
to this question: What is the passing of beauty, what is futility, vanity,
decay, what is the passing of time in one's life and what is the connection to
the bigger space, call it culture, civilization, the universe?
Who owns
what? First, we thought the internet was for free; then we realized that we
were the product. Facebook was not free, Twitter was not free, we were not
free. The idealism of the early days of the digital yonder is long gone. What
remains is cold calculation and doses of disgust. But is this the right
attitude? In the age of Al, can we afford to turn away and let corporations
rule this emerging new world?
What do we
think of when we think of resistance? Is it a protest, an unruly mob, armed
backlash? Finding themselves at the centre of a culture war, many trans and
nonbinary persons, specifically kids, see their sheer existence questioned on a
daily basis.
Crime is a
stigma, but for whom? Is crime committed by a person or inflicted on a person?
What is the role of society, what is the relation between power, poverty, and
the rule of the law-which tends to support both power and poverty, the codified
dividing chu line for civilization.
One failure
of liberalism is on an anthropological level: the assumption that everything
starts with the individual. The societies that we build on this assumption are
limiting both our imagination and our realities. The lives we construct on this
premise are poorer, less intense and happy-community is what we are made for,
and community is what we need to build.
Is it an
event? Or is it a process? Is it fast or slow? Is it loud or quiet? Does it
announce itself? Is it something we can anticipate? Can we wait for it to
happen? What is the meaning of anticipating without knowing? Can we prepare for
what we don't know? Or do we know?
If a bullet
crosses a border, if death is sent from nation to nation, who is to judge?
What is
technology? Energy running through a system. What is knowledge? Information
embedded in a system. What is intelligence? The way to read and understand that
system. Then what is the difference between technological and human
intelligence?
Elsewhere it's been a busy week - Hofesh Shechter's From England with Love was truly awesome - from the mournful beginning through to the tragic ending, all was superbly lit. Celebrating 25 years of Home live art at Shoreditch town hall was 'liveart interesting' 6 performances on a loop. The latest Hayward shows are worth a look - Haegue Yang has her usual material repertoire of blinds and traditional techniques to create exciting work that is both aesthetically fun through the play of light as well as the political statement that the use of blinds supports. Huang Po-Chin has a great video work of a performance involving wearing copious shirts and cutting them off, alongside photographs of a version of Erwin Wurm incorrectly wearing items of clothing. Onto screens – Will & Harper – sad yet glorious road trip. The Outrun – trauma and more trauma. Deep into Fantasmas – what to say – almost indescribably odd, yet wonderous.
Sunday, 20 October 2024
thesmeltofpost-industrialdampness
An evening at Dance East for conversation and film to celebrate Rosemary Lee’s dance for film https://www.artsadmin.co.uk/profiles/rosemary-lee/ I loved the film of Circadian and it was fun to see myself in the audience – proof I was there!! https://www.artsadmin.co.uk/project/circadian/ but I also loved her early films, Greenman in particular, especially its visual links to say somebody like Svankmajer and absurdist Northern European cinema. A weekend in Birmingham for the Fierce Festival. A feast of live art in the second city. What a blast – highlights include Ramona Nagabczyńska’s Silenzio, Steven Cohen’s moving and semi traumatic (watching a cow get slaughtered type of trauma) put your heart under your feet... and walk! And Untitled (Nostalgia, Act 3) by Tiran Willemse. A dance piece that slowly drags you from the challenges of gender, into race and intergenerational trauma. It was great to be amongst ‘my people’ experiencing challenging, marginalised art in spaces that smelt of post-industrial dampness! Popped into the Ikon to see an interesting show about love and war, but the most interesting show was the offsite by Exodus Crooks in the exchange, just like a heist movie. Meanwhile I’ve become a fan of sauna – I love the community aspect of Hackney Community Sauna, as well as intense body experience that is the sauna/plunge pools.
Tuesday, 15 October 2024
weekendleaningtothemonday
A full Saturday – first off For Folks Sake private view at The Cut. A great crowd in a place transformed by wonderfully bloody-minded lighting - glorious. Its always a pleasure to turn out to see Eastern Angles, usually at a village hall somewhere in Suffolk. The Town Council building at Orford was the venue for their latest show - The Deep https://easternangles.co.uk/event/the-deep Monday at Norwich University of the Arts I dopped into a fashion lecture by Jeremy Hutchinson - having access to thinking reminded me why I work in an academic context. A really thoughtful take on the object and its role in the capitalist project we are caught in. Making an object - making meaning - object making - object meaning - the language of the image - the ritual of exorcism - creating something that hovers between object and subject - a person and a thing - shamanifacture - black Friday as a carnival of death - most excellent. Onto screens - The Instigators - slow start but a funning second half.
Friday, 11 October 2024
westernquran
Tuesday, 8 October 2024
livinghistorymorewithless
Just finished reading Stuffication - living more with less by James Wallman – the book has some excellent strategies to cope with the capitalist industrial complex! Issues around objects has been a thing for a while. My rethinking started with clothes and has moved into the kitchen. Onto screens – Nobody wants this – kooky and sweet. This time next year – sweet and kooky.
Friday, 27 September 2024
somestuffandsomestuff
The 3D printed pieces I have been making are slowly being chosen for exhibitions – the work is in blend, a touring show in Nottingham libraries. https://nottsbookarts.art/ In a couple of weeks I have a piece in For Folks Sake, a group show in The Cut Art Centre in Halesworth. Curated by artists Rebecca Riess and Alexander Costello it’s a Suffolk Centric Exhibition celebrating the work of 35 artists; established to unrepresented, from across the county; Lowestoft to Subdury, and everywhere in between. Went out to Southwold Theatre to see Sex and death in Southwold, a play by Robin Brooks – meta irony all round. Meanwhile a day in Yarmouth to see/hear Yarmonics – really enjoyed the gong bath and Ecka Mordecai’s set that was beautifully slight, as if the sound was almost something, on its way to being…and the wonderful drum/text/word madness of Fritz Welch. Onto screens The Perfect Couple – a series where the only likeable characters are the police. Fly me to the moon – sky high politics. Kinds of Kindness – disjointed oddness. The bike riders – great leathers but a film looking for a story. The Union – man out of place.
Tuesday, 17 September 2024
ashortlonghotsummerjustpassedmebye
So - my dad died..........whilst was re-reading David Sedaris I came across this quote by Saul Bellow, “Losing a parent is something like driving through a plateglass window. You didn't know it was there until it shattered, and then for years to come you're picking up the pieces.” Life goes on – the Summer ‘break’ felt both huge and long and blisteringly short. Closing a life appears to be mostly about being totally sad whilst undertaking a mountain of bureaucracy. A list of activity apart from the death thing - Premadonna festival Some great panels – Bee Rowlatt so good I bought the book - really enjoyed reading One Woman Crime Wave.
Latitude - What to say that hasn't already been said - it's a washed up mainstream commercial venture, trading on past glories, peopled by angry old people decamped on large rungs sitting in folding chairs in front of the main stage, but its down the road and it would feel odd not to turn up. The sad - Duran Duran - The good - Lankum was dark and brooding - The excellent – The Darkness was like a metal tribute band (in a good way) - The most fantastic - Chic with Nile Rodgers was awesome.
6 days in Hamburg - what an easy city to live in - so green with water everywhere - we cycled all weeks on bikes hired from Happy Bikes, the bike lanes are fantastic, although waiting for lights to turn green when there is no traffic is challenging. Art - saw so much, highlights include the show Manual for Survival at Deichtor Hallen, an amazing exhibition that asks deeply searching questions about where we are today. Had to buy the catalogue. Museums - after the art, the lens you look at stuff is in relationship to issues around waste, the environmental impact of humans and displaced energy. I loved the whole of the Museum Der Arbeit, the museum of work, fantastic exhibits which are obviously still used, especially the print room. Hamburger Kunsthalle has a beautiful installation based on Casper David Friedrich, whose work is also on display. Also got to see Serra's measurement of time/seeing is believing. The Spiegel canteen in the MK is gloriously trippy. MARKK is a glorious space, and it has a 'take no prisoners' approach to the truth. A show about lithium mining, relating this to salt Peter mining, a show about Benin bronzes the museum is repatriating, erotization of The Tirol region, alongside displays which celebrate Korean culture, including a yurt, a Maori meeting building and some of the oddest masks ever. The Maritime Museum down by the truly extraordinary harbour buildings has a whole floor of mini models of boats which will blow your mind, remember for each model there is at least one full sized example out there. The odd - you must go to mini world, it will disturb and engage in equal measure, sometimes at the same time. The silencing - a visit to Neuengamme, a WW2 work camp, built to make bricks for the German war effort was so insightful. From the individual, personal stories to the disturbing diagrams. It led to an overpowering understanding of the extensive bureaucratic systems set up by the Germans to control and destroy a culture, something akin to our role in Colonialism. This was especially pertinent as race riots were going on in England at the same time, no learning seems to have taken place. The space enabled my ability to reflect on the concept of a 'war effort' for all sides.
The show at Solid Haus was interesting – each year the work chosen is thoughtful and the people nice. Highlight was rewatching The Girl Chewing Gum, 1976 by John Smith, wonderful and laugh out loud Tom, 2007 by Jack Strange. Summer meals outside with old friends has been a wonderfully supportive activity and we have had some lovely days and evening (we did have some good weather.
Tattoos have been a physical marking of the metal turmoil. I have some new ones and existing lines have been joined up in a very symbolic recognition. Thanks again to @jim_skins for the skilful, understanding and care.
A weak(ish) in Croatia for a wedding gave respite and acted as a bookend to the Summer. Whilst there we checked out a bay where all the huge hotels were destroyed and abandoned. It was odd to be in these spaces of pleasure, I felt that I understood the activities that took place here, unlike say a castle. I have walked in these types of spaces, and it was truly disturbing to see them in such a state. The wedding was a Bosnian/English affair with great/odd music and fantastic conversations – I loved the photographer’s choreography at the ceremony.
It was nice to be invited by Rebecca Riess and
Alexander Costello to be part of For Folk Sake https://thecut.org.uk/events/for-folks-sake-2/
and a spending afternoon was spent talking art whilst choices were made.
Sunday, 14 July 2024
wewinagain
Being part of the team working on the Dev Neuro Academy Summer school @kings last week was amazing, so much learning in such a brilliant space with thoughtful, creative people, including the highly motivated students. A real pleasure but also an opportunity for continued professional development, observing alternative ways of teaching. So much learning, it was wonderful to be valued as an educator and to learn from students, experiences that are rare. Meanwhile Synthetic Anatomy has won another award. It’s great that what we do has been recognised. Onto screens – Roadhouse – slick and strangely funny throughout the endless fighting scenes. Kin – season 2 dealing in drugs will end badly!
scienceisamazing
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