A public installation of twenty five banners placed outside the IOE in London as part of the FiLiArt exhibition 2017. As FiLiA Artist in resident this was one of the works I created in response to my project Statements in Semaphore. Each image is a digitally manipulated photograph of one of the women I worked with during the project. The photographs shw the women signalling in semaphore the letters for the sentence Twelve Days of Conversations. The project took place over twelve months and incorporated twelve days of workshops with women, focusing on providing safe creative spaces where women's dialogue could emerge.
Live actions at the ex-Holloway prison site. The artist spent time over 2016 and 2017 looking at reports from Suffragetes in Holloway and then women prisoners now who were previously held at Holloway. After this research the artist performed several live actions at the site over a period of two days. These included photographing and filming parts of the site, reading poetry from the women to the gate. Signalling and signing words from the women to the prison and finally leaving a t-shirt from the women, with messages on at the site.
Collaborative performances with Angela Alexander-Lloyd at Kunsthal 45, Den Helder, Netherlands. Listen 1 - The artist signalled using semaphore to the sea, from the top of Den Helders large Dike, wrapped in navel semaphore flags from Den Helder itself. Listen 2 - The artist performed a poem in sign language repetitively from the dike towards the town of Den Helder. The two works were the final part of a triptic of work produced by Angela Alexander-Lloyd as part of her residency at Kunsthal 45. She invites Susan Merrick to join her for the final element, the performances. The performances were conceptualised and performed by Susan Merrick with the creative input of Anglea and her work.
Single channel film Made from a live action by the artist created at Platform 1 gallery whilst in residence there over July 2017
Projected footage of women's workshops from the artist's Statements in Semaphore into bright spaces/outside spaces. The artist intervenes with the projection to both show and distort the images projected.
This is the project that I am running as Resident Artist of FiLiA 2017. Part funded by public funding from Arts Council England this is a year long project based in socially engaged practice. Working with organisations that support women, I will be running a series of workshops for female participants, run by myself and other artist. We will explore themes around women, language and power and develop work in response to these discussions. I will also be developing my own practice and series of works alongside and within this. All the work produced throughout the project by participants and myself will be exhibited at the end of 2017 along with documentation of the process. SEMAPHORE ALPHABET SERIES The theme of Semaphore and visual language has continued to be present in my work and the first piece of work that i am developing for this project is a photographic series of semaphore alphabet. I am collecting images of women that i meet in semaphore poses. These then form an alphabet that can be used to project or display invisible but visible words, phrases and messages to the public.
Whilst part of Mother House London I collaborated on two pieces of work. SHOE POLISH, GLASS AND SPIT (2016) Shoe Polish, Spit and Glass is a durational collaborative performance between Amy Dignam, Dyana Gravina and myself based on a previous performance by Amy Dignam called ‘Peas in a Bucket’. The three artists spend six hours cleaning and smearing the same piece of glass, a reflective and physical exploration into the relentless tasks that accompany being a parent. This work also brought up discussion of what is seen/unseen about parenthood and motherhood. what goes on social media and what is hidden. The film captured mainly on mobile phones captures this and the glass being within a frame adds another element to this aspect too. BODY IN TRANSLATION (2016) Body in Translation is a short series of filmed performances in which i attempt to translate Dyana Gravina's dance, into Sign language. The ultimate failure of such an attempt was an interesting reference to the ultimate failure, and necessity of this failure in all translations for them to 'exist'. (Derrida)
Online shop inspired by the language found and used in the In Our Minds project. Labels for women, past and present, perpetuate in contemporary society. I embrace this and employ the idea of mass online shopping, sales exploiting too the commodification of Art and women in doing so?
Taking the words that I used in the In Our Minds Project film I also created this film of a spoof shopping trip in which i collect items from around the supermarket that i have translated from the words on the list.
Part of a group of six Artists we each worked with the National Archives to respond to some of their documents on mental health. STATEMENTS IN SEMAPHORE -Film (2016) My response took the form of a filmed performance 'Statements in Semaphore' 2016 in which I signalled several words found repeatedly in the reports using semaphore to those entering and leaving the archive building in Kew. The words were from suffragette prison records that included information about the prisoners behaviour, nature and response to force feeding. This work for me was an opportunity to question the perpetuation of the invisibility of female voices within government archives and therefore within written history.
A multi-screen video installation of 8 short film clips. Each clip features the artist translating a quote or troll tweet about women into sign language. A piece exploring social expectations of language and the nature of obfuscation with relation to translation.
I was commissioned to create the official music video for the Artist The Glass Child. This video was then successfully entered into the NOA 2015 in which it was included on their online gallery. It was my first use of animation.
Initially this work started as a street Art piece. I created a female nude outside Boots in guildford using only toiletries and cosmetics. This was in response to the newspaper articles at the time discussing warnings for pregnant women and skin care use. I wanted to ask the wider question of what we put on our skin and why. It led to a month long daily blog in which I went make-up and skin product free for a month. The blog attracted some attention including from the make-up museum in New York. I covered discussions on capitalism, gender expectations, self esteem, the history of cosmetics and more. Find the blog here on this website from 2014. This piece was filmed by Ashley Meneely who edited the video using music I was given permission to use by The Glass Child.