Today is the final day of a surreal and wonderful week in my life as an artist.
100 of my ink drawings are up at Tate Modern.
They are part of a residency/take over at Tate Exchange , a public engagement area set aside on level 5 of the Blavatnik building.
A selection of my project ‘Stories collected live in ink’ is there thanks to Wasafiri Magazine in which I’m featured artist this issue.
Wasafiri is a journal of international contemporary writing and is based at Queen Mary University London.
Queen Mary was offered the weeks residency to showcase some of the many cultural programmes that are based there.
This current issue of Wasafiri explores the theme of refuge, with essays, fiction and poetry from global voices on the subject. It’s been guest edited by Bidisha, and I was honoured to read at the launch at Tate on Friday, and participate in a panel with Bidisha and fellow poets Olumide Popoola and Lisa Luxx.
Part of the remit for artists taking part in activities at Tate is that we should do a 10 minute talk in front of a work we choose in the collection.
This really exercised me, so many incredible paintings that I love and grew up on. But for the sheer bravado of it I chose Interior Scroll by Carolee Schneemann
I also did a two hour story collecting session – which was a blast: intense yet joyful as ever.
One of the great thrills of this opportunity has been to put the voices of all kinds of people into a space where they might not normally be heard, and to create a new set of ‘neighbours’ in displaying the drawings made with people from Southall, Liverpool, Northamptonshire, Devon, Brixton, and many other places next to each other.
I chose these 100 stories from my big archive boxes in the studio in which I have about 1200 drawings collected over the last decade. I decided on home as my theme, so that I could include very ‘settled’ narrations as well as the sometimes difficult stories of people more recently arrived. I wanted to reflect the cosy ways in which we create home for ourselves even perhaps fleetingly, on the road, or the impossibility of that comfort sometimes in long term situations!
Above all I love the collective of recognition such an exhibition creates, I’ve been touched to see people look at the drawings and cry. And amazing feedback such as this!
These pictures are records of real subjective feeling, often described as metaphor or fact to me, who subjectively aims to honour and depict them. It’s all true! Subjectively true.
And of all the extraordinary twists: I find myself (like Marcia the security guard below, I never thought I would) ‘at home’ in Tate Modern!
A couple of weeks ago I was in Liverpool to collect some stories live in ink. I was invited by curators Poppy Learman and Liz Stewart, who are creating an exhibition on one of the city’s much changed streets, Pembroke Place in Liverpool 3.
The centrepiece of the Museum of Liverpool display will be the beautiful frontage of Galkoff’s Kosher Butchers, currently being restored, tile by sap green tile, ready to be installed in the museum for the opening in autumn.
I was there last year too, the hoarding on the site features some stories I drew in 2017 alongside archive photos and documents.
Pembroke Place is home to Liverpool School of Tropical Medicine, so as well as hearing about chandleries, sausages and tap dancing, I also heard about snake venom and mosquitoes.
I collected and drew 60 new stories, here’s a small selection.
There wasn’t much time between stories to explore Liverpool, though what I saw I loved, and the light was amazing, knocking its glitter over the Mersey, and Albert Dock where I was staying.
This last photo shows the gallery in Museum of Liverpool where Galkoff’s and the Secret Life of Pembroke Place will be on show.
Thanks to Poppy and Liz and so many Liverpudlians for sharing their brilliant city and stories with me.
This is me spookily matching my meal at the Jewish Elders Luncheon Club!
A Pilot Poetry project in Four Hull Schools: May 2017
This year, 2017, National Poetry Day will be launched from Hull, in honour of its status as city of culture. Hull, with its proud abolitionist history, via celebrated son William Wilberforce, is also behind this years NPD theme: Freedom.
I was invited by Susannah Herbert of National Poetry Day, to assemble a team of poets, and work with NPD manager Andrea Reece, to roll out a four day poetry extravaganza in Hull for primary children, ahead of the day itself in late September.
The idea being that the children of Hull could lead the way in showing how freeing it might be to work with poets, and find poetry of their own to explore and document their ideas and feelings, and the world around them. We prioritised getting a wide cross section of voices and styles so that the students would discover that there are all kinds of poets, and many different ways to work creatively with language.
Schools and children up and down the land could then follow suit, and be inspired and empowered by the poetic imagination revealed in Hull!
Ian Reed and Roisha Wardlaw of the Hull 2017 No Limits education programme helped us set this up and with their support we rolled into town.
In April we made a trip to meet and work with teachers from the schools that had elected to take part. Andrea and I spent a great day with them where they found themselves unselfconsciously writing poems, playing a game of poetry lucky dip, practicing choosing and reading newly discovered poets work aloud to each other, and arranging image and text together in their own spontaneously evolving artists’ books.
Before the teachers workshops we had a day to look around Hull, meet some young artists and poets from an organisation called Ground and also go to a book launch at the university where we met tutors and students of creative writing, and heard two poets read, one of whom, Sarah Stutt, seemed like a good fit for our schools programme, so we invited her to join us.
Some of the teachers/schools had proposed themes for our workshops as well as the overarching theme of freedom, and all had made plans as to how to best deploy each poet to the right year groups and classrooms. It was interesting to note which workshops were most effective, and not surprisingly, there’s a lot to be said for spending a whole morning or a day with pupils on reading and making poems, rather than zipping through at speed. Assemblies were a good way to gather everyone in school under the poetry umbrella, we all did whole school assemblies which were an important part of the week, and allowed for introductions… below I’ll just give a few examples of workshops that I was part of.
At Alderman Cogan School, year 5 were looking at the Vikings and Anglo Saxons, and I joined Chris McCabe who had devised an inspired class on sound poetry, playing the children recordings of Old English, Dada poetry, and Edwin Morgan reading his Loch Ness Monster’s Song. (‘Yes, you are definitely allowed to laugh!’) Everyone had a great inventive time making up a script for Beowulf and Grendel in contrasting modern English and monster sound poetry… this scroll was made by a girl called Georgie after school, she came and showed me the following day, what a star.
Another brilliant child made a whole sound poem book, also in his own time, and not only came to show me, but read from it with real flair at the childrens public poetry performance held in Hulls Jubilee Hall on the Friday.
It felt like poetry luxury for me to work for three whole hours with one class at Saint Mary Queen of Martyrs. Year 5 wrote Oulipian anagram poems and made their own books. First we looked at all the words we could get from SAINT MARY QUEEN OF MARTYRS, and pooled our findings on the whiteboard. The students discovered rafts, serenity, men, mountains, nutters, mum, sun, rain, tents, roses, a sister… and much more.
I then taught them how to make a little foldy book from an A4 piece of paper, and we each made one, using precise folding and crisp, black paper. Black pages are hard to write on, so we had to use collage papers and light coloured pencils to make our words appear. I was blown away by the concentration, the sheer enjoyment of the challenge, the use of colour and language, and also the enthusiasm of the teacher, Mr Herman, who expected wonderful work from his class, and got it!
This double page spread seemed to offer profound insight on the domestic scene! It definitely struck a chord with me.
My Wednesday was insanely busy running six sessions with foundation stage at AC school; a high spot was the spontaneous creation of a commemorative frieze poem with a Reception class to celebrate the bike/scooter ride they’d just completed before my appearance.
When I asked them to tell me how proud they were, how sweaty they got, how tired – they came up with original similes that were pure poetry. I wrote 15 of these out in my swirly ink calligraphy on long strips of paper, and ran these underneath wider strips, on which I’d asked the children to draw self portraits on the vehicles they’d ridden.
Examples of what the children told me: “as sweaty as the sun,” “as tired as a tired horse,” “as proud as a bee that had stung 109 people and then died,” and a wonderful image from a boy who hadn’t found a bike or scooter, but had done the circuit on his legs: “I want to go to sleep as cosy as a basket of eggs.” For the full effect please imagine that distinct Hull accent shaping the words. I was totally charmed.
With the smiling help of their teacher, Ms Hodgeson, we displayed the poem as a frieze all the way round the walls, recreating that cycling round the playground look for indoors.
Shazea, Joseph, Chris, Sarah and Kate all told me great stories: of young poets finding their voices, children that normally avoided writing suddenly joining in, and other inestimably valuable responses. Us poets really enjoyed having colleagues for the week, and getting to read as well as eat together, and compare notes about workshops, school dinners and POETRY! Our reading in town on the Tuesday night at The Kardomah was a blast, we were joined by Joe Hakim, a Hull poet, and others who contributed via the open mic slot. One of the teachers who’d been most involved and helpful with our visit, Mike Goode, is also a poet, he got up and read that night, inspiring.
What an intense week: thinking, planning, teaching, reading, listening, performing. It seemed like everyone we met was excited to be a part of this, and to consider poetry as a vital part of everyday life. As this was now over a month ago I’m hoping that the ideas are still filtering through the minds of the children we met and wrote with… I know they’ll be buzzing around my head on a permanent basis now!
Over the last couple of years, my story collecting project has been expanding into the rich theme of migration: and I’ve had the chance to hear people tell me about what makes them feel at home: whether it’s a kitchen, a hobby – their body, or a poem…
Londons diversity has always made me relieved to return to it, but many people don’t experience the city as friendly. How do we live in our communities, connect with neighbours, make ourselves heard? These questions seem more urgent than ever, post brexit, where polarities have been amplified, in and outside of our various bubbles.
In Hounslow I was working with Creative People and Places encouraging residents to develop their own modes of story collecting, which we practised by listening, drawing and writing poems together, after initial inky story collecting sessions with me.
Over at the National Maritime Museum I’d also been listening and collecting, from visitors to the RE*THINK space there, as part of work with The Migration Museum Project. Poet and friend, Karen McCarthy Woolf was writer in residence on this theme. We hatched a plan to collaborate, and make a piece of work to show our findings. This is now manifest as a 36 page book: Voyage, and contains an essay and new poems by Karen, with stories collected and drawn live by me.
As we were addressing the subject of migration, I wanted to supplement the narratives I’d heard at the museum, with some from more recently arrived people, people who might not yet be at the museum visiting stage… so I approached South London Refugee Association, who welcomed me to their drop in. I met and spoke with people there, who shared some of their moving stories with me. Karen and I selected a range of drawings and poems from the work we’d made, the book was supported and introduced by Joanna Salter at the museum, and we in turn were listened to, re paper stock, layout and printing by old friends at Aldgate Press.
We’ve had a lovely article and review of the book, by Bidisha, on the BBC arts website.