I know a a lot about posthumous collaboration. As an artist I work in multiple forms to respond to my father’s life story and his plays. I’ve even written a play about a playwright with my father’s name, and adopted his voice to narrate my take on his story. In many ways I view Richard Butchins’ 213 Things About Me as a kindred project. At an artist’s talk last year, I was caught by surprise when asked what my father would think about my work. This question has stayed with me and makes me wonder what the real Rose would make of these podcasts. It takes a profound level of trust in a relationship for work quite so intimate. The first episode of the series is called, You What?
Writing under lockdown can feel like trying to thread a broken needle. Adjusting to Covid-19 is a full-time job. This week’s been especially tough. A nation red raw with grief confronted by a government intent on rubbing salt into the collective wound. Somehow, I’ve taken to making proboscises (the nose of a mammal, usually long and mobile) out of cardboard tubes. It looks simple (and it is certainly makeshift) but it’s complex conceptually – I promise.
It has taken a disaster to teach me how to wear a beret like my grandfather. It sits on top of my shaven head and feels suddenly right, after 4 years of thinking it was too small. A child’s beret! I thought. That was before we crossed a red line and I shaved my head too close, all on the same day.
NB. I’ve chosen to republish this blog post. I can no longer distract from this pandemic by thinking about access issues, but nonetheless the moment it captures is important. I hope we can all learn the lessons COVID-19 brings.
My top tips for surviving and thriving online. We’re all at sea with this coronavirus pandemic, and for freelancers in the UK it’s also been a body blow to learn that (the the time of writing this) our Government has failed to support our incomes in line with employees. With so much creative industry work cancelledContinue reading “My artist freelancer’s guide to online networking. #COVID19”
In this blog I share my provocation for the Public Conference – Disability Arts: Slaughtering the Sacred Cows at the Midland’s Art Centre in Birmingham. Anna Berry is an artist and the curator of the exhibition Art and Social Change: The Disability Arts Movement at the Midlands Art Centre. For her DASH Arts Curatorial Residency, Anna curated this closing event as a public conversation.
I’m loving this phase of my becoming. My post-it isn’t designed for sympathy, no, no! For me this is a powerful image, brimming with ownership. I’m all for that!
It’s important to feel useful to stay alive. We must all feel that we have agency over the things which matter to us. In my studio I know that my tomatoes will dance, sing, and play with me, until they’re ripe and ready to emerge as talismans for a way of being that can’t be silenced – it is too joyful and beautiful.
I know I can’t effect culture shift with my tomatoes – thought I can help to signal a growing impetus in the arts sector. Thinking though this blog post, I’ve also been enabled by my conversations with colleagues about the power of silence.
I will hold the possibility of silence as a response for future encounters with unwitting social ableism. Let’s see what opens up in the gap.
A blog post in which I talk through some new thinking about the term ‘social disability’. I love an epiphany! God, being autistic is sometimes an absolute blast. I get to peel back layers of a life time’s accumulation of faulty learning and go, wow! so that’s how it really works… Recent adventures haveContinue reading “The building blocks of learning. Thinking about ‘social disability’ and access.”
So last week I went to the fantastic closing event (conference) organised by Disability Arts Online as part of the Contested Spaces exhibition, at the Foundry in London, curated by Aidan Moesby.
Access arrangements were superb and the event was pithy. Succinct, and brimming with content, it was concluded with a quite beautifully poetic performance by Malgorzata Dawidek. Aidan deftly chaired the panel, which featured Jennifer Gilbert, Ashok Mistry, and Elinor Morgan. I came away enriched and energised.