June 15, 2017 § Leave a comment
¡Buenos Días Dictador!
Eight new postmemory paintings by Sonia Boué
Sonia Boué is an Anglo-Spanish multiform artist. Her practice is concerned with a legacy of exile, leading to a growing body of work which relates to the Spanish Civil War, 1936-1939.
In 2015 she was recognised by researchers at Tate Britain as a singular voice responding to this history within a British context. Subsequently Sonia featured in a film made by Tate Britain entitled, Felicia Browne: Unofficial War Artist, and in 2016 she received an Arts Council grant for Through An Artist’s Eye, a collaborative project about the life and work of Felicia Browne (who was the only British female combatant and the first British volunteer to die in action in the Civil War).
“Since 2013, my work has centred on a buried family history relating to the Spanish Civil War.
My childhood and adolescence spanned the final decade and half of the Franco dictatorship, yet the Civil War was never mentioned. This history was silenced for almost 40 years, and subject to a “pact of forgetting” when democracy was negotiated in Spain, following Franco’s death in 1975.
Unbeknownst to me Spain had been navigating an open wound.
My father and my grandparents had been involuntarily separated in 1939, and my father remained exiled in England until his death in 1989.
My practice is now concerned with this inherited memory and the need to confront this history through my work.”
About Buenos Días Dictador
Sonia Boué has created a series of new works about growing up with the invisible shadow of dictatorship. In them she explores the the duality of her childhood, drawing on an immersive painting practice. Through it (and the other branches of her multiform work) Sonia seeks to recover aspects of historic memory (memoria histórica), previously erased by political suppression.
With Buenos Días Dictador, Boué’s previous focus on the narrative histories of the Retirada (Republican retreat from Spain), and British involvement in the Civil War, has shifted to her own memory sites – the return journeys to Spain from England in the 1960s and 1970s.
Her painted responses are conjured scenes (dreamscapes) in which collaged figures plot an upbringing spent shuttling between Birmingham and Barcelona to visit her grandparents. Through these works she examines the fabric of daily life anew.
“The dictator was everywhere, silently and invisibly setting the preconditions of our lives.”
The spirit of these works is nostalgic yet confrontational, employing a juxtaposition of painted and collaged elements as a means of articulating the unspoken. Buenos Días Dictador, forms a visual essay which tweaks at the invisibility cloak of Franco’s rule to ask a serious question; how can we live the life domestic in the face of violent rupture, exile and dictatorship?
In these enigmatic new works the dictator is everywhere and yet nowhere to be seen. Cut-out figures from the period (borrowed from sewing pattern illustrations) are transplanted to imprecise geographical locations. Buenos Días Dictador, is a series of haunting dreamscapes conjuring a surreal and dissonant atmosphere.
Please share with colleagues and organisations where the visual arts, and subjects of Spanish Civil War, postmemory, displacement, and exile are of interest.
Contact Sonia for artist talks, conference papers and performances.
These works are also available for exhibition (8/ 50 x60 cms mixed media on linen).
May 28, 2017 § 2 Comments
I’m tempted to leave this video right here without any words.
Who needs words when embodiment is so infinitely more expressive? It’s at such moments that I remind myself that words can only translate experience.
Yet the need to translate is there. Even for myself. I need to process what this powerful embodiment means. Writing helps. But I am minded that my words will exclude some friends and colleagues, while my video does not. I’m increasingly aware of mutism and people who can’t access literacy, as I move forward in my professional life. This matters greatly to me. The arts should not be for verbal and text based cultures alone.
As my Arts Council funded research progresses I’m going deeper into my practice roots, and I’m beyond fortunate to be invited to participate in some research group meetings in the US with my autistic colleagues at the Ed Roberts Campus in Berkeley.
This is a joyful connection of parallel and intertwined experience, and a stepping in (via the magic of FaceTime) to a space where all is shared and understood without the need for translations. We get it. We get each other. This is nothing like inhabiting neurotypical spaces.
I even love autistic group FaceTime in this space, unlike my experience of group Skype calls with neurotypical colleagues which felt more like communicating through a tunnel. There is much food for thought in how to approach such professional meetings with my team in future.
One point of comparison is the way in which neurotypical culture seems to demand a more choreographed approach to connection, which is stressful because you have to follow, keep track and co-ordinate responses. This is all about timings.
Imagine something more free flow in the autistic equivalent – where a gentle game of tag allows each participant to follow their own train of thought aloud, to find out where we intersect. This in turn allows a vantage point on the whole (a totality of shared experience) from which our combined pattern recognition skills can happily forage and fruitfully explode. Such beneficial explosions are what make our programmes and our projects function – they fire our understanding and create new pathways for us.
Nothing could be more exciting.
This has prompted me to dig deep into my back catalogue of video work, and hook up some of my earlier neurological explorations. These early experiments are now emerging as the valuable research material I need to help me conceptualise and express my autistic professional methodologies.
I did not know then that I was laying down the foundations for future professional development. The autistic psyche is wise – but can only be allowed to be so when given free range. This is my learning. This is what I most want to share.
May 22, 2017 § 6 Comments
It’s time to talk networking and how it can work against autistic art professionals in particular. I won’t talk beyond my own experience but I hope what I say can apply more widely.
From the outside I appear relatively networked in. I have public funding, and I’m a member of an artists’ studios – I have in the past participated in group shows and events from time to time. I also have incredible collaborators and artists working with me on a group project. As I grow into my autistic self and gather congruence in my life I’m making professional relationships which feel safe and sustaining.
But in a wider sense I struggle with networking in ‘real time’.
Professionally speaking, I fall into the category of ’emerging artist’. I’m not really sure what comes next – possibly being an ‘established’ artist. These are subtlties that barely register with me as an autistic person.
But I do know that generally speaking networking is a significant factor in gaining visibility and access to opportunity and the elusive commodity of gallery space to show work in. I’m less bothered about status but more about finding square footage and audiences.
The practice of a certain kind of networking demands being out in neurotypical spaces – often way out of comfort zone. The majority of professional networking spaces can feel out of reach for many autistic artists, though we’re a varied bunch and some us will be more extrovert and confident in public spaces. Nonetheless we are a group for whom accommodations for networking could open up a whole new world. For now it’s a case of suck it up buttercup.
I’ve been inspired in some of my more recent thinking about this by excellent guidance issued by Shape Arts, for Global Access Awareness Day, 2017.
Access becomes an issue the more we must inhabit neurotypical spaces for professional development and visibility. The more one must perform neurotypicality the more disadvantaged, and ultimately networked out we can become. Physical environments can also be too hostile to our sensory integrity, and we lose out doubly.
For the autistic artist whose social vocabulary includes camouflaging neurology there exists a painful dilemma; to get out there and mingle, with all the attendant drain on functional capacity, or defend against it and experience the consequences of remaining networked out in a real and important ways.
Networking is a sometimes I can but more often I just can’t thing. There can be such lovely and genuine people out there, but what I experience is a bewilderingly fast paced array of possible introductions in a vertiginous sea of knowing faces. And they all seem to know something I don’t.
Art circles can be intensely cliquey and competitive too. I can sense this faster than the average person takes to breathe in and out again. I have to be here and play power games? Ugh no.
I recently turned down a very high level networking opportunity indeed, for self-protection. Alienation is bad enough – who wants it with knobs on?!
I do know some autistic artists who would make the opposite call and suffer, and I know ones who wouldn’t make it inside the building. Either way – they’re all heroic to me. I know what guts it takes to handle this kind of stress.
Each of us has to make that call, and I usually bail, preferring instead to focus on what I can do, and what works for me. I guess this is the point I’m trying to make. Exploring helpful means of being there so that opportunity is not lost, and/or initiating and inhabiting new kinds of networks of opportunity. Working the systems to autistic advantage to locate alternative sites of influence.
I’ve recently tried asking for help with access in an informal yet significant space – my own studios – where networking involves pub meetings. But what would such accommodations look like?
An online forum I suggest, wondering how many other artists with access needs who miss out on these meetings would potentially benefit from such a thing? Associate artists who live out of the city, artists with small children, artists who also have a disability (invisible or not)…anyone who can’t make it to the pub that night…
We do have a space online but it’s pretty dead. So if that’s the space – how to animate it and is that down to me? Should it be? Or should the people who inhabit ‘real time’ feedback online?
I found it both hurtful and significant that of the 40 or so people in the email chain I made my request to, only one eventually responded.
No-one opens those emails a separate friend told me – and immediately I understood that outing myself to a group comprising of plenty of unknowns had been a non-risk. Hah! Talk about an anti-climax!
But these are serious questions – which I think all art organisations should be asking themselves in 2017. What are you doing to be inclusive (especially those with public funding and/or charity status’ to protect) – how are you excluding disabled people through basic assumption? Autistic professionals may be one of the last frontiers for such awareness – but accommodate us and you accommodate many others with access needs, I would argue.
When met with a request for help with access it will be because the person who needs it has been brave and taken a risk – because in this socially risk averse society it takes guts to do this. But unless we say so the playing field is not going to level on it’s own.
May 5, 2017 § 3 Comments
Well I’m very glad to have sorted this conundrum out over the last few days.
I guess you could say my artist website has suffered from jet lag since my diagnosis of autism in March 2016. I processed my evolving identity as an autistic person through this blog, which has always felt more dynamic to be honest. My website is a little bit ‘best behaviour’ and Sunday dresses – which I guess is it’s function, to show me at the top of my game.
It has a showcase feel about it, whereas blogging is earthy and of the moment, but I’ve come to think that I really don’t need a dinosaur of parked features which rebukes me from afar. My blog has raced on, and at times got away with me, but it’s always been about nourishing identity.
It’s a wonderful thing then to have worked it out.
Part of the issue is with the website platform (clunky though familiar) but truly the professional dilemma has been that my work predated my diagnosis, and that I’m known for a specialism which ostensibly is not related to my autistic identity.
The issues have been twofold:
- How to talk about autism within a unrelated context.
- How to talk about autism without detracting from my topic area.
What this boiled down to was working out how to front load my identity without obscuring my specialist subject. Without achieving this balance I had begun to lack congruence and hence also the growing irrelevance of my website.
And so this half way house wouldn’t wash. Or certainly not for long. I had ended up feeling compromised by, and demoralised with my Sunday dress.
This process of enlightenment has been eased by gaining funding for my own professional development as an autistic artist – I can’t overstate how incredibly affirming this has been. It’s opened up autism and access as a new and complementary area of specialism within my practice, and armed me with the confidence I need to focus on becoming more congruent in my self presentation across platforms.
Not wanting to be pigeon holed and dismissed is a valid concern for any autistic, but being professionally out – I feel – is a state of mind no one can mess with. If I know who I am I can communicate this to others more easily.
Sure, there will be those who won’t get it – so be it. Maybe in time they will.
But I must own that this is a privilege. I can’t be sacked as a freelance, though I might lose opportunities and audiences.
SO, I risk becoming a specimen of a certain kind of patronising anthropological interest I’ve come to loathe. Humpf.
There’s just no price tag on congruence
If you can be this thing, then I think it’s truly important to do it. There are many ways in which you can assert both an autistic identity and a professional status.
It’s a process and I’m not judging – but the more we do this and more we self-define the more powerful we become. Don’t wait for someone to pigeon hole you is what I say. Get there first and stick it to the wo/man &/or gender fluid person.
April 28, 2017 § 3 Comments
The Museum for Object Research
– a project born out of an autistic practice.
– Press Release/ Phase 1
The Museum for Object Research has been granted Arts Council funding for research and development.
The Museum for Object Research (MfOR) launched on a-n blogs in 2014 as an innovative online forum for object artists to share resources and develop a network of like minded practitioners. MfOR quickly sparked the interest and enthusiasm of a core group of professional artists who form a unique community around object work as practice.
Objects as cultural signifiers and material memory comprise the artistic focus of the Museum’s work.
The MfOR blog was originated by artist Sonia Boué, who also leads the Museum’s pioneering initiative to create a template for her work as an autistic arts professional. Artist and educator, Elena Thomas is MfOR’s project co-lead and key to the development of MfOR in its current form.
MfOR is an inclusive collaboration, whose work on autistic leadership seeks to develop best practice outcomes.
We seek partners committed to inclusion and diversity for dialogue, venue spaces, and conference participation. We are keen to explore areas of intersection with other minority groups.
The culmination of this initial phase will be our Arts Council funding bid for MfOR – Phase 2. Exhibition, day conference, artists talks, workshops, publications and a project film are included in our plans.
MfOR is based in Birmingham, Oxford and online.
Sonia Boué – project lead/ artist
Elena Thomas – project lead/ artist
Simon Meddings – design
Sarah Mossop – curation
Laura Rhodes – film/ photography
Dr Jacqueline Taylor – research/ conference planning/artist
Kate Murdoch – artist researcher
Sonia is an autistic multiform artist, creative project developer and manager whose recent work includes a film collaboration with Tate Britain.
Her practice encompasses paint, assemblage, video and performance. Objects form the springboard for the many branches of her work, which is concerned with themes of exile and displacement, with particular reference to family history and the Spanish Civil War. A background in Art History and Art Therapy informs her practice.
Born in Birmingham to an exiled Spanish Republican, she grew up between cultures. Family visits to Spain during the final decade of the Franco dictatorship form the bedrock of her practice as she continues to unpack her grandmother’s handbag.
Her writing on autism can be found on, The Other Side
Elena Thomas is a multiform artist and songwriter, creative project developer and manager. She has exhibited nationally and internationally. Her work comprises textiles, installation, performance and song.
Her object inspired practice encompasses touch, both physical & emotional, and the traces of influence of one person on another that are implicit in the objects and garments left behind. Imagined narratives are manifested in the stitching and the songs.
She has collaborated with producer and songwriter Dan Whitehouse on her recent Arts Council Funded Nine Women project.
Her blog writing on Threads forms a large part of her reflective practice and can be found at elenathomas.co.uk
(NB this project is about autistic leadership and contributing artists are not autistic)
April 20, 2017 § 5 Comments
Yes, we do have power. My post is not a simplification of wider more intractable structural power imbalances which work against autistics, but rather seeks to address a specific area in which power may be regained.
Society tends to ignore the contribution of autistic workers – both employed and potential workers (for many of us it is said are unemployed largely due to the myriad complications of ableism in our lives). Visible autistics are often cast either as recipients of charity in the workplace or as tech trojans, maths professors and sundry geeks.
There’s also a galling new trend to laud autistic workers (with the help of stereotypes) as work-horses. Honest as the work day is long! Give them a repetitive job and they’re happy! Accuracy means productivity! Wink, wink! Employ an autistic!
I’m very glad people are getting work, don’t get me wrong, but we have a long way to go because so much of this is predicated on neuro-normative thinking – but I better stick to what I know and talk about my own case.
I believe that many of us probably form an invisible workforce, whose skills can’t easily be replaced by others in the market place – because they are not autistic. We are both employees and freelancers – some of whom may also create opportunity or employment for others. Our brains work differently and often originally – we can gain recognition but also do so for others by association, or more darkly though imitation and appropriation. Subtle use of autistic smarts by neuro-normatives is a thing in the creative sector – conscious or not – and it has to stop. We often do not receive recognition or added value for what we bring to the job, in my experience. Neurotypicals can be slow to grasp the deep benefits autistics bring to work, and overlook them as the players they are or could be. Cultural deafness to autistic smarts, and lack of access to the rules of the game are often to blame. This is what must become transparent.
In some sectors – we’ve gained a curious market value but this does not necessarily filter down to us. Inclusion in the arts is hot, for example. We are, in bald capitalistic terms, currency. Our presence in a organisation or on a project can be valuable in terms of funding (invisibly) because we are autistically good at what we do, and (visibly) because we help tick boxes. Boxes mean cash, and thus we are in the narrowest sense ‘tokens’. We may however be used as token autistics unless we watch our backs and realise our market value, and unless we also assert that our market value must be linked to accommodations. This is really the key to what I’m trying to say.
To hook all this together we need first to identify pattern and causation and call time on certain practices. The nothing about us without us motto works so well at every level of our engagement with co-workers and organisations. I have begun asking where the accommodation is, and doing so in open forums when there is no obvious alternative open to me. Social media is one good forum I’ve found for teasing out hidden code and asserting value.
This is not passive aggression – it is the use of accessible platforms for autistics. If the social codes and means by which they are passed on are hidden to us, we may have an option to use open channels when we judge it is safe for us to do so. By which I mean – minimal personal comeback and maximum gain in clarity.
In many cases I’ve been fortunate in finding true allies – but making visible and engaging in ‘clear-speak’ can be effective where commitment or understanding has been less obvious. In the arts at least, people must be seen to be accommodating – SEEN being the operative word.
I believe it is time to stop talking about inclusion or access in neuro-normative terms altogether, because we need less warm fuzz and more hard outcomes. We have to define this in our own terms. We can’t wait around to win the info war on autism to make a living. We need our jobs and our projects to pay us fairly and not kill us in the process. SO what can we do?
Well, we have some serious bargaining chips in certain environments when we find the means to assert that our skills create outcomes (autistic smarts make for invaluable contributions and demonstrably so). Similarly so when our presence as autistics brings in monetary value to organisations in terms of funding. This we bring to the table, thus we must gain at the table. I don’t want a place I can’t use or decode from – I want an accommodated seat where I can be acknowledged and equal.
I am learning not to be confused by the mere appearance of friendliness or put off by other people’s agendas. I’m late diagnosed, hell it’s time!
April 8, 2017 § 8 Comments
Photograph of Sonia Bouè’s Refugee Stack, 2015 by stardaffs.com
SO, something happened.
In collaboration with my trusted colleague Elena Thomas (artist, song-writer, performer and educator), I have asked Arts Council England to support me in creating a document to outline my needs in the workplace. They just said yes! This piece of paper (or more likely powerpoint, video, series of poems, and – oh yes a handy list!) will be my ramp into neurotypcial spaces as an autistic arts professional.
All workspaces are the wrong neurotype for me. All of them. No invisible ramps exist for invisible conditions that I know of. So we have to start talking up visibility and making change happen.
Alongside the challenges of my autistic difference in an often hostile world, I have co-morbid conditions which present me with further obstacles to access. A restricted diet due to functional gut disorder, severe contact dermatitis, and Raynaud syndrome are on the daily menu. I must manage my energies and environments with the greatest of care, and commonly found canteen fare, air con and synthetically perfumed environments can act as enemy agents sending me into a spiral of ill health.
I need control over working conditions but as a freelance this is often a difficult and sometimes impossible challenge. My professional template will be designed to turn this around. A personal breakthrough in managing my conditions has been to gain a diagnosis of autism – at which I learnt that they come with the territory. They’re not autism per se but they come as an attachment and form part of the package.
What this does (in practice) is to bring this trio of troublemakers to heel. I click my fingers to round them up, and we become one. Autistic + co-morbids is the deal with me. I require detailed and specific accommodations in a complex and fast paced milieu – ie the arts!
But of course it is autism – and the myriad disadvantages faced in a neurotypical working context I hope to tackle head on. This is no add-on or postscript to my project. It is the core of my project. If I am to lead and create opportunity for others (my project brings employment among other benefits) then my team must come with me and I feel so lucky knowing that they will. Too long have autistics tagged along or even had their work exploited. Together we may just create a pioneering model.
I feel empowered and grateful – at last I have a way of gaining some leverage and intend to share my learning with other autistic artists who may also benefit.
So how did I get my funding – how did I make this opportunity happen?
- Teaming up with professional and trusted neurotypical allies has been key to this process.
- I have now spent two years of my professional life learning my way around the lower tier Arts Council England Grants for the Arts funding application process.
- Through the combined autistic skills of hyper focus and hyper connective thought I can create effective, coherent and strategic funding bids.
So in addition to my own work, I’m now in a position to offer a consultancy service. I can help to analyse and structure a proposal for a GFTA bid (currently at £15,000 and below, and in the near future for higher tier awards) for individual artists and small organisations. My skills are not limited to autistic/ neurodivergent artists & organisations but this is a specialism.
My services can be hired at an hourly rate, and I can be contacted at firstname.lastname@example.org for more details.