September 13, 2018 § 6 Comments
Photograph taken at Magdalen Road Studios with an art piece by Cristina Renfijo.
I love this blog space. It gives me room to stretch out and explore ideas I wouldn’t otherwise express. Ideas float about and when I’m ready I draw them in and knead them into shape on these pages.
I’ve written many blogs posts since I began The Other Side, and I’m immensely grateful to all of you who’ve kept me company along the way. So many voices, so much chatter – it’s a privilege to have your ear.
I want for a moment to consider the impact of social media on my life, and perhaps this will resonate. Though equally I expect I’ll get some flack for what I’m about to say. Autistic Twitter is a wonderful thing, but there’s a toxic underbelly to the platform which infects us all and enables hostility.
Some days I mainline Twitter – it is my ‘stim’ when I’m overloaded, it’s also been a huge support to me as an autistic person and in my art practice. Though I go through periods where I lose my Twitter voice, it’s been a good way to stay connected. Currently I’m finding it hard to speak.
Since 2011 I’ve enjoyed scrolling my timeline and remember such warm early conversations about autism and art. Twitter back then was like a gentle parlour game; we remembered to thank each other for mentions and when Friday came along we’d regularly break out the #ff’s. All that feels so very long ago. So much has changed.
There are still so many lovely people out there; good friendships and lasting connections, but the other day I saw an exchange that kind of broke me. There’ve always been scraps on Twitter. Autism has forever (it seems) been bitterly contested but we seem to have crossed a line, and this one threw me. Perhaps the effect is cumulative?
Or am I now at another point in the evolution of my autistic self? I know of other ‘battle weary’ autistics. Perhaps this is a thing.
It doesn’t really matter what the ‘ding dong’ was about now that I think about it (not that I’m belittling either side of the argument). It’s more to do with the shit we give one another online when we disagree. Two autistic people pitched against each other, sparks catching as quickly as tinder as their sensitivities collided. Sudden enemies – two people I’ve followed and enjoyed hearing from.
Suddenly I felt appalled. What have we become? Why can’t we just talk things through? I know it’s all way more complex than this, but this feels toxic, pervasive, infectious.
I’ll come back to a certain kind of advocacy when I’ve figured this out, but for now I’m done. Twitter isn’t the forum it once was.
We seem to use it to bash each other over the head, and I’m just not up for that.
I want to withdraw to a place of nuance and conversation. But that’s me wanting a lot. I’ll spend less time scrolling.
This blog feels like the place to be right now. I can be quiet. I can think my own thoughts more clearly. But when I think about the need for sanctuary my heart stops.
In my minds eye, the paintings of a talented young woman, who’s found sanctuary in the UK from a war torn country, suddenly appear.
I am both pulled about by my own privilege, and afraid of repressive impulses in humans.
If you follow my art practice you’ll know that I have good reason to be.
March 19, 2018 § 2 Comments
This blog post was first published on the Overtone Productions website on March 2nd.
My journey to Catalonia with Overtone Productions for Radio 4’s The Art of Now has honestly been the trip of a lifetime. I set out with some trepidation (for the first time) to trace (in reverse) my father’s exile journey from Barcelona to England at the fall of Spain to the Franco dictatorship in 1939.
But I’m coming home with a deep sense of reconnection, and new insights into the profound value of a creative practice in confronting a most painful history, and I’ve been able to shine new light through some of the darkness.
Having carefully planned my artistic journey through the sites of two infamous French concentration camps of the period (Le Barcarès and Argelès-sur-Mer) with a stop-off at the Museu Memorial de l’Exili (La Jonquera) to make a personal donation to the archives, I was, nonetheless, anxious that my work could be met with hostility in some quarters.
The Catalan independence referendum of October 1st 2017 appeared to have heightened tensions in the region. As friends and contacts on the ground back then began to send me news and impressions (including video footage of police violence at the ballot box) I feared these horrifying scenes held echos of the Franco dictatorship, and I felt a new uncertainty. Since 2013 I have been creating work about the Spanish Civil War but I have never had the opportunity to show my work in Spain before. Whether I could do so now became a burning question.
Returning with the programme also involved breaking a family taboo, and a history of silencing through fear and trauma. Aspects of what followed feel a little dreamlike, bordering on the remarkable. I can’t wait to share some of my encounters in the broadcast.
I learned that the memory of Civil War in Catalonia was never truly erased (because ‘the people’ remembered), and that there has indeed been a proud history of protest and resistance in the region. The somewhat infamous policy of ‘official amnesia’ has not been swallowed by the populace necessarily – though tensions about it remain, especially where Francoism lives on.
But to my delight, I was met with an overwhelming welcome for my project at each stage of the journey, including an invitation to exhibit and talk about my work from Queralt Solé at the history faculty in Barcelona University, which has opened up the possibility of a whole new creative dialogue.
Making this programme has enabled me to find my voice in Catalonia, and to hear the multiple voices of all those wonderful friends old and new I met along the way.
My special thanks go to the Alsina family in Barcelona whose long and profound friendship to my family (dating from before the Civil War to the present day) inspires and sustains me. My deep gratitude also to Helena Buffery for her steadfast support and guidance on vital aspects of this project.
As I journey home I’m already longing to return once more to Catalonia.
The Art of Now: A Return to Catalonia is on BBC Radio 4 at 4pm on 19th March 2018.
An Overtone Production by Anna Scott-Brown.
October 13, 2017 § Leave a comment
This is quite a specialised blog post. I’ve been excited to find a slide show presentation from 2014 on a memory stick (autistically I burrow backwards and rely often on chance encounters with the past – the trick is to leave a trail…)
Like Hansel and Gretel before me I left some breadcrumbs, but still I’m rather awestruck that I could have missed working my way back to this somewhat seminal moment in the evolution of a project called The Museum for Object Research.
It’s a singular slide show. Many of the references will be obscure. It relates to my father’s two earliest plays – one unpublished and the other published in the Castilian language in small number and now out of print. Many of the references would be known only to the conference delegates of 2014 (familiar with the history of Spanish exile). Other references perhaps only I, or a handful of other people would understand. This doesn’t really matter. It’s the conceptual framework for my object work that matters – this is the exciting nature of my find!
October 2, 2017 § 7 Comments
I am not Catalan but I feel the recent events in Spain very deeply. I am an Anglo-British daughter of a Spanish Republican exile born in Madrid. My grandfather was from Galicia and my grandmother from Southern Spain, but they returned from their exile in France in 1941 to live in Barcelona. This place was my home from home as I grew up. Barcelona was my long Summers’ idyl, the city of all my high days and holidays, and my absolute love.
I have written often in my art blog about the long erasure of the Spanish exiles from the history books of Spain, and how my father and my grandparents never spoke of their internment in the French camps of Argelès sur Mer and Barcarès. I didn’t know or question why I lived in two places, or why my grandmother wept so bitterly in her kitchen each time we returned to England.
This is what violent political repression does – it silences you. Not just in the streets with batons. No. The erasure of memory and the taping of tongues creeps deeply into the everyday fabric of our lives. In many ways the invisible brutality of a dictatorship is at the heart of my recent cycle of paintings called simply, Buenos Días Dictador.
The dictator is everywhere and nowhere. The dictator follows you wherever you go.
The Catalan question itself is too complex for me to write about. I am an artist, not a historian or political analyst. But I know about living with exile. I know about suppression. And I know what’s more that these wounds run so deep in Spain that even 81 years on from the start of that Civil War it is hard to talk about Spain. Mine is a postmemory experience. My contact with the history is indirect, but my fear is present and real.
I have changed my social media settings to share this blog post.
The Catalan question can be hard to grasp, but you can recognise state suppression when you see it. All the hallmarks are there – and it’s impossible to argue with the statement by Barcelona’s mayor Ada Colau. A line has been crossed and Rajoy is not fit to serve. Like so many bullies before him he is a coward, one who has set armed police against an unarmed citizenry.
There have been many opportunities to negotiate, which is what democracies are made for. Democracy is talking. Democracy can never be throwing citizens around like rag dolls, breaking their fingers, kicking and batting them with truncheons. Someone has died I believe, and more than 800 injured.
Most sickeningly there have been statements by Rajoy and his deputy claiming a proportionate response. But, no. This is not ‘normal’ or right.
With my art practice I witness. It’s all I can do.
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).
August 12, 2016 § 8 Comments
Photography Stu Allsop: At RE:collections at the North Wall Gallery, Oxford.
An interesting article appeared in yesterday’s Guardian newspaper, featuring my good friend and fellow autistic artist Jon Adams.
I like this particular quotation from the piece,
“Adams says it’s impossible for his autism not to affect his work. “It’s not separate so it must inform every bit of the work I do, even at an unconscious level. I make work touching sound, finding patterns and observations from my life all woven together as one.” He feels it may even give him an advantage: “It’s both my downfall and my creative edge,” he says.”
I’m chuckling though.
“…may even give him an advantage…”
Are you kidding?
While not wishing to indulge in trumpet blowing, I have to say that autism is of course advantageous in the making of art. No question.
Jon and I have talked about this on several occasions and conclude that art making has emerged in our lives as an inner compulsion – we live and breathe it – this is what drives us to create to our best abilities. Hyper-focus, perfectionism, task completion and originality (by default we see things differently), are my four (not so) secret weapons.
This doesn’t make me Rain Woman!
AND there is a downside. In the making autism is an advantage, but it is in the professional development and dissemination of our work that we often suffer.
Professional structures are socially driven and thus biased against autistics.
It’s a criminal mismatch when you think about it.
All that creative talent and very little scope for opportunity.
What a waste.
April 18, 2016 § Leave a comment
I have a new piece of work. I have a new metaphor. I have a new dance with stigma.
Thoughts swirl. Light on shadow, and shadow on light.
I have courage and I am scared. I have privilege and choice. New work takes time to absorb. I am almost six weeks into knowing that I am autistic – this too is a process of assimilation.
This short video – featuring a new work in my studio (for a group show) brought me to another level of realisation. The concept for this work – one of uncertain weather – is a metaphor for so many aspects of my life as an autistic woman.
I am impatient. I choke on the hard edges of stigma and the truth of it won’t go down.
The weather is uncertain, dictating all my experience of the sensory world. Uncertain weather is a daily encounter with both climate and social spaces.
My piece began as an exploration of exile but I find it works for autism too. You can read more about this connection in my work here.