Project: WORTH – Lady Kitt, defacing bank notes,gender equality, championing brilliant women & crowdfunding!

So this is a first for my blog…..I’m revisiting an artist I’ve interviewed before…Lady Kitt. When I interviewed her last time it was the very beginning of getting to know her after fangirling from a far. Since then…we’ve met lots of times and I’ve seen her work, one of her performances and fallen in love with her even more. Officially one of my favourite humans.

You can read my last blog post here – find out all about Lady Kitt, her practice and of course Nasty Women North East.

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Now for this post – I’m going Lady Kitt project specific; I’m talking about LK’s project WORTH. And I will let LK tell you in her own words about the project but this post feels timely to me. At the heart of project WORTH is the (rational) human ideal of gender equality. It’s about championing the women who have fought and raised the rest of us up enabling and empowering us politically, professionally, inspirationally and everything in between. It’s also about recognising the areas of work and sectors where women remain under-represented and highlights that we still have some work to do!

So I’ve been incredibly disheartened and surprised that in sharing on my social channels other projects, art and blog posts about gender equality and championing women that I’ve lost audience and received messages from individuals who clearly do not champion gender equality and feminism – and it has reminded me how essential projects like WORTH and how brave people like LK are for putting themselves out there…..

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LK is crowdfunding for project WORTH and it won’t happen with you! It really seriously won’t….we need you to donate. Before we move on to LK – I thought I’d express why I love this project and why I’m donating to it….

It recognises the wonderful humans that fought and enabled some of us to get the vote. I think sometimes we forget how big a deal it was for The Suffragettes to stand up against society and the patriarchy of the time and demand change, to be heard and ensured visibility. We are forever indebted to these women – they enabled us to strive towards the path where women can be anything and anyone they want to be….astronauts, business owners, politicians, playboy bunnies, Britney Spears….

It’s championing women in underrepresented sectors… it’s so important to recognise that there is still work that needs to be done and there are still some sectors where a woman is a lone voice in the room. And I’ve been that lone woman before….

Project WORTH is empowering women – by supporting this project – we are supporting and enabling others! You’re uniting women with a cause and common voice – encouraging them to discover and realise their worth within them….WORTH really speaks to my interests, my motivations as The Culture Vulture (to empower others) and of course, my heart.

So let’s hand over to Lady Kitt to find out more about the project.

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For those that didn’t read my last blog post….. tell me who you are and a bit about you?

Hiya, I’m Kitt. I live in Newcastle and LOVE the North East with a wild passion. I’m an artist, an activist, a Nasty Women, a drag king and a parent to two lush little people. My favourite colour is red and I’m the oldest person I know who likes emojis as much as I do.

You’ve been called “The International Superstar of feminism”…. How the bliddy hell did that feel

😀 😁  😃 😄 😅 😆 😉 😊 😋 😎 😍 😘 😗 😙 😚

It felt a bit like that ^^

It’s a pretty bold statement made by Callum and Alex the lovely folks behind Creative Debuts (CD) London. The local feminist art group that I’m part of, Nasty Women North East, collaborated on a project with CD earlier in the year and from that they invited us to be part of The Anti-Art Fair in London in October. The fair is a celebration of international creativity and a call for greater diversity in the arts. If you’re in London Oct 4th-7th get yourself along!! You can even get a lovely little (33%) Nasty discount by using the discount code NWFRIENDS.

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Nasty Women North East are showcasing a couple of our projects ‘the (small but) FIERCE mag’ – a magazine for children who want to change the world and the adults who support them and the Nasty Women International Art Prize 2018. I’m also one of the artists showing work in the Nasty Women section of the fair, curated by Elijah Wheat Showroom, New York..

Being labelled an International Super of Feminism is totally mega … generally I’m pretty confident about my abilities, you certainly couldn’t call me modest; but when I saw that – blush inducing for sure and anything like that label comes with sense of responsibility. So I feel like I’d better boss the shit out of this feminist ‘art-ing’ now someone’s said that. So LET’S DO IT!

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What’s been your experience as an identifying female in the work place and in the arts?

On an interpersonal level, for me, generally fine, often fantastic. But I have heard dreadful things from other women in the arts. One women I know missed out on a big commission because she had recently got married and the commissioners assumed that she was going to have children (which she wasn’t) and assumed that by having children she would no longer be able to take on work- rubbish!!

On a more general level- fucking dreadful. It’s been relatively well reported in national media in the last year or so, that there is a woeful lack of female artists in public collections. Not just lack of women but the general lack of diversity is mind bogglingly bad. Many institutions are addressing this, but it’s a slow old slog.

It’s not just changing the attitudes to collecting but also changing the way that existing collections shown, interpreted and cared for. With a few exceptions the lack of women in senior roles in museums, galleries, within funding bodies, educational institutions etc, really effects all this. Also, the prices women artists can expect for their work is considerable less than for male artists. There tends to be poor provision for parents in the Arts. Residencies, especially rarely offer provision / support for artist with caring responsibilities. I could go on and on and on…

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So today we are chatting about your project: WORTH…. Can you tell me about the project? What’s it about? What was the inspiration?

It started early last year! Our children have some great books celebrating amazing women in history- which are absolutely lush, however a lot of these women are dead or super-duper famous. So I thought I’d like to teach my children about women who I personally think are amazing – but aren’t necessarily as well known.  I was inspired by Caroline Criado-Perez’s campaign to have more women represented on Bank of England issue bank notes – so I’ve celebrated these women and created portraits – papercutting the faces of several local women like MP Chi Onwurah and drag artist Venus Di Milo onto various currency notes. I’ve also included some completely astonishing children who are already awesome campaigners and activists.

Bank Of England Unveils Jane Austen Ten Pound Note

Caroline Criado-Perez’s campaign led to Jane Austen appearing on the above £10 note

Finding out about all these people has been so inspiring- it makes me feel good about the world. It’s also, connected to the centenary of (some) women’s right to vote in the UK- it pulls together a lot of things I’m interested in. But, you know the more I think about it, the more I realise it’s a bit of love letter really to these women I admire and to my children. I want to show them everyone has the ability to make the world a better place and to do things that they believe in- age, gender, all sorts of other stuff might get in your way, but it doesn’t have to stop you.

Projects like this are essential to celebrate how far we’ve come and highlight areas that need to be worked on – you’re a creative change maker! Where do you think women are the most underrepresented?

In the UK it’s in STEM for sure. One of my WORTH portraits is of Prof Charlotte Roberts, Archaeology professor at Durham University; for me she is a great example of a women who has approached work in STEM and in academia in a really unusual and interesting way- she actually started her career as a nurse. If you have a chance – look her up I would really recommend it; she has done some great interviews and is really fun and engaging about her subject.

Over the last 10 years I done several of collaborations with scientists (many of the women) and have heard first-hand accounts of gender discrimination within STEM workplaces. This prompted me to start researching about women in STEM, which is quite depressing. According to Wise Campaign statistics, in the UK in 2017 only 23% of the STEM workforce identified as female. But there are some fantastic people and organisations working to change this. For anyone interested in this the Athena SWAN awards and charter is a great place to start.

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You have and will immortalise some amazing women by papercutting their portraits out of currency notes……but why use paper currency and paper cutting as the medium?

A loooong time ago- before I studied art, I used to make stencils for spray painted work. I made thousands of them! And then I started to look at the stencils and think “these are quite interesting object in themselves”. I didn’t really do anything with it for ages, until my sister commissioned me to create some artwork for an album by her then band (Bridie Jackson and the Arbour).

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Album cover

Initially the idea was to create a spray painted work, but as it developed into a paper cut and that was the first time I really made a finished work that was a paper cut. I love the simplicity of the process, I love that it’s pretty eco-friendly, I love that it’s so fragile…. The practice is largely considered to be a craft, it’s something that has a long history of being made in a domestic setting, often by women, from old newspapers etc – Beamish Museum has some great example of some of these for anyone who, like me, is a paper nerd.

It’s a pretty performative art form- As much of my practice is performance based that appeals to me hugely- Hans Christen Anderson used to tell stories and make paper cuts at the same time- by the end of the story he would present the listeners with a paper cut character from the tale! I just love it.

Cutting up money started with wanting to create a response to Caroline Criado-Perez’s campaign. I made the first piece in 2017, which is of Malala Yousifazi. I showed it at the 1st UK Nasty Women exhibition and it was really well received and then brought by a collector in Amsterdam. That experience just made me want to do more. Also, cutting up money is very fun- physically fun because it’s thin but strong and smooth which is great for very intricate paper cuts and it feels a tad anarchic!

I’d been doing the series for over a year before I realized that there is quite a community of money defacing artists round the world! I started following a few on Instagram and then the fantastic Bob Osborne (Rebel not Taken) approached me to be in a book of defaced banknote art and an exhibition at the Saatchi Gallery; since then I’ve met loads of fellow money artists – it’s great!

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Elements of WORTH is featured in the book Cash is King – available in The Saatchi Gallery, London; can you tell me how this came about? It’s totally brilliant!

Via Instagram.

There are loads of shit things about Instagram- I could write a book about those; but there are also very good things. Being able to directly connect with people all over the world who share a very specific interest or a passion with you is one.

I used the hashtag #feministdefacedbanknoteart And that’s how it happened…

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You’re crowdfunding for this project…. Tell me why should people support the project and donate?

The feedback I’ve had from supporters of the project so far is that they are excited to be part of a project that reflects their political believes, supports a local artist and is celebratory. People have been extremely generous and some have told me what they would have used the money for if not for the project- which is really interesting (everything from designer socks, to gig tickets, packets of fags and a months’ worth of “posh” cleaning products!!). This project has already had many successes and looks set to have more- I think it’s fun for people to be able to say- “I helped make that project happen“. Which is absolutely true- despite having sold work from the series I have completely run out of money to move the project forward- it’s pretty expensive coz- you know I’m cutting up 50 quid notes … every time someone donates I get closer to creating the next work in the series, that’s vital for me and exciting for supporters.

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So now on to the mega important question; how do people donate to support project: WORTH?

Through my Just Giving page

If WORTH is successfully funded – what will it enable you to do?

It will enable me to make, exhibit and promote the whole series of 13 planned works. I will also run a workshop on how to create a successful gender equality project like Caroline Criado-Perez’s project.

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You’ve got loads of brilliant rewards if people support the crowdfunding campaign – can you tell me a bit about them?

Aww thank you- I’m glad you like them! I think it’s really important to offer something back to people who have supported the project. Any amount up to £25- I invite people pop into my studio (in Newcastle upon Tyne, UK) and pick something from my portfolio of sketches, practice pieces and unfinished beauties; they tend to be A4. £25 will get you one of my $1 skull cuts, entitled “So many ways I love you”; each one is made by cutting between 30-80 love heart shapes from a $1dollar bill.

The pieces are backed with black card and accompanied by a small glass vial filled with the cut out hearts! I also keep making odd different dollar cuts like a zebra or a butterfly- keep an eye on my social if you want to see what I come up with next…..

£70 will get you a bespoke portrait (created by cutting hearts from a single sheet of papyrus) of a subject of your choice.

£100 a 2.5 hr paper cutting workshop at my house or studio for 2-6 people

£300 one of the Worth pieces once the exhibition is finished

Apart from the workshop, these are all super reduced prices for the work and are only available through the Just Giving campaign! I am also, open to suggestions so if there’s something someone wants and they think I might be able to do it- they should just get in touch!

Are you going to have a project launch party if the funding is successful?

YES!!! I love a party and I especially love a feminist art party. On Fri Nov 2nd 7-10 pm at the glorious PRAXIS Gallery in Commercial Union house in Newcastle I will be unveiling the completed series; there will be interactive art, music, performances, and FREE drinks. Everyone is welcome.

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What was the moment you realised your ‘WORTH’ as a woman? And also as an artist?

There are so many answers to this question- it’s a constant evolution. I’m generally pretty confident, but there are certainly been times where I’ve questioned myself especially when our children where very little. Not exactly my WORTH, but thought am I doing enough? Am I looking outwards enough or I’m I just getting a bit insular And nest-y?!

Getting involved in Nasty Women was part of the answer to those questions. I guess I was thinking- being a “good parent” isn’t just about looking out for the children’s immediate needs- it’s about looking at the world more widely and thinking what could do with changing- what battles have I had that I don’t want my children to have, or at least I don’t want them to have those battles feeling unsupported.

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WORTH celebrates some women getting the vote…. How do you feel about the Suffragette movement? I sometimes feel like there is another wave happening right now – people like me and you as the rebels pushing and championing…..

I think some of the utter drivel that we still have to put up with even now irrespective of the things we campaign for is terrible – And that’s now, in the 21st century, where we are supported by people all over the world, where there are feminist politicians, policy makers and police officers. We have so many rights and come from such a base of strength in many ways. And it’s STILL hard as fuck.

I just can’t even imagine how complex it must have been for people involved in the suffragette movement back in the 1900s. Having said all that, I’m still very uncomfortable with the acts of destruction and violence that some campaigners carried out. Also the Suffragettes were a women only organisation- not my sort of thing. I think things will be fairer and better by everyone having a stake in the change and through cooperation; not be excluding certain groups. But then there are also things about the Suffragists which I find complicated- it was largely a very middle class organisation, focussed on parliamentary activity which restricted it to people who lived near London / who could write / afford to send letters. I know I can’t possibly understand the circumstance of those women and how desperate they were for change, but I always want to try and find ways of creating change in peaceful and cooperative ways. Having said that I’m the one who’s chopping up 100s of pounds worth of perfectly legal, useful money to make a point, so what do I know…

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Do you a role model/inspiration?

Soo, so many- that’s what WORTH is all about!! This could be a loooong list, but some people who really inspire me at the moment: My amazing sister Bridie Jackson, Nasty Women North East co- founders Michaela Wetherell and Aly Smith, one of my WORTH subjects Francesca Di Giorgio, long term chum and male Nasty Woman David Wright and You.

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Ohhh being one of your inspirations…. Now that is a BIG compliment and you’re one of mine. How would you describe a modern day feminist in 2018?

Me! You! Anyone (any gender, age, background- no Limits) who believes in gender equality.

Project: WORTH in 2019 is….?

Aaaaahhhh exciting- sooo many plans and amazing opportunities. I can’t say much specific at the moment, but WORTH is going International.

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Well that sounds flipping exciting….. and sounds like I will be doing another Lady Kitt blog post in 2019!

So please donate to Project: WORTH – if any of the above has hit a cord and lit a fire in your belly – please donate. Only you can make this amazing project happen! You can donate HERE!

Very soon I will be doing some live social media from INSIDE Lady Kitt’s studio (8th October) – I will be going behind the scenes of Project: WORTH in action!

You can also find out more about and meet Lady Kitt by booking on to her Paper Cutting workshop in Gateshead on 11th October! It’s 12 per ticket, you’ll be using Project: WORTH as inspiration for your papercutting and you will also be able to donate to WORTH during the workshop.

And that’s all for now Culture Vultures!

p.s. DONATE!

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Zara Worth – Online/Offline: Art, Academia & Instagram

Ok I admit it – I’ve recently lost my blogging mojo and it’s been a while since I’ve posted – my head has been full of projects and events…..well after some time out away – I’m back and I’ve lined up some cracking posts and some brilliant interviews with artists.

So first up is an interview with the wonderful Zara Worth. Zara has been an artist on my radar for a while – someone who has kept popping up in either my news feed or connected to various projects. So I was delighted when she emailed me about a year ago – introducing herself and her projects. It’s so lovely to have artists actually reach out and tell me about their work (So why not do the same!?)….

I became really interested in the fact she is a post graduate student – as someone who has always been in love with academia, research and what I’d like to call intellectual adventuring – I’m extremely hungry for knowledge and challenging it. I’ve always been interested in an artist/creative, something we assume is inherently practical actually engaging in PhD research. And there are lots of artists and performers out there doing just that – I really enjoy the process of reading their research/papers whilst simultaneously enjoying their pieces of work or performances. For me it adds often an additional socio-dynamic or element of political/self-expression.

Zara explores many themes in her work – but the ones I’m currently captivated by; living your life both off line and online and the effect that has on your mental health and self-identity. As an introvert who has made a living building a brand and identity online – I find it an interesting topic especially when I consider the impact of living my life as The Culture Vulture visibly and how that sits at odds with the fact I’m actually a very private person and one, that whilst I knows a lot of people – I only have a certain amount of really meaningful friendships. Secondly, how people perceive me after getting to know me online – their construction of who I am, my personality, how I will interact in “real” life – the fact via social media we build up snap shots of people via what their shareable content and Instagram feed. Which leads onto questions about mental health – especially in the North East where there have been several recent suicides of people many would consider “influencers” on social media and who presented a very happy, exciting and often successful life…..img-0796_orig

Screenshot of ‘Economics of the Kitchen (an A to Z)’ appearing in Instagram feed (Zara Worth 2018) [performance to video for Instagram]

Zara has recently ran a workshop with discussion at Vane in which she invited participants to explore social media and self-identity…. Whilst I couldn’t attend (booo to working every weekend over the Summer and missing some ace events!) – I heard some fantastic things and I’m delighted that she’s running another version as part of the Gateshead Live programme in October for young people and adults alike. Attendees will use collage as the medium to patch together social media identities – a bit like an Instagram feed. So whilst it’s an opportunity to explore the creation of social media themes, styles, visuals and making them as impactful and engaging as possible – it’s also an opportunity to reflect on how social media imagery prompts us to feel, trigger us to behave and influences our mind set.

You can find out more about the upcoming workshop by following the link

So I’ve told you why I’m super interested in Zara and her work …. But now it’s time to hear from Zara herself. So Culture Vultures…. Who is Zara Worth when she’s both online and offline?

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Zara Worth

Hi Zara – thank you for agreeing to be my blog subject! I first discovered your work when I was researching Northern artists about a year ago – so it’s so brilliant to finally connect – we have so many mutual creative interests. Can you tell my readers about your work?

Lovely to be discovered! My work at this moment feels to be a type of contemporary religious art; I’ve been reflecting a lot on what connects my current practice with the work I’ve made in the past and I’ve realised I am drawn towards belief systems and ideological communities.

In terms of how I make work, currently I’m exploring developing a practice which mirrors our current condition of living life simultaneously on- and off-line: so nearly all of the works I’ve been making since 2016 have an online element – usually on Instagram on the @zara_worth account – and also have an offline aspect – so drawing, or perhaps an object. I’ve also started using the same title for works with connected on- and off-line elements, to further conflate this relationship between them.

Instagram has been a key source of interest since 2014; and its prevalence as a theme within my work has led my practice to be described as ‘swipe-specific’: a term which I also really align with.

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‘The Artist’s Presence’ (Zara Worth – 2018) [Chairs and AR app] made with kind support from Ian Truelove and Field Design

Swipe-specific is something I really align with too – everything is so in the moment, instantly discovereable but equally immediately forgettable….

Everyone has a really interesting story of how they got involved in the arts….so tell me about your journey?

I suppose my journey is fairly typical; being an artist always felt inevitable, and I feel very fortunate to have been able to pursue it. One thing I always find interesting, particularly at this stage in my life, is how hard people find understanding that you identify as something – an artist – which isn’t necessarily your primary or only source of income. I used to think that I would be satisfied with just helping other people with their creative projects – working in film or for other artists – I very quickly realised that I was miserable if I wasn’t making my own work.

The origins of my interest in belief systems is perhaps more interesting than my story as an artist so far. Whilst puzzling over why I have these aesthetic preferences starting my PhD it dawned upon me the impact that my Granny’s faith had on me. At this point it is important to note that my Granny seemingly inexplicably became a devout follower of the Russian Orthodox Church. It’s also worth noting that my family is in no way Russian and to this day I have no idea why this was the particular strand of Christianity that she was drawn to.

Living in Congleton, Cheshire, funnily enough there wasn’t anywhere specifically Russian Orthodox to worship, so being pragmatic she bought a large shed from B&Q and started a Russian Orthodox church in her back garden, complete with papier-mâché onion dome (later replaced with a fiberglass one when the first one melted in the rain). So growing up, when I went to Granny’s house I was surrounded by religious icons, and I used to love trotting down to the back of the garden and lighting candles and incense in the church. She died when I was 17 and I never properly spoke to her about her faith, and I suppose a lot of my work is trying to make sense of its significance.

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‘QR Codes’ (Zara Worth/Vane – 2018) [QR codes on rice paper]

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‘Void Fill’ (Zara Worth/Vane 2018) [void fill strip curtain]

I have aspirations of one day returning into academia and education at some point – I’d certainly like to do a postgraduate in 2019 – something around people and behaviour and also a coaching qualification  – I know you’re doing your PhD…… how does that compliment or effect your arts practice?

Someone recently asked me if starting a PhD had caused me to hate my art practice and that completely horrified me. I’m just starting my third year of a part-time PhD (six years in total) and my experience so far has been brilliant; studying at Leeds Beckett University has already opened up so many doors and I’ve worked in collaboration with some really fantastic academics, so it has been a very productive time already. My practice is driven by ideas, so I’m not forcing an academic framework on my practice.

I would also say to anyone thinking about doing a PhD to try to make sure you work well with your Director of Studies and your Supervisor(s); I already knew my Director of Studies, Professor Simon Morris and really landed on my feet with my Supervisor, Dr Jill Gibbon, but I’m aware of other people at other institutions who do not have great relationships with theirs and it’s been hell for them.

I’ve really been enjoying studying part-time; I was a full-time Masters student when I was at Goldsmiths and the whole thing felt like a mad sprint and I don’t feel I really had time to get the most out of the experience. I feel very fortunate to have received a part-time studentship as it’s allowed me to pursue other experiences alongside study, which would have been inconceivable if I was a full-time student, plus it supports the development of a sustainable practice in the long run – as the reality is I am unlikely to have the luxury of practising art full-time in the immediate future.

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 ‘Quotations I, III, II’ (Zara Worth/Vane – 2018) [23.5 carat gold leaf on paper]

I agree with that – becoming sustainable in the creative and cultural sector is a strategic process – very similar to building a business. Back to your work – what mediums do you use?

The medium is the message. I like my work to be loaded, so the materials should be working ideologically as well as be visually interesting. As I’ve mentioned, my recent works have on- and off-line lives, the online aspects have been predominantly performance to video for Instagram, and Instagram collages; though recently I created a piece involving Augmented Reality.

As for the off-line aspects of the work, mediums include celery; void fill (packing peanuts); and 23.5 carat gold, all chosen for the significance that they carry.

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‘A drawing made by cutting up my body weight in celery’ (Zara Worth/Vane – 2016-17) [celery and kitchen knife on paper]

We are going into the latter part of the year – it’s insane how quickly this year has gone by. Consequently, this question seems crazily appropriate – what’s been your highlight of 2018 so far?

Opening my first solo-exhibition, ‘FEED’, at Vane, this August. The Directors at Vane, Chirs Yeats and Paul Stone, have been incredibly supportive and I’ve had such an amazing response from visitors and everyone who has participated in the events running alongside; it’s been quite overwhelming. In the same month I also installed Matty Bovan’s exhibition for the London Design Biennale – I was Project Manager and it has been brilliant to be a part of; quite a crazy summer.

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‘A drawing made by cutting up my body weight in celery’ (Zara Worth/Vane – 2016-17) [performance to video for Instagram]

Going forward into 2019 – what do you have planned?

I’m joining The Newbridge Project’s Collective Studio programme, which is a nine-month studio residency and development programme for emerging artists, so by 2019 I’ll be immersed in the programme.

I’m in the early stages of planning an exhibition with Carol Sommer looking particularly at the use of language on Instagram, and in early 2019, if not sooner, the issue of The Journal of Writing in Creative Practice, which I’ve been guest-editing, should be published! I’m also wanting to focus on moving my writing forward with my PhD, up until now, everything has been very practice-led; as a practice-led PhD should be, but I’m really looking forward to spending some time digging down into the work I’ve been making.

You seem to have connections with mental health with projects and are passionate about the project area (as am I!) – can you tell me a bit more?

I work part-time at Gateshead College and was fortunate enough to receive a Level 1 qualification in Mental Health Awareness through an ESF course provided by the College. It really drew my attention to the importance of caring for our mental health and I started drafting ideas for a mindfulness workshop with input from a friend who is a professional art therapist.

During the collage workshop, ‘DisCONTENTed Dining’, which I ran at Vane to coincide with my exhibition, we were making collages in reference to social media, and something which came up was how much pressure people feel under after looking at social media, but how calming it was just taking time to participate in a creative activity. I’ll be running a similar workshop very soon in Gateshead and in early 2019 will deliver ‘Still Life, Still Mind’: a mindfulness drawing workshop designed to encourage positive mental health using creative drawing exercises which participants can replicate at home. My research does make me concerned about the negative impact social media has on our mental health, so I hope that these activities and exhibitions offer some small ways to resist against that and also help us reflect on our own behaviours when we are online.

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Screenshot of ‘Economics of the Kitchen (an A to Z)’ appearing in Instagram feed (Zara Worth – 2018) [performance to video for Instagram]

Well thank you Zara and good luck with your Newbridge residency – excited to see how that pans out! Extremely excited to see more of Zara’s work and how the mental health and social media element further entertwine and develop.

I am beginning to work on the very beginnings of a mental health event for 2019 for freelancers, self-employed and creatives and I sense some real synergy here! If you’d like to meet Zara – as she mentioned, she’s running another social media workshop called “Who am I, when I’m online?” in Gateshead….. you’ll have the opportunity to explore Instagram as a channel, use collage techniques to consider how we present ourselves online and think/reflect on the difference between online and offline identities…. So come along and do something creative on 6th October and join what is sure to be some really interesting discussion!