Interview with queer feminist artist Louise Brown a.k.a. goodstrangevibes; smashing the patriarchy, learning to love your body & running a lush creative business.

I’ve always had a love hate/relationship with my mind, body and soul. I’ve loved being different and seeing the world from my own perspective – but I never really liked myself, not deep down. I grew up during an era of glossy mags that distinctly lacked any diversity, lack of representation in the media, a push towards conforming and the era of the waif (you might argue it’s like that now – but honestly, it was even worse!). I didn’t value myself, I am and always will be my worst critic, I didn’t look after my body….in fact I’ve lived at 10000miles an hour distinctly doing the reverse to self-care. I’ve proudly burnt the candle at both ends, I’ve fought world war three in my head for decades and my mental health rollercoaster is a consistent part of my life.

As a teen, there was no social media – my social sphere was who I engaged with in the immediacy. No online movements, no creative projects focusing on body positivity, mental health issues were not discussed (I didn’t even know what the word anorexia meant – despite having it for years), artists creating social work could not reach me – it was a different landscape to now. My only sense of understanding about mental health and body positivity was through poetry and reading – reading about mental illness, feeling like your body belonged to someone else and wanting the world to stop for a moment and feeling a sense of “gosh – I hear ya!”

In my 30s – I gradually sought out nourishment for my mind, body and soul; I even started to like myself (a bit). I’ve spoken about this before – but a place, I most often seek out content nourishment is via Instagram – a wonderful platform that has democratised (to an extent) art and enabled artists to reach audiences without institutional gatekeepers that often create more barriers than they enable (that’s another conversation entirely!). I spend hours stumbling upon artists and online communities that are creating not just amazing work, running amazing projects, leading positivity movements for thousands or millions of people, people living their purpose, proud of their differences, being the different they want to see in the world and championing diversity.

Body Appreciation

goodstrangevibes – Louise Brown

It makes me smile. And this is why creatives really matter – all the time – especially NOW. These creatives instigating these online movements are creating meaningful work to enrich lives, empower others, add colour, connect, increase representation, create community, reduce isolation (real and perceived) and to reach out with open arms – to the likes of a teenage me who would have massively benefitted. Social media audiences respond in their millions – with their interest and engagement. This is why these movements have such a great following – they are SO needed and tapping into something; they are also often the first defence during a mental health dip. I know they are with me – Instagram is my quickie version of picking up a self-help book.

So if the movements are needed, the movements are hugely popular due to their positive enabling, the creative visualisations and representations the creatives make are connecting and speaking with people in a way that other things aren’t able to do, then the creatives behind the movements and making the creative visuals must therefore be super important too. You can see where I’m going with this….

I’m spending time on this intro to reiterate how important art can be in relation to well-being and how important artists are in these movements. We are walking blindly into a mental health crisis. We have less mental health resources available than ever before. Our system is not pre-emptively set up. The impact of artists creating an online safe space community, increasing representation, positivity movements and feed into improved well-being is repeatedly understated…… I believe art and artists could play a much bigger role if they were supported and funded appropriately. I believe this is just one of many reasons that we need to reconsider investment in the arts and its wider impact. I’m always blown away with the thought- if THIS is the impact of arts and artists without anywhere near the levels of appropriate funding, imagine if we actually funded and invested into them…..

Giving No Fucks

goodstrangevibes – Louise Brown

An Instagram account that nourishes me and many others, I discovered a year or so ago was Louise Brown’s @goodstrangevibes – Louise was one of the first local NE accounts that I saw pop up during the beginning of the I Weigh movement. Her work focuses on body positivity, increasing diverse representation and is always a rainbow of colour – she is doing a lot of the above, with authenticity putting her own personal experience at the core; Louise’s account consequently is one that I often revisit on my doom days.

Louise a proud feminist, instrumental (imo) to the local movement claiming back the word “feminist” positively and in her early 20s. She gives me such a bubble of hope in my tummy – if I have folks like Louise coming up behind me pushing forward the next generation of creatives, then it makes me sleep better at night. The world is not shot to shit with wonderful younger folks like Louise in it. And she’s an account that I refer many young people, I work with to look at, especially if they are struggling in some way with themselves.

Louise’s work was censored by Newcastle University Library (not the University as a whole) for depicting naked women/bodies and the fear of it being sexual and offensive. That caught my attention and immediately made me shout BORE OFF when I read it in the Chronicle and how far we still need to go with womxn’s bodies. As Vulture, I proudly got behind the campaign to make the point that a boob or naked body illustration in day light is not a threat to society. (“A boob is not a threat to society” – could be my new 2020 tag line!)

No matter what you ate yesterday, you deserve to eat today

goodstrangevibes – Louise Brown

She recently attended my recent event (Pre-COVID and the project is unfortunately on hold at the moment) – Newcastle Herstory – Womxn’s Rights as an unfinished fight! Nearly 100 people attended the event to discuss Newcastle feminist histories and womxn’s rights past, present and to plot/reflect on the next chapter. Louise was such a lush addition to the event and I decided there and then, I wanted to interview her so you could find out about her, understand the positive impact her work is having and I’m dead excited to see her creative journey unfold – I’m here for it and along for the ride to support as Vulture.

So here you go – here is Louise Brown.

So hello, for my Culture Vultures – please introduce yourself!

Hello! I’m Lou; a queer feminist artist and final year student at Newcastle uni studying Politics, Psychology and Sociology. I set up and run goodstrangevibes; a small arts business which aims to promote body positivity and mental health awareness through my illustrations.

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goodstrangevibes – Louise Brown

Tell me about your journey into the creative industries so far…..how long have you been an artist? When did you start drawing/illustrating/writing?

Hmmm, there’s a big difference from when I started producing art to when I felt entitled to call myself an artist. I think only since introducing goodstrangevibes have I started to say I am an artist, I’m not sure why – thinking back I could have said it earlier… my grandpa wrote this about me when I was just five years old ‘she is the most unusual creature who wants to be ‘Somethink’ rather than ‘Nothink’ but as she keeps disappearing under the table to draw pictures we can’t really say …’. So I guess I’ve always been an arty human but only self-identified as an artist as of the last couple of years.

That’s is the best answer to that question, I’ve ever had…. I used to spend a lot of time under a table as a mini in a creative haze – only I was writing. So tell us about your work– it covers a wider breadth of themes – what inspires it?

I do illustrations of nude humans with the aim of promoting body positivity and mental health awareness. I often use captions and text in my artwork to help convey the messages further. I aim to draw all sorts of bodies so that people can see my work and find an illustration that looks a bit like them in some shape or form.

My experience of low body image led me to create these illustrations. I had been in recovery (from an Eating Disorder) for a while and was being supported by professionals but I still was in the habit of staring at my body in the mirror each night and picking out parts I wanted to change. I knew that I wouldn’t be able to break this habit completely, so instead I decided to draw my reflection in the mirror as a sort of distraction from the negative thoughts as I was now focusing on drawing.

I drew my body every evening during the time I would have spent critiquing it. In appreciating the artwork I produced, I began to see my body as art and worthy of appreciation. From that, I started drawing a diversity of different bodies and posting them on my art Instagram (@goodstrangevibes). I received positive feedback from people who said I helped them feel better about their bodies and this really inspired me to keep creating and posting my work. Goodstrangevibes has really helped with my own mental health and provided me with a lot more self-confidence and happiness.

Other artists have also definitely inspired my practice such as Polly Nor, Alice Skinner, Frances Cannon, Pink_Bits… the list goes on!

Thinking about life

goodstrangevibes – Louise Brown

Well you’ve helped mine too ❤ – not just in appreciating my own body but the diversity of the human body in general. Your drawing style is pretty distinctive,  I can recognise a “Louise Brown” anywhere – how did that develop over time?

I think once I let go and stopped trying to create a ‘good’ proportional drawing, I began to see myself drawing my playful long-limbed flexible humans. I love drawing without the pressure of things being ‘perfect’, very much in the same way I began to embrace my body and stopped striving to affirm society’s conception of a ‘perfect’ body. It’s very freeing to just draw and accept what appears on the page. I very rarely use pencils or rubbers.

I have to ask this question…..how is/has COVID-19 effecting your work, life and practice?

Emotionally it’s been tough, but I am coming to terms with it all as best I can. For one I moved back in with my parents in London and had to leave Newcastle. I am incredibly sad about leaving, but I am very excited to come back up as soon as I can, I feel very at home in Newcastle. At first, I struggled with motivation which has been hard, but I’m taking my time and being kind to myself which definitely helps things!

It’s hard feeling unhelpful sitting at home when so many people are really suffering. I’ve been trying to use my art to hopefully comfort people who are struggling with their mental health and recently contributed to a free downloadable self-care colouring book which will be released soon.

We Will Get Through This Together

goodstrangevibes – Louise Brown

Ohh keep me in the loop about the colouring book as will be all over that! So you’re a feminist artist; what does being a feminist mean to you in the present day? Why is being a feminist important to you?

Being a feminist to me means believing in gender equality and actively calling out injustices, trying to change the status quo and fight the patriarchy! I feel very strongly about it because of all the inequalities that are still prevalent worldwide that need to be acknowledged, confronted and overthrown.

A feminist concern that I feel equipped to influence the fight against is body image issues. Having experienced an eating disorder when I was younger, I feel strongly about the importance of promoting positive body image in girls and young womxn. Body image is a feminist issue since body image concerns affect womxn disproportionately to men. This is not surprising considering the pervasiveness of the patriarchal idea that womxn should be judged by their bodies, and men by their minds. It angers me so much all the time and energy that is taken from womxn due to the pressures to conform to a single conception of beauty which is unattainable for the majority of womxn to attain anyway! It’s a capitalist patriarchal trap!

Jump

goodstrangevibes – Louise Brown

You depict REAL bodies in such a positive way – I personally find it, even as a 34yrs old woman, extremely inspiring. What do you want people who view your work who are struggling with their bodies, to take away from it?

Thank you, that’s super lovely to hear! To those struggling with their bodies who view my work, the aim would be to help them spark a shift in their mind, perhaps that it doesn’t have to be that you need to change your body to be worthy or that it is possible to accept how you look and not let that hold you back. Or I’d want them to see a body like theirs being presented in a positive light in my work, and I would hope that could comfort someone going through a tough time with their relationship to their body.

I’m so much happier now I have stopped battling with my relationship with food and I hope people can maybe take hope in the fact that it is possible to rekindle your relationship with yourself. Although I am also very conscious that this is much easier for a naturally slim white woman like myself to do this, as I do not experience fatphobia or other kinds of discrimination from society because of the way I look.

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goodstrangevibes – Louise Brown

You identify as queer – how much does your queer experience influence your work?

I think being queer, and openly so, makes me feel more capable of covering whatever I want in my art – like a sort of byproduct of being open with who I am means I feel more comfortable also then being open with my art. If that makes sense!

I personally don’t think there are enough lesbian icons/visibility in mainstream society – what do you think?

I completely agree with this. I feel I grew up and am still growing up with a lack of representation of LGBTQ+ people in general. There’s still so much I feel like I’m slowly discovering bit by bit. Much of the lesbian visibility in mainstream society seems so fetishised and aimed at a male audience.

Any advice for folks struggling with their identity or sexuality during this period?

I’m not sure I qualify for giving advice, but I guess to be kind to yourself, take your time to listen to what feels right in your head and body. It’s okay if you’re not sure instantly or if you are discovering or coming out later on in your life. I can imagine for folks quarantined with people who are unaccepting of LGBTQ+ it must be really hard. Maybe try to find online LGBTQ+ groups so you can still express your identity somewhere and feel free to directly message me on Instagram if I can offer a listening ear (though I can’t promise I’ll say the right thing, but I’ll listen!).

Surfer Babe Colours

goodstrangevibes – Louise Brown

How can folks buy or engage with your work?

You can follow my page on Facebook and Instagram @goodstrangevibes where I post my art, or have a cheeky browse at my website www.goodstrangevibes.com where I have an about the artist page, some of my writing, example commissions (email me if you’re interested goodstrangevibes@gmail.com) etc. I also have my online shop on my website which is currently in ‘pre-orders’ as I can’t access a post office – but people can order anything and it will be reserved for them until I can post! I’m planning on releasing vouchers too that can be given as presents to be spent on the online shop or saved until I’m at markets again.

Solidarity

goodstrangevibes – Louise Brown

What would be success for Louise this year?

Ooh tricky question. It’s very hard to say in this confusing climate what’s going to be possible! I’d like to give my all to goodstrangevibes once my degree is done post June and see what happens. I’m applying for a foundership programme at Newcastle uni next year which would be amazing business-wise as it provides loads of support, but it’s highly competitive, so unlikely. But in general, success would be to get my art in more places and hopefully make viewer’s feel comforted or better about their bodies or minds because of it. I’d like to paint large scale on walls in people’s homes as a new part of commissions I could offer. An exhibition would be super exciting …

In non-business terms, success would be to feel more free, to skinny dip lots, surf, pole dance, do the things that make me happy with people I love. Travelling could bag me some happiness with meeting strangers from around the world and sharing experiences and discovering, but perhaps that will have to wait for a while now!

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goodstrangevibes – Louise Brown

I’ve reflected a lot about the question I just asked you – my wants for this year are more personal than professional. I certainly want to travel and adventure. Do you have any projects that you’d like to share and talk about?

I’ve just launched a new project ‘revolutionising sex education’ where I am illustrating people’s sexual experiences and including three words they felt during and three words they felt after in an attempt to portray the diversity of sexual experiences possible and the different emotions that comes with that. How sex can be fun, romantic, boring, scary, exciting, awkward, embarrassing, confusing, upsetting, silly and many many more things!

I want to represent a diversity of sexual experiences, especially LGBTQ+ and others that aren’t explored in mainstream media and sex education at schools. I define ‘sex’ as  e.g. masturbation/foreplay/intercourse – basically anything that one considers part of their sex life. If

anyone is interested in submitting a story entry – email goodstrangevibes@gmail.com or direct message me to show your interest and I will tell you what the next steps are! I’m hoping to display all the illustrations in a book, zine or online resource – I’m not sure exactly what yet. It would be super cool to get a publisher in the future and make it into a proper book!!

I’ve also been investing in environmental business practices and have now launched my upcycled screen printed eco top range on my website if anyone wants to grab one! They are one-off tops that I bought from charity shops in an attempt to combat fast fashion. My designs were screen printed on with the help of Newcastle based Nick Christie at Incubate Printmaking.

Free From Confines

goodstrangevibes – Louise Brown

I want to be involved in all Louise’s projects and ideas, especially the sexual experiences one; society’s view and treatments toward a womxn who enjoys sex needs a lot of work. such an exciting human to watch creatively flourish! Check out Louise’s website and @goodstrangevibes insta for a dose of creative LUSHNESS.

 

That’s all for now Culture Vultures. xx

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!