Interview with visual artist Bethan Maddocks – paper rainforests, creative anarchy & being a nosy parker.

I’m so excited to share this Culture Vulture interview with you all – this interview is with brilliant, Newcastle based visual artist, Bethan Maddocks.

Bethan was actually one of the first artists, I became fascinated with before the Culture Vulture was even a sparkle of an idea in my eye. She’s a multi-disciplinary artist that works with different types of materials – in fact, I’m pretty sure, if you look up multi-disciplinary artist, you’ll see a picture of Bethan smiling back at you. I found it so inspiring when I was first starting out, to see a fellow creative, confidently working across lots of different types of projects and refusing to sit neatly into a box – Bethan to me was an artist that represented creative possibility, opportunity and the beauty of constantly evolving and growing through projects and collaborating with people.

Her work, projects and sculptures bring to life people’s stories and her own ideas, into technically brilliant, unique visual interpretations. They are often socially engaged too – which in present times, is not only crucially important, it also shows that art has a really powerful role to play, reinterpreting and reframing thoughts, ideas, history and can often enable audiences to see and consider things in a different way.  

Bethan was one of the first artists, that I noted co-creating art with communities in such an inclusive, warm, participatory way and I witnessed, the joy of folx seeing their contributions become a final professional artwork or sculpture! Participatory arts in the community, in my opinion, outside of the art world, isn’t really understood and massively undervalued. Bethan was my first real exposure to not only the positive impact of a participatory arts project but also, that the art work created can end up displayed at a professional exhibition or light art event.

I’ve always been a little star struck by Bethan too, a little bit in awe of her. If you know me – you know, I’m not detail focused, I’m not precise, I’m creatively chaotic and methodical process just isn’t a natural thing for me. Bethan’s work is often so delicate, so precise, made from paper, all about the small touches and detail – she probably represents my polar opposite type of creative! I admire her technical brilliance so much – she creates type of work that I look at in total awe, as she’s so highly skilled, accomplished and brilliant.

So this artist interview has been on my “NEED to interview” list pretty much, since I started out as Culture Vulture. And across the years, our paths have crossed many times and I’ve been lucky enough to support a few projects she’s worked on over the years. She’s an absolute North East gem and a really lovely, kind, open human.

Over to you Bethan!

Visual artist Bethan Maddocks

Hello Bethan, can you introduce yourself and tell my fellow Culture Vultures a bit about your practice? 

Hello! I’m a visual artist; I work with light, paper, fabric and found objects to make large sculptures and installations that audiences can touch, explore or add to. The last few years I’ve become really interested in paper-based work so currently I make lots of intricate paper-cuts.

I often work with archives, communities and organisations to collect stories and make socially engaged, political or site-specific artwork.

Bethan Maddock’s piece – From Junipers Branches Grow

I ask every artist I interview this question; can you tell us about your journey into the creative industries? 

Ever since I was little, my twin sister Catriona and I, were always scavenging things for ‘projects’; bottle tops or bits of scrap metal from outside the tiny blacksmiths in our village. Haberdasheries and DIY stores were our treasure troves. I’m grateful that I’ve always been encouraged in playing, exploring and creating since I was a little kid; probably one of the reasons that workshops and community sharing are such a core part of my practice nowadays.

I studied art at college, then Northumbria University and also at a Finnish University for an Erasmus Exchange. After graduating I volunteered on every creative project I could find, till I started getting small projects myself – I think it was easier for recent graduates in the last years of the Labour government as there was more support for young artists and a greater all-round appreciation and understanding of the arts from those in power.

Bethan Maddocks – Floraphone – Photocredit: Colin Rose

Huge congratulations on being awarded the Dover Prize – so excited for you! Can you tell us about the Dover Prize?

I was really lucky (and completely blown away!) to win The Dover Prize in 2019. It’s an amazing £10,000 bursary awarded every two years to a UK-based artist. Its aim is to help artists develop their practice and  comes with the gorgeous ethos to ‘provide the artist with time to think, research, reflect and experiment with new ideas’.

As an artist you’re always applying for things, seeking ways to make your work fit a commission proposal; what’s brilliant about the Dover Prize is that it’s centered around the artist’s own work- the initial application form asks useful questions about your practice and your aims – things I found helpful to reflect on.

In February 2019 I was shortlisted from over 100 applicants and invited for an interview where I got to meet the judges and discuss my work and practice in person. The judges were great, and again asked really helpful questions about my aspirations and inspirations (I even somehow managed to talk about meeting my favourite artist Louise Bourgeois as a wide-eyed 20 year old. I’d like to think Louise was looking down, helping me to win -a sort of artist fairy-godmother!).

The Dover Prize 2021 is now open (deadline February 14th!) and I’d hugely encourage any artist to have a punt at it – it’s been incredible support for the last 2 years. You can apply HERE.

Bethan Maddocks

Can you tell me a bit about what you’ve done with the award these last 2 years?

The Dover Award originates in Darlington; having grown up in County Durham it felt great to focus my practice on a part of the world where I began my journey as an artist. I’ve spent a lot of time exploring the history of the area and trying to connect its historic backstory with contemporary politics. Darlington’s schools, libraries and social infrastructures were massively developed by several powerful Quaker families in the 18th century, so I connected with the local Quaker chapter to learn about their ethos of listening, equality and stewardship to help ground some research. Sitting in silence with a group full of kind strangers, waiting for ‘ministry’ is quite something!

I also used the bursary to help fund a residency to the incredible Studio Garonne in Southern France, where I collaborated with designer Remi Bec to make a series of paper and light sculptures and drawings and I also embarked on a research project to Canada to meet some brilliant paper artists such as Crissy Arseneau, Rachel Ashe and  Brangwynne Purcell. I’ve made lots of experiments combining my papercutting work with machine cut elements, and I’m hoping to translate some papercuts into metal this year.

Bethan Maddocks – Book of Shadows

Can you tell me a bit about your relationship with Woodhorn Museum in Northumberland?

I’ve worked with Woodhorn Museum on and off for the last few years often creating large installations in their huge, ex-mining industry buildings. A lot of my work is about exploring hidden stories, and Woodhorn has a great ethos for uncovering Northumberland’s lesser-known stories – so we’ve collaborated together on some really fun projects.

The Programming team often invites me in, to create installations based on brilliant random ideas they’ve had for exhibitions such as ancient forests, homing pigeons and orchid growing!

Even in 2020 they managed to commission a new project for myself and Unfolding Theatre (as well as the ever-brilliant Ruth Johnson, Nick John Williams and Jill Bennison). The Quest of Missing Questions was Woodhorn’s invitation to its audience for its re-opening after the first lockdown. The commission personally was a bit of a life saver, showing me that good organisations can (and should!) support freelancers even in tough times and in doing so create lovely rich collaborations.

Woodhorn Museum

Here, here! You’ve worked with them a few times in the past? Tell me about one of those projects? 

One of my favourite pieces was The Fallen Forest that explored the prehistoric carboniferous forests that existed here 250 million years ago, which formed the coal so key to our region’s economic and socialist development. I spent several months researching fossil records, becoming my own pretend geologist. I did a residency over in Borneo and managed to connect the kind of foliage that you find in modern Asian rainforests with similar foliage from these ancient rainforests. I created giant ferns and cycads and huge 5 metre tall papercut trees- each paper-tree’s surface referencing the bark patternations that you find recorded in fossils.

It was open for 9 months and the audience could attend workshops to make small paper artworks to add to the forest, so that it grew, expanded and then collapsed; mirroring the ancient forests growth and demise.

I love projects like that; I get to obsess and learn so much about random things. I’m always dreaming that one day I’ll go to a (very specific!) pub quiz and know all the answers from all the avid research I do (it has not happened yet!)

Bethan Maddocks – Fallen Forest

A lot of your work involves engaging with communities and community contributions – why are community contributions important to your practice? Why are opportunities to contribute to creative projects important?  

I’m a huge champion of creativity for so many reasons – it’s the great unifier; when you get a group of people making artwork alongside each other there will always be brilliant, eye opening, heart expanding conversations. There’s some magic that happens when people use their hands to make; it sort of frees up their thinking and people reconnect with their inner child.

I love working with other people as it’s always a helpful side-step for my thinking, I can have the best laid plans for what I want to create for an exhibition, and then a conversation or even a throwaway comment from someone, plants these delicious seeds, and sends me in ways I’d never of thought of. It’s an honour to work alongside people from such diverse backgrounds – there’s always so much to learn from other people.

Bethan Maddocks – NHS Celebration Artwork

You often create sculptures/artwork to scale – what is your favourite thing about that type of work? Do you enjoy watching folx take it in?  

When I go to exhibitions, it’s alwayslarge-scale sculptures and installations that I love to see and experience the most; that sense of becoming aware of your own scale – a little like standing at the top of a massive mountain and feeling so tiny in this all-encompassing landscape.

I also love making loud noises in quiet acoustic buildings, touching stuff that maybe you shouldn’t, opening drawers, prodding around, and I want to make artwork that encourages that, where you can be a playful nosy parker! I made an installation a couple of years ago, where there were hundreds of sandcastles inside a tent, all decorated with cocktail umbrellas. We opened the tent and loads of kids came in, all wanting to smash them down but thinking they ‘weren’t allowed’. Watching the first kid (my nephew- ever a proud Auntie!) go and kick one down and then all the other children running forward to join in; it was just absolutely gleeful to see all that work disappearing in joyful, anarchic seconds. I want to create moments like that.

Bethan Maddocks – Everything There Ever Was

What is your role at BALTIC? Have you been involved in any of their online creative work during lock down? 

I’ve worked freelance for the Learning Team at Baltic for about 12 years; they took a punt on me as a relatively inexperienced but eager workshop facilitator just after I graduated and I’ve been working there ad-hoc ever since. I love the range of groups that we get to work alongside and the Learning team’s encouragement to try out new stuff, take over spaces and explore the exhibitions. They were also brilliant at the beginning of 2020 madness (we’ve got to champion the good ones!), paying all freelancers for sessions they couldn’t deliver, and helping support us to do online workshops. I’ve made quite a few online videos since, and it’s a learning curve, but I spent a lot of my childhood apparently critiquing Neil Buchanan for his crafting on Art Attack, so perhaps it was meant to be. You can watch them here and here and here

Bethan Maddocks – Floraphone

How has lock down/pandemic affected you as an artist/freelancer?  

Well it hasn’t been easy for anyone has it (except perhaps for political donators and disaster capitalists…)!? I had a week in March where I had 7 exhibitions and two years of work cancelled which wasn’t particularly fun. It has been difficult being self-employed and I hope the brilliant work that people have done in raising awareness of the vulnerability of self-employed and zero hour contract workers has helped the public to appreciate cultural and hospitality workers better.

On the flip side, I’ve had more time in my studio at 36 Lime Street, which is just a dreamland to work in, a building full of lots of talented, diverse makers in the heart of the Ouseburn – my windows open right onto the river so I get to work to the sound of the water and the ducks and swans flapping about.

I’ve  also loved watching things like #ArtistSupportPledge, Beccy Owen’s Pop up Choirs, Mutual aid support groups and Artists’ Union England’s solidarity fund come together. The arts are a mixed bunch of brilliant, creative, bloomin’ hard working people, and even in all this weirdness, they’ve given me lots of moments of joy and celebration.

Bethan Maddocks in her 36 Lime Street Studio

That made me so teary, I’m so proud to be in this sector with wonderful folx like you! Do you have anything to say about artists being described as “unviable”  ?  

I mean it is ridiculous isn’t it!? Weapons manufacturing, the aviation industry and fossil fuel use aren’t exactly viable, if we want to have a happy, existing planet, and yet governments never seem to pull them up…

I think there are things in the arts that aren’t particularly viable – like reserving huge amounts of funds for top management and the running and upkeep of buildings rather than fair living wages for all employees, and I hope that this can change.

And look at everything that we’ve ever sent into space to be found by future/other civilisations, or any time capsules that we’ve buried in the ground and they are full of the arts – music, literature, artwork, Da Vinci’s Vitruvian Man carved on the side etc. Our society is defined by its culture past and present – make that unviable and you have a pretty grey world.

Bethan Maddocks – Frost of Forgetfulness

An answer like that is exactly why I bliddy love you Bethan! I personally believe creative opportunities for all are more important now, than ever – as a process for folx to make sense of what’s happening, feel connected to others, express themselves…… any thoughts? 

Definitely; it’s what’s kept us all sane hasn’t it! As unsatisfying as culture being mostly online can be it’s also opened the doors for some brilliant new ways of engagement and accessibility- I think of all those people with mobility issues, with young kids, with low self-confidence who in the past haven’t have been able to engage in the arts physically, who were effectively blocked from going over the threshold and now they can join in. They can settle their kids, pour a glass of wine and go online and join in on a bookmaking course, or watch a piece of live theatre, or go to a gig on their couch. We’ve got to celebrate that. And when things become more open again, we’ve got to make sure that we keep people with us, that this new accessibility doesn’t stop with a vaccine, but changes the landscape. We’ve got to make this the best learning that we can.

Bethan Maddocks – NHS Celebration artwork

Can you tell us a highlight of 2020? 

I’ve missed live music; there’s not much better than having a dance at a gig with your mates, so I had a particularly brilliant birthday, in amongst this strange year. County Durham based arts organisation Jack Drum Arts, were organising doorstep gigs with musicians and storytellers coming to perform for small groups during the summer holidays. My Mum surreptitiously organised for the legends that are Baghdaddies to come and play in her garden for me and my twin sister on our birthday. We had our own tiny festival- sousaphones, trumpets, drumkits popping out of the flower beds, mojitos in our hands as we “wiggled our bums, our big fat bums…”. That was pretty heady.

Bethan Maddocks – Book of Shadows

Sounds glorious! So, what’s next for you? Can you tell us about a project you’ve got coming up? 

I have an exhibition ‘Finders Seekers’ that has just ‘opened’ at Greenfield arts (although currently no-one can visit it!). It was a lush commission to create artwork around ideas of possibility, changing perspectives and inquiry.

The exhibition is made up of a series of paper installations of trees, mushrooms and lichen combined with objects such as ropes, ladders and magnifying glasses – tools of investigation and elevation.   I spent most of Christmas hand-painting and cutting 300 paper oak leaves to thread onto a ladder!

I wanted to create a fun, celebratory, optimistic exhibition; artworks interconnected like an ecosystem, where the viewer enters a childlike world, a paper-made forest full of metaphor, imagination and elevation.

Where can we keep in touch with you and check out your work?

I’m currently reworking on my website with the brilliant Branded by Naomi and I’m hoping to have a snazzy new launch of it early this year www.bethanmaddocks.com. Or if you want to find photos, drawings, papercutting videos and the occasional lycra-clad leg kick you can find me on Instagram bethan_maddocks.

Bethan Maddocks – Christmas Carol Lit & Phil

Thank you Bethan! Interviews like this make me feel so certain that I’m in the right sector, working and collaborating with glorious humans and that the power and potential of art, is that it can change the world and make such a difference in people’s lives.

That’s all for now Culture Vultures……until next time!

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!