Two Influences in Statistics and Location: Denis Wood and Abigail Reynolds

Everything Sings: Maps for a Narrative Atlas by Denis Wood is a book/series of work that satisfies in me a desire for applying arbitrary systems and using found and contrived data to produce a new way of looking at something. In the instance of Everything Sings…that something is a geographical location. The data extrapolated and produced in a series of beautifully organised applications of logic to autobiographical narratives is whimsical, experimental and handled with a lightness of touch. 

As a narrative exploration of place it is extremely useful. Particularly for examining ways of moving forward with my obsession with how art can help women occupy visible space. And after I have just considered how claiming that space becomes a form of marking territory and the kind of relationship of responsibility that kind of territorial claim might initiate, it offers insights into how a space can be unpicked autobiographically. 

With this in mind I began to think about the psychogeography of where I live. Where is safe? Where would I walk happily on my own during the day? And in turn at night? Can I extrapolate any meaning from the number of sirens I hear per day? Does that mean it’s safer or less safe? Critically examining my relationship to the place I know well could highlight ways to move these experiments forward.

This led to looking at crime statistics for my area. I looked specifically at violence and sexual offences in the belief that that is where a broader range of crime against women might be found. Further research into the statistics available will allow me to unpick this idea a little more. 

Abigail Reynolds’ Mount Fear (2003), gives physical landscape to statistics and data as it manifests crime in East London. Whilst statistical data will likely be utilised it’s the overlap between that and my own experience of taking space that will I will ultimately want to investigate in more detail. Hopefully examining how they align or separate will create the tensions I’m interested in exploring further, where the main radius of ownership lies and where the overlaps in crime against women occur, perhaps that data will lead to a progression in my work. 


Taking Space

Marking territory. 

If the subtle marking of a territory can tie you to that area, give you a sense of ownership, what then becomes your responsibility to that area, to your space? 

What will become the back and forth outcome? The dialogue between myself and that space? How I take it, leave my proxies (stickered bacterial representations), inhabit it and in turn what will its mark on me be?

Should I take its bacteria? Apply it to images of myself? 

Lost & Found

L&F Flyer front A6

My art practice is based around my obsession with care and the occupation of politically visible space. My focus over the past two years has shifted towards the gendering of both of those subjects and how my practice can interrogate these dual interests without becoming overly documentarian, prescriptive or propagandised. For me, making art is a way of making sense of the world, of critically unpicking the elements that cause tensions.

The nebulous nature of ‘Lost and Found’ has left me with a deep sense of sadness. In order to find something you must first know it is lost, you have to be aware of its absence. The losses I am considering are political and gendered in nature. In specific the loss of identity of women and the loss of access to space. These losses are sharply felt by their absence and I do not know if they can be found again and if they could, I don’t know where or how to find them. Built in to these polar states is a sense of completion, if you could just but find the lost thing, you could be whole again. Some losses can never be found and in that instance you are left incomplete.


I’m exploring the losses that may not be re-found. Considering in specific how gentrification effectively redacts women’s (and from an intersectional point of view the race, sexuality and class of these women redacts them further) access to public spaces/services in my local area.

Redaction is another key area of interest in this exploration, it is the sanitisation of imagery in specific that I am considering, so it becomes a way of losing part of the image. Is the loss of the visibility (for women in specific) indicative of a loss of identity? Without great effort on behalf of many, how will this be found?

Recent Work

This work is an exploration of several themes. Central to my work is how to make sense of women’s visibility and political agency through art, either as maker or viewer. 

As an artist the taking of space comes through exhibiting, working and being part of a creative community. 

But some of the issues that women artists face are bound up with the role of care giver/provider, a gendered role that we are often socialised into. And the equally problematic task of self-care. 

More traditional definitions of care have too frequently removed women from political visibility. Caring takes them out of the sphere of political visibility, of taking their space and places them into a role of responsibility for another’s well being, or their own wellbeing.

As a woman artist, if I don’t take my space, if I am too preoccupied with caring for other individuals wellbeing and as a consequence of this my own wellbeing, my visibility and political agency is greatly diminished. And because so many women, especially at the intersections of race, class, sexuality, disability and identification come under continual scrutiny in making their lived experiences visible and heard, they invariably have to remove themselves from public view in order to take care of themselves, emotionally, mentally and physically.

Protecting visible space for women is essential and is frequently a task undertaken by other women and is undervalued by those whose political agency and inhabitation of public space is far less problematic.

My interests lie in shifting the definitions of care toward protecting and developing women’s political agency and public visibility. Art is the activity and the product of a mind at play. And viewing an art work, if you’re willing, can offer you a way of caring for yourself that doesn’t reduce your visibility or political agency. It should enhance it.

This work is a way of considering women and their visibility in public space. Our visibility in the public domain is commodified in ways that negatively effect our perceptions of ourselves and others perceptions of women.

This piece uses commodified body parts to represent a woman – hands, mouth, breasts, and vagina – and begins to unpick the layers of perceptions around those sexualised body parts by juxtaposing them geographically and microbially to consider women’s realities, their political agency and visibility in a specific location and how they are consumed, redacted and often eradicated.

Experiments with ink and varying opacity over drawing

What’s Your Location?


Gentrification: Artist’s Impact


My original intention with this work was to consider the artist as an agent of gentrification. I used and cultivated my own bacteria and applied it to maps of Brick Lane in London and Porto Alegre in Brazil in an effort to represent the impact I have as an artist on a specific area.

The influence of an artist working in an economically run down location results in making the space culturally and commercially appealing, leaving room for a more homogenising and affluent middle class to come in to usurp and repopulate the area. This led me to regard artist influence and impact on a geographical area as akin to bacteria multiplying and homogenising a specific resource.

In Brick Lane and Porto Alegre I was considering the socio-economic impact artists have on locations. For What’s Your Location? in Kuwait, socio-economic gentrification caused by artists is far less of an issue than in London or Porto Alegre. Instead, I was forced to consider my impact to be one of cultural homogenisation.

Coming from and working within a European/Western cultural art heritage has implications when exhibiting internationally. The tendency of the Western world to consider and recognise art only as art if it conforms to the characteristics we value and determine, has led to a homogeneous globalisation of western art values.

The questions that have consumed me the most in the development of this work and in what I have presented for this exhibition are: what are the implications of cultural gentrification carried out by internationally exhibiting artists and can the positive values an artwork represents outweigh the negative consequences that come with globalisation?

What’s Your Location?


Originally shown in Porto Alegre, Brazil, the acclaimed exhibition What’s your Location? Is coming to CAP, Kuwait. 16 contemporary Kuwaiti and international artists are showing their latest works in a development of the themes that made this thought provoking exhibition so successful in Brazil.

What’s your Location? Explores what is more real, that which we see for the first time or what we know from experience? Is our memory of a subject more real than its description? What of the many representations of the world; can we take them as substitutes for a deferred reality or the condition of the world itself?

The works in the exhibition derive from artists living in different environments using various means to address their circumstances, and yet they continue to ask these same questions of us. How do we apprehend the world now that we can experience it more easily as representation than at first hand? Where does this leave us?

Steven Scott is an internationally exhibiting artist from the UK. For What’s Your Location? Scott is presenting dual photographs from a series called ‘Situation’ in which photographic space is divided by selection and presentation to suggest a mirroring of the subjects architectural planes whilst inverting its interiority.

Contemporary artist, Ruth Jones, is also from the UK. For this exhibition she has further explored her “Gentrification” series of works, considering how an artist impacts the environment they exhibit in. Drawing parallels between bacterial cultures and the gentrification of geographical locations, Jones examines whether she can reconcile the possible negative impact on the area she may contribute as an artist, against the positive impact that her artwork could have.

Frederick Bell lives and works in Brussels, Belgium. For the exhibition he is presenting ‘Mass Observation’ which began in 2006, and is still ongoing. The photograph shows a painting that he made which documents his previous exhibition in the same gallery in Antwerp. The painting shows the same place in the same gallery in which it was hung. It is a kind of documentary painting, a role usually fulfilled by a photograph, and now the painting is shown within the photograph that you may have expected in the first place.

Brazillian artist, Antonio Da Silva, creates works that interrogate how we participate as active or passive observers in our environment and the social conflict that exists within society, but is denied. His project “Icarus” was made in collaboration with Khaled Nazar.

Khaled Nazar is an amateur director and cinematographer with a comprehensive background in film and animation. Khaled brings an interesting point of view in which he combines his long affiliation with technology with a stark understanding of modern arts. His latest collaboration with DaSilva, Icarus, is the first “art” project that Khaled has worked on. This script-less, raw footage is visualized on the spot. Icarus takes the story of a man’s journey of building a way out. The project is set on Failaka Island. An island inhabited since 3000 B.C by Sumerian traders and eventually the home of the city named Icarus. As time has aged these ruins, a new 20th century civilization had planted its roots but only to be abandoned again. The Icarus project is essentially the never-ending life cycle of Failaka, meaning outpost.

In her “XOX Series”, invited artist, Amira Ali Behbehani, considers the dualities we all battle with, irrespective of culture, the different roles we choose to take on, the words we borrow, the ideas we champion, that simultaneously shroud and strip us. The game of tic-tac-toe highlights how daily, we inhabit so many worlds, real or created, tangible or intangible – part of all but so often committed to none. Here, there is no prevarication, no obfuscation. We lose or we win – there is no other way.

Farah Salem’s work “The Dove” interrogates social conventions as she examines the sense of freedom craved by all cultures and societies. She believes the sense of power and control that comes from freedom is the ultimate goal of humanity. Many different perspectives of freedom and the breaking free of authority or power in many ways is a positive path that should lead to togetherness. Freedom and unity begin a cycle where freedom leads to authority and change.

For Katia Salvany, the image of a female body in a state of tension, is the thread for making videos, live performance, drawings, prints and sculptures that explore the estrangement in a repetitive mode of actions by stressing the fictions built in images. She aims to create atmospheres which condense the feelings of nostalgia, oblivion, desire, servitude and imprisonment, experienced by a female body. There is a concern in placing women beyond an approach that realises the pitfalls of building their image as a social product.

Kuwaiti architect, Jassim Alnashmi’s developed photographs are usually blurred images of identifiable objects, this blurring is not from the lack of focus but from a double exposure or a leakage of light from the back of the camera, both which obscure the final photographs. Blurring an identifiable object dismantles the viewer’s understanding of it, allowing them to see it in a new light and redefine it for themselves.

Half Kuwaiti-half Ukrainian artist Amani AlThuwaini has been interested in the transformation of customs and traditions in Kuwait and how they affect women nowadays. She explores the limits and social restriction of customs and tradition on women, as well as their positions in their marriages, families and society in general. The series of prints she is showing in this exhibition represent how women often locate themselves between two contrasting positions – what they have and what they dream of.

Designer, writer and performance artist Dana Aljouder explores the low-rise residences in Tiong Bahru, a forty-floor public housing development that is one of many mass-housing estates built for Singaporeans in the past 50 years. The HDB is haunted by its legacy- its practical methodology and functional monotony, often neglectful of the vibrant cultures that inhabit it. The austerity of the ground floor contains several corridors and intersections, creating poetic enfilades, as if purposely designed to be haunted.

Gayle Chong Kwan was born in Edinburgh, Scotland, and lives and works in London. Her work is exhibited and published widely nationally and internationally, and is held in numerous public and private collections. For this exhibition, the video “Plot” examines a small parcel of wasteland in Mauritius, owned by her family. Chong Kwan travels in real, constructed and animated landscapes, in search for the sole remaining member of a species of palm at risk of the same fate as that of the island’s Dodo. The work moves between documentary, day and night-time imaginings, simulacrum, the sublime, construction and waste, and ends with a haunting childhood song by the artist’s 99 year old Great Aunt, herself the last of a generation.

Rommulo Vieira Conceição works with installation, objects, sculpture, drawing and photography, exploring the contemporaneous space perception and the relation of contemporary mankind in space. The works he has contributed explore a persons familiarity and use of a space practically, how they insert themselves into a space, the dilution of that person within a landscape and the transformation of the place in relation to the person.

Mohamad Hafez was born in Damascus, raised in the Kingdom of Saudi Arabia, and educated in the Midwestern United States. Expressing the juxtaposition of East and West within him, Hafez’s art reflects the political turmoil in the Middle East through the compilation of found objects, paint and scrap metal. Responding to the atrocities of the Syrian War, Hafez uses his architectural skills to create surreal Middle Eastern streetscapes that are architectural in their appearance yet politically charged in their content.

Judy-Ann Moule’s artwork reproduces scenarios to trigger glimpses of another time and place. Drawing on memories of childhood, she uses a phenomenological approach (first-hand, inner or bodily experience) to flip the viewer into the position of a child at risk of being trodden on.

Her Installation “Girth 139” is a little person’s perspective of a centralised and dominating force. As such it can be read as an analysis of power and powerlessness as well as a narrative.

Muneera Al Sharhan presents a series of exquisite jewellery that explores identity through memory; specifically the memories of childhood. These contrast with memories influenced by literature and spoken stories which describe the past. The memories interact with the realities of actual physical changes in the environment of Kuwait. Al Sharhan’s memories and the history of Kuwait are separated by a generational shift. Endeavouring to understand this history created nostalgic emotions of a time which she feels connected to, yet did not actually live through. She wanted to make connections and preserve the Kuwait she perceives through her memories.

What’s Your Location?

An exhibition held at CAP 2nd Floor, Life Center, Block 2, St 28, Industrial Shuwaikh, +965 24925636 Free entry. Open Saturday – Thursday 10am-8pm

Participating artists: Dana Aljouder, Jassim Alnashmi, Amira Ali Behbehani, Frederick Bell, Rommulo Vieira Conceição, Antonio Da Silva, Mohamad Hafez, Ruth Jones, Gayle Chong Kwan, Judy-Ann Moule, Khaled Nazar, Farah Salem, Katia Salvany, Steven Scott, Muneera Al Sharhan, Amani Al Thuwaini.

Opening night Wednesday 4 May 2016, from 7pm. Talks by artists Antonio DaSilva, Jassim Alnashmi Thursday 5 May at 7pm, Mohamad Hafez Saturday 7 May at 7pm and Amira Behbehani (date to be confirmed). Exhibition closes Saturday 4 June 2016.


Discovery: Re-imagining Darwin’s World

In looking at Darwin’s notes from the Voyage of the Beagle, I was drawn to an incident that occurred at St Paul’s Rocks, off the coast of Brazil, when the expedition discovered a species of bird “…so tame you could walk up to them and hit them with a stick.”

The manner of this discovery and the history of our acquisition of knowledge led me to contemplate the ramifications of our actions. It is still common practice to collect specimens of new, rare or endangered species to verify and prove their existence. the most accepted method of collection involves killing that animal.

At what point does the animal exist? When it is dead it is proven to exist. Paradoxically this means that specific animal ceases to exist. Yet unidentified and alive, it doesn’t technically exist.

These implications of discovery and the impact our actions have over a prolonged period led to the question that drove this work: at what cost do we achieve knowledge?


The exhibition Discovery: Re-imagining Darwin’s World can be seen using the link below.