Queer River, Wet Land – Sharing Event, Thursday 25th November

What can queer perspectives bring to creative explorations of river health and river futures, in a time of climate breakdown? Join this special sharing event to explore the learning that has emerged from the Queer River, Wet Land collaboration, and to deepen your own creative engagement with rivers.

The sharing event will tak place on Thursday 25th November from 17:00 – 18:30 GMT. You can book your free tickets here.

Led by artists James Aldridge and Minty Donald, Queer River, Wet Land documented their experiences of the Rivers Clyde and Kelvin, in Glasgow. Focussing on the interrelationship between the water and the land, this exchange of practices drew on work with their local rivers, and the substrates that they flow through/over. The work resulted in a Performance Score, made publicly available as a way of supporting others to get involved in the project, and to encourage others to engage creatively with their local rivers.

James and Minty will also be joined for this online sharing event by artist/geographer Sage Brice (University of Durham), theatre practitioner Rachel Clive, and Madrid-based landscape architect Malú Cayetano.

Queer River, Wet Land Performance Score: an invitation to collaborate

As a result of my work with Minty Donald last month, on the Queer River Wet Land project with The University of Glasgow, we have put together a performance score to invite others to get involved remotely.

The score, available to download below, invites people to engage with their local river and consider the relationship between the water and the land. We are asking people to share their responses with us via social media using the #QueerRiverWetLand hashtag, or send them via email, for inclusion in this blog.

We will also be running an online event at 5pm on Thursday 25th November, where we will share the outcomes of the Queer River Wet Land project in more depth, with input from invited speakers and a range of responses to the score. As soon as the booking details for this free event have been confirmed I will add them here.

We are really looking forward to you sharing your responses, however playful or simple they may be. So please download the score, take a walk with your river, and see what happens.

Thank you.

Queer River Wet Land Part 1 – Walking with Rachel Clive, Minty Donald, Ingrid Shearer and Cecilia Tortajada

My second day in Glasgow as part of The Dear Green Bothy took me back to The Snow Bridge, with Minty and three more collaborators: Artist and Researcher Dr Rachel Clive, Archaeologist and Heritage Engagement Officer Ingrid Shearer and Professor in Practice – Environmental Innovation, Cecilia Tortajada.

We were to follow the same route that Minty and I walked the day before, in order to expand our understanding of the rivers, through the experiences of this larger, more diverse group.

Meeting on The Snow Bridge

I summarised the Queer River Wet Land project for Rachel, Ingrid and Cecilia, and invited them to introduce themselves to the group, and then handed out a small cloth bag of resources that I’d put together for each of us. Each bag contained some paper, card and stickers, a pencil and pen, and some small lidded collecting pots. They were an offering to enable each collaborator to document their journey in a way that worked for them, or alternatively, they could concentrate on conversation and photographs.

One of the first conversations that I had as we walked along the banks of the Kelvin, was with Cecilia, who was keen to understand the relationship between climate justice and the experiences of LGBTQi+ people, so we talked about the increased vulnerabilities that many queer people are facing/will face as the effects of climate breakdown worsen and spread.

I explained to Cecilia that I was keen to include voices which may not usually be heard in climate discussions, exploring why they aren’t included and what might change in the future if they are. Cecilia suggested that ‘we are all people’ and that she might prefer to relate to each individual as a person first, rather than label them, and I respect the intention behind that.

In my experience though, mainstream society tends to prioritise the needs of certain groups of ‘people’, whose voices are privileged over others. If we are to get to the stage where we can treat each person as an individual, then those of us that don’t fit into that mainstream, who don’t feel seen and heard, need to be given opportunities to explore and explain why.

As we talked we paused at different points along the rivers. Ingrid identified old mill workings, and talked with us about her work on a boathouse restoration project on the Clyde, and the relationship between local football teams and rowing clubs. Rachel picked up on the subject of unheard voices, by talking with me about her research interests, discussing what the word queer means to her, including why she prefers to identify as neuro-queer:

‘(Rachel’s) research seeks to question and unsettle the structural inequalities expressed through the climate crisis through a disability studies lens. It is developing processes and performances which are informed and led by people who are either diagnosed or who identify as being neurodivegent or ‘normally different’, which focus on rivers and disability, specifically neurodivergent perspectives and the relationship between neurodiversity and geodiversity.

Rachel Clive, Performance, Ecology, Heritage

These definitions of neurodiversity and geodiversity are taken from Rachel’s website:

Neurodiversity: the notion that conditions like autism, dyslexia, and attention-deficit disorder (ADHD) should be regarded as naturally occurring cognitive variations with distinctive strengths that have contributed to the evolution of technology and culture rather than mere checklists of deficits and dysfunctions. (Silberman, 2015)

Geodiversity: the natural range of geological (rocks, minerals, fossils), geomorphological (landform and processes), and soil features. It includes their assemblages, relationships, properties, interpretations and systems. (Gray 2004)

As our walk continued on to where the Kelvin meets the Clyde, where previously Minty and I had played with chalk and the incoming tide, we walked down towards the water’s edge. Our chalk marks were still there, but we decided to hang back from the edge this time, and give a pair of Mute Swans and their cygnets some space.

Looking across to Govan, Ingrid and I discussed Neolithic and Bronze Age mounds and their relationship with water, from Silbury Hill near me in Wiltshire, to Doomster Hill across the river in Govan, which was demolished in the 1860s. Ingrid suggested that the earth mound/water combination might have served to explore and celebrate their relationship between earth, water and sky through their reflection. You can read more about Doomster Hill, its place in Govan’s history and comparisons with Silbury Hill here

Cecilia Tortajada – ‘I liked the place because it shows how the river was traditionally used: for people and by people.’

Ingrid also shared with me how there was a fording point across to Govan in the past where the Clyde could be waded across. Now the two sides are divided by the river, although a new bridge is planned. We touched on the issue of inequality between the two sides, and the need to ensure that any development/regeneration work benefits the people of Govan equally.

The history and heritage of the area was a key part of our conversations as to why the Clyde in particular feels so unloved and uncared for along this stretch (see my previous post). Although as Ingid mentioned, the percentage of the local population directly involved in shipbuilding was relatively small, it still looms large over the area. We discussed how the loss of shipbuilding to the area (with one shipbuilding company remaining) has led to a sense of collective trauma or shame being experienced by the people of Glasgow, and whether this is impacting on the city’s ability to see the future of the river more clearly, and a willingness to invest in the river’s health.

Of course economic considerations are a key barrier to river care and restoration, for example the cost of updating the sewage system, ‘Scottish Water has estimated that to upgrade all of these unsatisfactory overflow outlets would cost at least £650m’ (Scotland’s Growing Sewage Spill Problem’). But with the big changes to come due to climate breakdown, the economic impact of not prioritising Glasgow’s rivers’ health and their need to flood and flow, are likely to be a lot higher.

As with my first walk with Minty, we followed the riverbank along past the Riverside Museum and down to the construction site for the COP26 talks, where our discussions around whose voices are included in climate talks continued. The relevance of watching the construction of these (temporary) buildings within which certain people’s and countries voices will help decide the future of the rest of us, wasn’t lost on us. The subject of economics arose again, and climate justice, and the perceived value of the sciences versus the arts.

Cecilia and I talked about how awareness of climate breakdown has increased whilst action lags behind. The average person is now much more aware of what is going on, but the average person isn’t included in the COP26 talks, in governments or boardrooms. As our understanding of what is happening develops, so does our awareness of the gap between what needs to be done and what governments and big corporations are actually doing, and so our anxiety increases. Meanwhile we are told that our individual actions matter, to recycle our crisp packets and drive/fly less, and many of us do, but without the action of the priviliged few in power, our actions can feel meaningless.

Moving on past the COP construction site and the huge old Lobston (aka Finnieston) Crane on the riverbank, the future and past sitting alongside each other, we came across the flood wall that was constructed to protect the local area from rising water levels. Construction continues on the banks of the river, with little sign of making space for future river movement. Rachel’s work includes an exploration of the need for ‘Freedom Space for Rivers’, looking at the need to allow rivers to rise, fall and flood, and considering how we are going to keep each other safe in the future as extreme weather events increase and sea levels rise.

The relationship between disability and climate justice here is clear to me. In essence, who has the ability (economically or otherwise) to choose to move out of the path of a river which rises and floods homes, and who doesn’t? Whose opinions and views are likely to be listened to and who is likely to be excluded from the conversation?

I’m keen to reference popular media as well as academic sources in my Queer River research, and this Teen Vogue article links nicely:

If we persist in framing disability and climate change as a problem of physical vulnerability, we miss the underlying realities of structural violence: how ableism, racism, class inequality and other forms of oppression work together to compound and intensify risk…

“From homeless encampments to local jail cells, the social, political, and economic disparities among disabled queer and trans people of color put our communities at the frontlines of ecological disaster.”

Disabled People Cannot Be “Expected Losses” in the Climate Crisis

When the river floods and the impacts are felt by the people of Glasgow (and this can be translated to any coastal or riverside community) will we care for each other or will we deny care to those that we see as other, and instead look after ‘our own’? We don’t have to look far to see how refugees fleeing across the English Channel are vilified by right wing media and governments as competitors for ‘our’ resources. Rachel’s work interweaves a concern for and awareness of the wellbeing of rivers and their human/non-human communities, that is inspirational to me, and which I’m glad to be learning from.

Rachel also wrote a poem, Familiar and Strange, based on her experiences of our walk which I’d encourage you to read and which I’ve published in its own post, rather than squeezing it in among my reflections.

Flood defense wall

The whole walk was so rich, and the research/knowledge of my collaborators so relevant to my own research, that I am taking my time to let it all sink in. I have started to make drawings in response and of course to write about the walks here. As with all my Queer River walks I’m not rushing to unpick what took place, but allowing everythingtime for to settle and for connections to emerge between these walks and others. I’m incredibly grateful to Minty, Rachel, Ingrid and Cecilia for their generosity in sharing their experiences with me. I’ll keep sharing my thoughts and artwork as they emerge.

Queer River Wet Land Part 2 will be underway next. Minty and I are planning an online event, probably taking place in November, but I’ll update you on that soon, with details also being shared via the Dear Green Bothy site. We will be creating a performance score based on Queer River Wet Land Part 1, and sharing it with interested colleagues around the world, inviting them to take part remotely, and share their reflections with us at the planned event.

Familiar and Strange – Rachel Clive for Queer River Wet Land

Familiar and strange: A Queer River Walk with James Aldridge, Minty Donald, Ingrid Shearer and Cecilia Tortajada.

Glasgow, 10thSeptember 2021. By Rachel Clive.

five queer river lovers, familiar and strange 
meet on the dividing line of blue and green 
consider the edges.
on the grey bridge under their feet 
a small brown slug squidges past a sycamore wing  
a plastic cup lid, and an orange train ticket;
under the slug runs the kelvin

a student runs from one side of the bridge to the other 
takes pictures and disappears 
an elderly man picks up litter, quietly attending to his city

dogs lead their humans to water and trees, 
a sleepy bee loses its bearings 
buses rumble and birds cry out: beware! beware!

the queer ones follow kelvin

fluid nonbinary interminglings 
blond sandstone stands by windswept red 
the blond sandstone is older

rats feast in cars while humans sleep 
but the rat race is for rats and we are 
at the confluence, where kelvin meets clyde

govan keeps watch

two white swans shake their feet and wiggle their chests 
protecting their large grey young; 
feathers roll and tumble up the slipway, trembling with the wind.

the tide is out and the surface is slippery. 
i pick up a toy car and a broken lighter, 
luminescent leftovers, like squid remains in plastic bins

materials break down; release can be unpredictable

I wonder who the car belonged to, whose hands have played with it 
how it ended up here, how I end up here, time after time 
with kelvin and clyde and the turning tide 

the trucks thunder in to clean the hard grey riverside
the noise of their engines is shattering, like gunfire exploding, 
the birds scream and i cover my ears, there is nowhere to hide.

we need to reorganise

New Writing: Queer River and Creative Engagements with Ecologies of Place

‘Artist James Aldridge shares insights from Iain Biggs’ and Mary Modeen’s book Creative Engagements with Ecologies of Place and resonances with his own projects exploring the value of outsiders’ viewpoints and voices not often heard in discussions on the Earth Crisis’

Mark Goldthorpe, Climate Cultures

Follow this link to have a read of this new piece I was invited to write for the Climate Cutures site: Queer River and Creative Engagements with Ecologies of Place.

‘In this time of ecological collapse and climate breakdown, it is tempting to charge about ‘taking action’, but there are many kinds of action that are needed. Perhaps counterintuitively, when individuals and organisations around us are declaring an emergency, we need opportunities to slow down and to notice the reality of the situation we are living in, taking time to learn from human and non-human others with whom we share our locality. For me, that is what my arts practice, and Queer River specifically, is for.’

James Aldridge, Climate Cultures Article

Queer River, Wet Land: Part 1 – Walking with Minty Donald

I’ve just been in Glasgow for a few days, at the invitation of The University of Glasgow, and as part of The Dear Green Bothy. You can read more about The Dear Green Bothy in this previous post.

Whilst in Glasgow I met, walked, talked and made with collaborators suggested by the University. This was my first experience of the Clyde and Kelvin, and these are my first impressions of those rivers. I’m continuing to process my experiences and develop further artwork as a result. These walks, plus the writing and artwork that emerges from them, form Part 1 of the Queer River Wet Land project.

On the first day of my Glasgow visit, I walked with Artist and Professor of Contemporary Performance Practice Minty Donald. Minty has worked extensively with rivers and performance, as a form of ecological practice, and it’s been brilliant to be able to collaborate with her on this project:

‘My definition of ecological entails an aspiration for a way of being in/with the universe that dissolves nature/culture and human/nonhuman binaries, but which acknowledges differences, antagonisms and contradictions, rather than seeking resolution or transcendence..’

Minty Donald, The performance apparatus: performance and its
documentation as ecological practice

Together, we followed a route Minty had devised in advance, with a container of chalk from my home valley in Witshire, and a simple pad that I’d made of black and white paper, to record our conversations and what we noticed.

We met at The Snow Bridge, a pedestrain bridge over the River Kelvin at the edge of Kelvingrove Park, in heavy rain. Although we did get a bit wet, it was a perfect opportunity to observe the path of water through the city. The project was named Queer River, Wet Land as we wanted to focus on the interrelationship between land and water, river and substrate. I was keen that we continue to queer the idea of what a river is, to blur the boundaries between river and city, moving away from the blue line on the map with clearly drawn edges.

The river, of course, doesn’t just stop at its banks, the flow of water and the wider water cycle connects the river with the streets, buildings, animals, sky and so on, and after recent walks exploring how my own local rivers the Avon and Kennet, sit on/flow within a bed of chalk, I was keen to explore further the behaviour of a river whose path has been altered through urbanisation and industry.

Minty’s own work for The Dear Green Bothy makes use of rocks and silt to explore this relationship of river to city. In her project Erratic Drift with Nick Millar, Minty works, ‘in collaboration with the rocks, stones, and silt of Glasgow’, as well as human collaborators. Alluvial Drift, one of three actions that take place as part of the project, uses a performance score to invite the performer to ‘Borrow some silt (mud) from the River Clyde. Dry the silt until it is a fine powder. Walk along the geological drift line marking the extent of the river’s alluvial plain, which lies underneath parts of the city centre. Sprinkle silt along the line as you walk…’

The River Kelvin as it runs through Kelvingrove Park to the bridge where we met, has a leafy, ‘natural’ look at first glance, although as I waited for Minty and watched it flow beneath me I soon started to notice the takeaway cups and other litter flowing along with the water, and the non-native plants crowding its banks (this is someting I’ll return to, whilst reflecting on what I learned from my time with Botanist Mark Spencer). From talking with Minty I also started to understand the impact of sewage on both the Kelvin and the Clyde, which the Kelvin flows into further down.

‘To stop sewage backing up into homes, the storm water and waste that would ordinarily go to Scottish Water treatment centres is released into seas or rivers through the 3,697 Combined Sewer Overflows (CSOs) dotted across the country…. But Scottish Water is only required to monitor less than 3% of these CSOs for pollution, so the true scale of how much water waste is discharged is unknown. Simon Parsons, a director with Scottish Water, said CSOs “remain a vital relief mechanism to safely relieve the pressure on the sewer network” Citing the impact of climate change on the intensity of rainfall in Scotland, he continued: “We have to stop that surface water getting into our systems.”‘

Scotland’s Growing Sewage Spill Problem – BBC

At the confluence of the Kelvin and the Clyde, we made use of one of the few places where you can reach the water, and stood at the water’s edge, looking across to Govan. I took some chalk from my bag and started to experiment with making chalk marks at the water’s edge. As we made our marks we noticed how quickly they became submerged, a sign of the incoming tide, chalk from one river marking the ebb and flow of another.

I’ve attached some images of the chalk lines that James and I made (tracing the rapidly incoming tideline) on our Thursday walk as they appeared underwater when we visited the slipway on Friday. I found tracing the line between water and land very satisfying, while pondering how weird it was to draw hard lines between water and land (as the city centre architecture of the Clyde does).’

Minty Donald

As we walked on along the Clyde and past the Riverside Museum, we noticed ship mooring bollards and flood defense walls, Minty described an earlier work of hers (Bridging Part 1 and Bridging Part 2010 – 2014), which involved attaching ropes across the Clyde. When the ropes were pulled tight after sinking to the bottom of the river, they re-emerged covered in various ‘sanitary products’, which had gethered unseen on the river bed.

The sewage mixes with heavy metals and other chemical contaminants from the Clyde’s industrial past. New buildings pop up on its banks and the occassional gull or cormorant passes by, but there is relatively little life. Boats are a rare enough occurrance to cause people to stop and watch, and the number of low bridges that have been built over time, now present a barrier to larger ships. The river feels uncared for and neglected, still and grey, at least along stretch where we walked.

In contrast to the Kelvin at Kelvingrove Park, this stretch of the much wider Clyde has high, straight banks, free of vegetation apart from the occassional Buddleia clinging onto the walls. The river was narrowed and deepened in the past in order to build and transport bigger ships. Today only one shipbuilder remains, building ships for the military, but the city’s shipbuilding history still looms large.

Minty described how the new buildings that are springing up along the Clyde’s banks feel disconnected the river itself. Available space on the riverbank is made use of with an eye on ‘regeneration’ and economic development, but with little or no connection to the living river. When other cities are prioritising the clean up of rivers, increasing access to riverfronts for leisure and tourism, and reintroducing native planting, it seems a missed opportunty, and without such a focus on the health of the river, the Clyde feels strangely dead.

The canalised form that the Clyde takes now, is at odds with what rivers will need from us in the future, as we try to find ways to coexist with dynamic river systems, and increasingly fluctuating water levels. This conflict between the form that the river takes now, and the need to think differently in the future, was brought home even more as we walked on past the riverside contruction site at The Scottish Event Campus (SEC) where preparations are underway for COP26.

On our journey along to our finishing point, where the Molendinar Burn (a largely hidden river that flows under the streets of the city) meets the Clyde, at the site of Glasgow Green, we also discussed Queer River from a performance perspective. Minty’s work began in set design. which informed her journey into performance:

I sometimes describe my research in theatre and performance as an attempt to put the stuff that is not human centre stage. I might perhaps trace this to my training and background in scenography… A focus on the other-than-human in theatre/performance informs my interlinking research interests: more-than-human performance, site-based and critical spatial practice and expanded scenography.’

Minty Donald, Performance, Ecology, Heritage

With my own previous experience laying in museum and gallery education, art/ecology and outdoor learning, I’ve had less reason to explore the relationship of performance to my practice. I had thought that performance implied a pre-planned agenda, But in recent projects, where I have focused on embodied experience, walking, talking and dialogue, I’ve started to consider what might happen if I were to change the way I describe these areas of my practice, and consider them as performance pieces.

Advocates of performance, in its expanded sense, argue that it might lead us towards an
understanding of our place in a more-than-human universe that troubles habitual and,
arguably inescapable, anthropocentricism. It does so in several ways. First, performance
offers a challenge to representationalism. As Karen Barad puts it, ‘the move towards
performative alternatives to representationalism shifts the focus from questions of
correspondence between descriptions and reality […] to matters of practices/doings/actions. Second, performance is not exclusively human. It is a more-than-human practice in which both human and nonhuman actors engage alongside and are intermingled with each other…’

Minty Donald, The performance apparatus: performance and its
documentation as ecological practice.

This first walk of the Queer River Wet land project was a way to get to know Glasgow through its rivers, and the rivers through walking and talking with Minty. Our second walk with artist/researcher Rachel Clive, archaeologist/Heritage Engagement Officer Ingrid Shearer and Professor in Environmental Innovation Cecilia Tortajada gathered together a wider range of perspectives, which I’ll be starting to explore in my next post.

The Dear Green Bothy: Queer River Comes to Glasgow

After a recent Climate Museum UK meeting, I was invited by Mark Banks of Glasgow University to bring Queer River to Glasgow as part of The Dear Green Bothy – ‘hosting creative and critical responses to climate emergency‘ – in the lead up to the COP26 climate talks.

Queer River, Wet Land will take place in Glasgow on 9th and 10th of September, and will see me walking and making with Minty Donald, Artist and Professor of Contemporary Performance Practice at the School of Culture and Creative Arts.

Minty has a wealth of experience in working with rivers in her own practice, in particular through Guddling Aboutexploring humans’ interrelations with rivers and other watercourseswww.guddlingabout.com and Erratic Drifta project by Minty Donald and Nick Millar, in collaboration with the rocks, stones, and silt of Glasgowwww.erraticdrift.org.

Mute Swans on the Salisbury Avon

On the second day Minty and I will be joined by three more collaborators:

Rachel Clive – Theatre practitioner, writer, facilitator/teacher and researcher. Rachel’s art/science research interests include hydrofeminist practices and flood-risk management.

Cecilia Tortajada – Professor in Practice – Environmental Innovation at the School of Interdisciplinary Studies, Glasgow University. Working at present on complexity of water, environment and natural resources policy and management.

Ingrid Shearer – Archaeologist, Heritage Engagement Officer for the Glasgow Building Preservation Trust, and a previous collaborator of Minty’s.

Walking Pages (detail)

Queer River, Wet Land will focus on the interrelationship of land and water, and involve walking, making and dialogue with human collaborators and the rivers Kelvin, Clyde, and Molendinar Burn.

I’ll share documentation and reflections from the two days of walks here on the Queer River blog, and artwork that develops from them. Minty and I also plan to create a performance score as a result of the walks (new to my work but an integral part of Minty’s practice), which will support others (nationally and internationally) to collaborate with us remotely in Part 2 of the project. An online event will then follow in October/November in order to share the project and the work of our collaborators more widely (date/details tbc).

Canal Reflections

There’s so much about this project that I’m excited about, and so much that I know will grow from it, not least an exploration of the relationship between my walking/ecological practice and contemporary performance, and new working relationships with people carrying out such relevant and important work.

I’m thankful to Mark, Minty and the other collaborators for agreeing to join me and share their knowledge and experience, in a Queer River exploration of Glasgow’s waterways.

More to follow soon…

(The featured image for this post is titled River Clyde from Glasgow to Clydebank: Map of the river Clyde from Glasgow to Clydebank, and was created by the Clyde Navigation Trust in 1960)

Queer Constellations – Exploring and Sharing Together

On Friday I joined other artists exhibiting in the Queer Constellations exhibition, at The Museum of English Rural Life (MERL) in Reading, to see our work, meet each other for the first time ‘in the flesh’, and take part in workshops/discussions relating to the subject matter of the exhibition, namely queerness and rurality.

As part of the day I ran a workshop sharing my Walking Pages process and inviting the artists, exhibition coordinator Joe Jukes and Queer Rural Connections originator Timothy Alsopp, to layer their experiences of the MERL’s garden, onto printed photographs. The intention was to give people a chance to explore how we can document queer experiences of place, and consider how these might differ from mainstream representations.

Film director Ned Botwood also gave a talk about his short, celebratory film Happy Pride, From the Middle of Nowhere’ created for British Vogue this Summer.

Why do I have to watch Brokeback Mountain or God’s Own Country to see a slither of queerness in nature?” he asks, regarding the overarching portrayals of queer people in gritty cityscapes. “It’s obviously not the case, and I wanted to spotlight the people, the pioneers and explorers, making the countryside work for them.”

You can watch Ned’s film here:

There’s a lot for me to process from the day, but there’s a few key things that stand out for me that I’m thankful for and left focusing on. Firstly our diversity – we are all different, our work is all different and we each have the capacity to evolve and change within that. It’s definitely not one size fits all, despite all that we share. We don’t all run away to the bright lights of the big city, and even if we do, many of us return to settle in rural areas. Whilst rural spaces can give us the freedom to be ourselves, they can also mean that we have to ‘come out’ again and again.

What I took away from my workshop was the focus on multi-sensory experience, as people included scent and texture in their pieces, reponding to experiences of lavender, the wind or the shape of the chicken run. I was interested in how 2D images were folded, cut, rolled, and queered. Semi transparent layers were placed over the top of the ‘official’ photographs of the Museum grounds, holding text that related to experiences of childhood gardens. Others had holes punched through them, or were drawn on to explore the unseen reality beneath the surface.

It’s been a big leap for me to start exploring my sexuality/gender identity so publicly in my work. Now that I am, it can feel a pretty solitary experience. I make the work, write or talk about it to an audience, or send it out into the world (either online or by post), unsure of the reception that its going to get. This exhibition and artists’ gathering has been the first opportunity I’ve had to exhibit and share my work within a specifcally queer context. I’ve been thankful for the opportunity to come together and share both our practices, and our thoughts and feelings about being queer in the countryside.

I’ve hung onto everyone’s pages from the workshop (not something I usually do), in a box I put together for the purpose, and will share them as a collection when I exhibit more Queer River work in the future. I hope to keep in touch with everyone from the exhibition, and to be able to come together to continue our conversations in the future, as I feel that I’m learning a lot.

A box full of pages on my way home

The Queer Constellations exhibition continues at MERL in Reading until September:

Queer Constellations is an exhibition that poses the question as to whether there is queerness in rural life. It brings together artists from around the UK and Ireland, including Epha J Roe, James Aldridge, Emma Plover, Gemma Dagger, Eimear Walshe, Claye Bowler and Daniel Baker, to delight in the strangeness of rural life and to feel its enough-ness. We invite users to trespass the space, explore the margins, and to join us in queering the countryside...’

https://merl.reading.ac.uk/event/queer-constellations

Experiments with Chalk and Water

Today I spent some time in my garden combining ideas from recent chalkstream research, explorations of bodily engagement with the more than human, chalk from my recent walk up the Pewsey Downs, and rainwater collected in my garden.

Ideally these initial experiments would lead to me coating my whole body in chalk on the riverbank, before immersing myself in the river. But that’s for another day…

Queer Constellations Exhibition at Museum of English Rural Life

I’m currrently exhibiting Two Avons: Boat and Body at the Museum of English Rural Life, as part of the Queer Constellations Exhibition, Artistic Trespass and Rural Gay Histories exhibition, curated by Joe Jukes with MERL.

Two Rivers: Boat and Body is a new version of the Two Avons installation, originally commissioned by Yarmouth Springs Eternal. The exhibition will now run until the end of August and is free to enter but booking is recommended.

Queer Constellations is an exhibition that poses the question as to whether there is queerness in rural life. It brings together artists from around the UK and Ireland, including Epha J Roe, James Aldridge, Emma Plover, Gemma Dagger, Eimear Walshe, Claye Bowler and Daniel Baker, to delight in the strangeness of rural life and to feel its enough-ness. We invite users to trespass the space, explore the margins, and to join us in queering the countryside.

The exhibition also features a collection of MERL objects that represent the lives of historical gay men with rural occupations. Though found through criminal conviction records, we aim to show that these men were more than just a conviction…’

https://merl.reading.ac.uk/event/queer-constellations

Directions: The Museum of English Rural Life, Redlands Road, Reading, Berkshire RG1 5EX United Kingdom + Google Map