a-n bursary news

I’m utterly thrilled to be selected as one of the 174 UK artists to receive a bursary from a-n The Artists Information Company to support my professional development. My project is designed to build my confidence in working with autobiographical themes, across multiple mediums and formats including graphic narratives and book works.

Arts Council funding news

Very excited to share the news that I’ve been awarded Developing Your Creative Practice funding by the Arts Council. This will support a 12 month project, with mentoring from Lenka Clayton and NewArt.School, a course at Royal Drawing School and paid time to make new work.

A big thanks to Solent Showcase who kindly wrote me a letter of support, and also to A-N and Aspex Portsmouth who awarded me bursaries which paid for conversations with TheHourCollective.org and Rachel Dobbs which helped me to believe in the value of my practice and get in the right place to write this application. And thanks to Arts Council England of course!

Self Portrait Prize 2021: longlist exhibition

I’m very happy to hear that my ink drawing has been long listed for the Ruth Borchard Self Portrait Prize, and will be part of an online exhibition hosted by London gallery Piano Nobile and Artsy, selected by a panel including Will Gompertz and Victoria Miro. The letter of confirmation was particularly satisfying to receive:

“From over 2000 entries your work has been identified as an outstanding contribution to the self-portrait genre and longlisted. With so many outstanding works submitted to the 2021 prize this is a huge achievement.”

The exhibitions opens on 14th May, here

Panel guest: British Association of Film, Television and Screen Studies

I was very privileged to be invited to join a panel discussion on embodiment as a film practitioner, and how this has been affected by the Covid pandemic, at the British Association of Film, Television and Screen Studies conference on 8th April, with fellow panellists Lindiwe Dovey, Leena Manimekalai and Hanan Razek.

Watch the recording here: https://www.youtube.com/watch?v=ODJh0g5SxLU

Panel host: autobiographical animated documentary

Ellie Land and I were invited to curate and host a panel discussion on animated documentary as part of Animate Projects‘ Accelerate programme of online events during lockdown restrictions, funded by Arts Council England and in partnership with British Council Film, in November 2020.

We were joined by film-makers Signe Baumane, Mary Martins and John Summerson, who generously shared with us their thoughts about using their own life stories in their work.

You can watch the recording of our conversation, from here on Vimeo.

New writing published in Animation: Practice, Process & Production

I’ve written about the the process of making Hysteria for the academic journal Animation Practice, Process & Production and I’m thrilled that an image from the film has been chosen for the volume’s front cover.

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Hysteria: An autoethnographic reflection on making an animated documentary film from archive material

Abstract:

This paper investigates the process of collection, interpretation and modification in the making of an experimental animated documentary film. In 2001, I made a two-minute film, Hysteria, as a first year project on the master’s animation course at the Royal College of Art. Given as a starting point the word ‘bedlam’, I researched the history of mental healthcare and discovered documentation of medical practices in the late 1800s of clitoridectomy and genital massage as a ‘cure’ for the condition of hysteria.

Making the film was a singular, insular journey – a stream-of-consciousness voyage of discovery: uncovering and collating material and then interpreting it through visual experimentation. Key to my process was use of a sketchbook that became a space for montage: juxtaposing material from contemporary sources against archive documents and incorporating research material into my visual experiments.

Using autoethnographic writing, I return to the state of mind that produced this film – asking how and why it came to exist – and through audio reflection I re-read the sketchbook to analyse the processes of drawing, annotating and editing which produced it. In doing so, I attempt to understand the intuitive process of interpretation, and to draw out insights which can inform my future practice.

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