Recipes for Renewal, collaboration with AUB 1st year fine art students, documentation of trip to Lower Hewood Farm, 2022
Instead of remaining a source for nourishment, food has been transformed into a commodity: something to be speculated on and profiteered from. This leads to rising food prices and creates social instability everywhere. Since 2007 there have been fifty-one food riots in thirty-seven countries, including Tunisia, South Africa, Cameroon and India. The food system is badly broken on every measure that counts: sustainability, justice, and peace. Today, an alternative has become imperative for our survival, so let us begin by asking the question, “Who feeds the world?” – Vandana Shiva (2016)
Across 3 days, AUB fine art students took part in a series of activities designed to re-assess how we cultivate, grow and consume food, including: a film screening of 'Seed:The Untold Story', a reading group and a trip to Lower Heywood Farm, an organic small holding in Dorset. The writer Deepa Bhasthi, who is based in Kodagu in Southern India, gave a talk about her research into the politics of food and associated mythologies.
Documentation of work by AUB Fine Art student Lydia Marshall
The Atossa Press is a mentoring project, connecting international artists with undergraduate students studying Fine Art at Arts University Bournemouth (UK).
The project responds to the over-saturation of digital communication, which has been particularly heightened within the context of the global lockdown; instead favouring the slow correspondence of hand letter writing & the irregular rhythms of the international postal service.
For the first edition, fine art students Jess de Villers and Lydia Marshall have been in correspondance with Phillipines-based sibling duo DAKO-gamay.
Gasworks, reconstruction event
Please see Gasworks website for more info
Workshop with Rosanna Catterall, 2016 ACE Funded
Scuba Fermata in C is a collaborative project & site-specific intervention at the Pine Walk Bandstand in the Lower Gardens in Bournemouth, between artists’ Emily Furnell & Emily Hawes. Citing it’s embodied history as a space for orchestral symphony performances, dating from 1893, the works look to invert the function of the space- as an outward, sound emitting, performative structure, to an internalised space, which make the inaudible audible (such as the sound of compressed air through an oboe reed) and absorb the breaths of visitors, performers & musicians, past & present.