emily hawes

Referencing the South London Botanical Institute's collections, botanical library & herbarium, GU Womxn produced a collective, short publication which is framed by a research day at SLBI in July 2019. Taking the form of a 'flimsy' (a temporary holding folder for the specimens, made of archival paper material equivalent to a sheet of newsprint), the work is formed of individual and collective memories, thoughts and responses which link our experience at the SLBI with wider discussions around the complex practice of botany, its historical lineage, social impact and practical applications. Contemplating ideas in relation to knowledge-making & feminist ethics of care, we have considered what we may adopt, question or resist from the herbarium. Echoing the interwoven & interdependent ecologies discussed within the work, the flimsy was distributed amongst Art Licks Weekend venues (DKUK, 4Cose, 1C Enterprise House & The Old Police Station), discreetly installed upon a bespoke structure which references the pressing mechanisms historically used in the herbarium.

GU Womxn (on this occassion Emily Hawes, Sophie Huckfield, Laura Onions, Larissa Shaw)

Small acts of care

Art Licks Festival 2019

Thanks to: Joseph Warin (graphic design), Fred Holdsworth (CNC design)

What is the role of a studio in a pandemic? 

EOP online event, Eastside Projects, 2021

Liquid Assets blends pool-infused ceramics, socially conscious sonic research and non-slip textures that permeate skin. Made in collaboration with Sophia Simensky, 2016. Event as part of Art Licks Weekend 2016.

Liquid Assets Sound & Ceramic Intervention, Peckham Rye Common, 2016

slipcast ceramic, aluminium, HDV Video

slipcast ceramic, aluminium, HDV Video

Scuba Fermata, site-specific intervention, Pine Walk Bandstand, Bournemouth 2019

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.


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Emily Hawes ©