Tag: Participatory Art

Posted in 2025-2026, collaboration, curation, Exhibitions, Reflection

Invigilator X Artist

Posted on by KM

Someone: Should artists invigilate their own exhibition?

Me: Absolutely not!

We finally opened our first exhibition Unstable #1 on the festival’s opening day 7th of June . The works were powerful, the team was wonderful, and I learned so much from them. I remain deeply grateful to everyone who came, especially my tutor Jonathan. The exhibition brought together artists from Liverpool, London, Glasgow, Germany, and even as far as Australia.

But despite the excitement, I had a difficult experience when I volunteered to invigilate for a day. The Biennial was short of volunteers, and I wanted to help. Yet what I found most challenging was being present in front of my own work: the Sykes–Picot plates, left exactly as they had been on opening night, still holding the crumbs of cake.

When visitors arrived, I would usually begin by introducing the other artists’ works, one by one. I avoided starting with my own. I didn’t present myself as “the artist” but as someone available to guide, to answer questions. I wanted to hear honest responses without the filter of politeness.

Two moments unsettled this:

– First, a group of visitors stopped at my work, were deeply moved, and immediately linked it to what is happening in Gaza. They asked questions, spoke at length, and even wanted a photo of me with the piece.

– Then, two other visitors became emotional as we discussed the history of Sykes–Picot. They spoke of the weariness of violence, of how exhausting it is to keep watching the news. One woman broke down in tears. I felt her exhaustion echo within me, though I tried to remain composed and gently encouraged her to look at the other works.

In those moments, I realised how much people need space to voice their rejection of violence and injustice. We all long for ways to speak out, to push against the weight of helplessness or guilt.. yet, after those encounters, I knew I couldn’t invigilate again. The conclusion was clear: invigilating is not for me.

Posted in 2025-2026, collaboration, curation, Exhibitions, Project, Reflection, Research

The Right Map – My wild Summer 

Posted on by KM

For more than three months this year, my life was consumed by The Right Map. Coordinating and organising eight shows ( Unstable 1,2,3,4, Account, Account Not Recognised, Slip Stream and In Search of Swallow and Amazon show/fundraising event) across Liverpool was a huge undertaking logistically, emotionally, and artistically. It was intense work: curating, communicating with artists and collaborators, solving problems on the spot, and carrying the responsibility of holding so many different voices together in one programme.

During the summer, I couldn’t write about it.. The pace was too fast, the demands too many, and on top of that, family responsibilities and personal challenges were pulling me in different directions. I was tired, grateful, overwhelmed, and very often carrying mixed feelings that left little room for reflection.

Looking back, I see the full image: what worked, what I loved, what was difficult, and where I grew. Writing from this distance feels possible, even necessary. I realise that part of my practice is not only in the making or the showing but also in reflecting.

The Right Map reminded me of this: the gaps, the tensions and the silences were as important as the works themselves. The experience was more than making artworks. It was about what happens when we work together, recognising where we succeeded so we can carry that forward, and where things did not work so we can avoid them in the future.

In the next posts, I want to unpack some of the moments that stayed with me: the artworks that resonated deeply, the tensions that tested me, the negotiations and miscommunications that revealed the realities of working collectively, and the unexpected joys that reminded me why I do this work.

I needed time to arrive here. To allow the intensity to pass, and to feel ready to write. Now, I can see The Right Map not only as a demanding project but as a turning point in how I think about curation, collaboration, and care in my practice..

The Right Map was a series of exhibitions presented by Ghost Art School as part of the Independents Biennial. Emerging from the spirit of Ghost Art School, it celebrated artists who move between margins, who learn in the cracks, who map their own routes when none are given.

Here, the map was never fixed, drawn in gestures, erased by time, redrawn in conversation, in defiance, in care. The Right Map asked not where we are going, but how we move… and who gets to move with us.

The Right Map 36 artists: Alison Reid, Alma Stritt, Charli Kleeman, Chelsea Johnson, Chris Roberts, Colm Moore, Conner Browne, Cos Ahmet, Danielle Freakley, David W Hicks, Eleanor Capstick, Finn Roberts, Gary Finnegan, Gwendolin Kircali, Halyna Maystrenko-Grant, Hannah Browne, Harriet Morley, Igor Prato Luna, Jasmir Creed, Jessica Crowe, Karema Munassar, Lily Patricija, Mai Sanchez, Marie-Sofie Braune, Molly Lindsay, Molly Mousdell, Phoebe Thomas, Priya Foster, Ritu Arya, Rory Macbeth, Sonic Relics, Theodora Koumbouzis, Tom Doubtfire, Tom Kelly, Valentina Passerini, and Xueying Zhang 

Posted in collaboration, Exhibitions, Experiments, Research

The Right Map

Posted on by KM
Poster credit: Phoebe Thomas

Coordinating The Right Map for the Ghost Art School artists was intended as an act of support for others. But in the process, I found myself unexpectedly charting new ground in my own practice. What began as a curatorial and facilitative role gradually unfolded into a deep personal enquiry, one that significantly shaped my ongoing research in social sculpture.

I began to notice shifts in my own thinking. Supporting artists to articulate their intentions, reflect on their choices, and ground their practice compelled me to ask the same of myself. It was not a passive role; it was active, dynamic, and generative.

Interestingly, throughout The Right Map, I found myself increasingly drawn to the curatorial aspects of my work more than the making itself. It’s not just about presenting artworks, it’s about orchestrating experiences, holding conversations, shaping encounters. I became fascinated with how frameworks are built, how meaning is constructed around and through art. In many ways, the coordination itself became a form of social sculpture.

This shift is not about stepping away from being an artist…it’s about understanding the expanded field in which I operate. Curation, facilitation, research, and community-building have become a core tool kit in my practice. Through coordinating The Right Map, I gained new confidence in embracing this hybridity. I no longer see it as fragmented, but rather as a cohesive and intentional mode of working that reflects my values and voice.

https://www.instagram.com/p/DJov3YBo9Yg/?igsh=Mnd6MWh3MXRuaDQy

Posted in Experiments, Moon, Project, Reflection, Research

Becoming an Audience to Our Own Work!

Posted on by KM

19 artists from across the country and beyond, working across different disciplines, were selected for Open Eye Gallery’s Socially Engaged Photography programme. The session began gently with an icebreaker to help us introduce ourselves and connect, opening into a space full of layered questions and open dialogue.

One phrase stayed with me: “Becoming an audience to your own work.” It’s the idea that the artist creates a framework for others to shape, leading to outcomes unknown even to them. This made me reflect on Dear Moon, a book project I designed. By the end, I felt less like its author and more like its audience. The photographs simply held space—the real substance came from the contributors’ words. Their voices carried the project forward.

In breakout groups, we explored definitions of socially engaged practice. From using art as a collaborative tool for justice (Sholette & Bass) to fostering shared understanding and personal growth (Matarasso), the emphasis was clear: this work is about people, not product. It’s about ethics, active listening, and creating conditions for transformation.

I feel genuinely grateful to have been selected for this course and to be mentored by Elizabeth Wewiora. I look forward to continuing the journey and exploring how it might help shape my research around social sculpture.

Posted in Exhibitions, Experiments, Moon, Reflection, Research, Visit, Writing

Trusting the Process.. Interim Show 2025

Posted on by KM

Since October, I’ve been immersed in the making of Dear Moon. What began as a simple idea grew into something layered and full of meaning. Over these months, I’ve learnt so much, not just about putting together a book, but about myself. The skills I’ve had to call on managing, organising, communicating, publishing, sharing all came with challenges. I had to practise patience.. I had to listen. And more than anything, I had to trust the process!

There were many moments when I didn’t know exactly where it was heading, but I allowed myself to follow the rhythm of the work, and something beautiful came through. I’m especially grateful that the work is expanding being read, being held and I’ve been watching it with a sort of quiet pride.

Still, I have to be honest. Sharing Dear Moon in public spaces hasn’t felt completely right. I tried presenting it in a vibrant setting, but I could feel the book asking for something else, something slower, more still. It asks the reader to sit, pause, and take time. And that’s hard to find in environments filled with movement.

So, although I didn’t quite succeed in the way I had imagined, I don’t see it as failure. Instead, I see it as another learning. The challenge now is to explore different ways a book like this can live in public space. How do I present it in a way that honours its pace and stillness? How can I guide people toward it gently, instead of expecting it to compete for attention?

I’m still learning, and I’m open. I’m proud of Dear Moon, and I know it will keep finding its way as long as I keep listening.

Posted in collaboration, Moon, Project, Reflection, Research, Writing

A Collaboration on Dear Moon (Service Point JNG)

Posted on by KM

Working on Dear Moon has been one of the most personal and expansive projects I’ve ever taken on. While the words came slowly, shaped by honesty and quiet reflection, the visual form of the book took a different kind of journey, one that became stronger and more meaningful through collaboration.

I had the pleasure of working with Jiayi and GG, two recent MA Graphic Design graduates from the university. They took on the challenge of designing Dear Moon and brought their own vision to it. Where I had initially imagined something simple, quiet, and almost invisible in its design letting the words do all the work they brought something else entirely: depth, elegance, and boldness in aesthetic.

Their design sensibility was so different from mine. I approached the book with simplicity, wanting to preserve the gentle rhythm of the letters and photographs without interruption. I didn’t want the visuals to overpower the messages within. But what Jiayi and GG brought was not overpowering it was enhancing. They introduced a poetic visual language: deep blues, moonscapes that speak for themselves, layout choices that echo the movement of tides and emotion. They weren’t just decorating; they were interpreting.

Looking at the final book now, I see a true collaboration. It’s no longer just a collection of letters; it’s a designed experience. A conversation between stillness and form.

Collaborating in this way has taught me the value of letting go. Of sharing creative control. Of trusting others to hold your work with care and transform it with love and intention. I feel Dear Moon is stronger because of this process, and I’m grateful to Jiayi and GG for reminding me how powerful cross-disciplinary work can be.

https://www.instagram.com/p/DHa-GsDKStV/?igsh=MWVza3g4eGFrZ2g0bw==

Posted in 2024/2025, Exhibitions, Motivations, Reflection, Writing

First Review in Art in Liverpool

Posted on by KM

I recently received my first review (which I see as feedback) in Art in Liverpool, written by Patrick Kirk-Smith, about my Al-Mayida installation as part of the Drudenhaus Collective at Bridewell Studios & Gallery. Seeing my work in print, positioned within a broader reflection on history, conflict, and artistic response—has given me space to consider how this moment connects with my ongoing practice.

He writes:

“In the centre of the main room at Bridewell Studios & Gallery is a table, set for two, with plates reading ‘Sykes-Picot 1916’. It offers little by way of introduction, and even less of an invitation. No chairs. No spare crockery. Just two places, set for Sir Mark Sykes and François Georges-Picot, who in 1916 drew up boundaries for the division of the Ottoman Empire without regard for the citizens of any of the new countries they were dividing…”

This review captures the essence of Al-Mayida, how history’s decisions linger in the present, shaping lives and political realities.

As I navigate my MA, this review serves as both encouragement and reflection. It affirms that my work is engaging with complex socio-political themes in a way that resonates beyond the gallery. It also challenges me to refine my approach, how can I sharpen these conversations while maintaining the poetic, unsettling subtlety that Al-Mayida holds?

The Drudenhaus Collective’s fundraising for Medical Aid for Palestine (MAP) adds another layer to this. Art, for me, has always been a site of action as much as expression. This project reinforces my belief that creative practice can exist in solidarity, bringing history into the present not just for reflection, but for tangible impact.

Posted in 2024/2025, Motivations, Project, Reflection, Research

Final Session: Art for the Earth’s Sake

Posted on by KM

Our last session of Art for Earth’s Sake Peer Learning, was a powerful experience exploring the intersection of creativity, sustainability, and community action.

Key Highlights:

1- Leading by Example: We discussed how artists can practise sustainably, acting as role models for others by reducing their carbon footprint and promoting eco-friendly approaches. This includes minimising the use of fossil fuels and exploring innovative tools such as digital carbon offset initiatives like Ecology.

2- Art as a Vehicle for Transition: Art has the power to shape people’s decisions and inspire social and environmental change. We explored how slow, mindful processes can create space for reflection and dialogue about the future we want to build.

3- The Role of Heart and Mind: It’s not just about being an artist but about raising awareness and fostering learning. We emphasised the importance of balancing rational thinking with heartfelt creativity to address environmental.

We took inspiration from artists such as Rebecca Chesney and Anthony Hall, and projects like the Soil Exhibition in Somerset. Additionally, ideas from thinkers like Stephen Covey’s “Three Spheres of Influence” helped us focus on what we can control, what we can influence, and what we need to let go of as individuals and as a collective.

We are encouraged to continue organising events, engaging the community, and taking part in initiatives like the Engage. By working together, we can use art as a catalyst for positive change in the world.

Stephen Covey’s concept of the Three Spheres of Influence is a framework that helps individuals focus their energy on what they can truly affect. This idea is derived from his book, The 7 Habits of Highly Effective People. The three spheres, also known as the Circles of Concern, Influence, and Control, are a way to prioritise actions and efforts effectively. The Three Spheres Explained:

1. Circle of Concern:

This represents everything you care about, including external issues such as climate change, world events, and things you have no direct control over. While it’s important to be aware of these issues, focusing too much energy here can lead to feelings of helplessness.

2. Circle of Influence:

This sphere includes aspects you can influence, such as your local community, workplace, and people around you. By focusing efforts here, you can make a meaningful impact even if you can’t solve global issues. This is where actions like raising awareness, inspiring others, and leading by example can make a difference.

3. Circle of Control:

This is the smallest sphere, encompassing only what you can directly control, your own actions, decisions, mindset, and responses. By focusing on this sphere, you ensure that your efforts are grounded in what you can actually change.

By prioritising your focus on the Circle of Control and the Circle of Influence rather than the Circle of Concern, you can channel your energy more productively, avoid burnout, and create more positive impact. This approach is particularly valuable in projects related to sustainability and social change, where large-scale problems can feel overwhelming.

In the context of “Art for Earth’s Sake” understanding these spheres can help artists and activists focus on what they can do, such as creating art that inspires action, practising sustainability in their own work, and building local community initiatives that promote change.

Posted in Reflection, Tutorials 2024/2025, Writing

A Tutorial Reflection

Posted on by KM

Yesterday, I had a 1-1 tutorial with Jonathan, and it was a great opportunity to think aloud about my practice and research. It helped me reflect on where I’m, what comes next, and how I want to present my work in the interim show. More importantly, it allowed me to articulate the intentions behind my work—what I’m truly trying to communicate through it.

At the moment, I’m working on collecting all the moon letters people have submitted into a book, which I see as a sculpture—not just because of the process involved, but also due to the layers I’ve applied throughout its creation. Here, I wanted to make a book—not just a representation of one, but a real, physical book as a sculptural form. I wasn’t trying to turn a book into a sculpture; rather, I wanted to sculpt a book itself. This distinction has been crucial for me, and I feel I’ve achieved a lot through this approach.

The process remains ongoing—collecting letters, designing the book, and considering communication in both content and form. The creative process has pushed me in new ways and opening many doors.

Jonathan shared some useful links to researchers and artists, including Donna Haraway, Claire Bishop and Lucy & Jorge Orta. He also gave valuable advice on selecting the right paper type for the book, its cover, and how different inks could react on specific papers.

We also discussed different ways the book could be displayed, which made me think more deeply about its presence in a space and how the audience will engage with it—what I could add or take away. This reaffirmed that my work is not just about making an object; it’s about layering meaning, process, and interaction.