Tag: Publication

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.

Posted in 2024/2025, Project, Research, Writing

Moon Letters and Shared Stories at Bootle Library

Posted on by KM

Today, I led a session at Bootle Library with my usual cultural group of ladies, joined by my colleagues from Rule of Threes, a representative from Liverpool Biennial, and artists from Darch Collective. It was a special gathering, as we’ll be contributing to their work for Liverpool Biennial: Bedrock 2025.

The session had a wonderful turnout, and I received 15 more letters for The Moon Letters project. I’m so grateful to everyone who has taken the time to contribute, and I can’t wait for the moment when I finally hold the book in my hands.

There’s something deeply personal about letters. I find myself attached to each one, treating them as precious objects. They arrive in different ways: through messages, emails, and in person. Each carrying unique thoughts, emotions, and perspectives. People respond in their own way, and I appreciate every word, every feeling that has been shared.

This project is becoming more than just a collection of letters, and  I’m excited to see where it leads and to share these stories with a wider audience.

https://atthelibrary.co.uk/projects/the-colour-of-pomegranates/

Posted in Reflection, Research, Writing

Letters to the Moon as Social Sculpture: Reflection

Posted on by KM

In my ongoing exploration of social sculpture, Letters to the Moon stands as a testament to how art can shape social spaces through collaboration. Rooted in Joseph Beuys’ concept that everyone is an artist and society itself is a work of art, this project reflects the interconnectedness between individuals and their collective contributions.

The project is inherently collaborative. By engaging artists and the public, I aimed to dissolve barriers between “individual” and “community” artmaking. Each submission becomes part of a greater whole—like letters sent to a shared destination, carrying unique perspectives yet contributing to a collective narrative.

This process mirrors my research interest in social sculpture: how creative practice can transform not just physical objects, but relationships and shared understanding. Letters to the Moon creates a social space where people from diverse backgrounds, ages, abilities, and styles co-exist, their works forming an invisible conversation with one another.

At its core, my work often explores the complexities of communication. In Letters to the Moon, the art itself becomes a form of communication—visual “letters” that reflect feelings, thoughts, and experiences. By curating these individual voices into a unified book, I aim to highlight how creative gestures, when shared, can transcend the limits of language and hierarchy.

Social sculpture is about more than the artwork itself; it is about the relationships, processes, and transformations that occur along the way. Through Letters to the Moon, I have witnessed how this project fosters a sense of belonging, participation, and emotional resonance. It invites artists to engage in a collaborative process and, in doing so, creates an artwork that is as much about the process as the final outcome.

Photo credit: Donald Takeshita-guy
Dear Moon,

I know why you are called the Moon–because you say ‘mo’ and ‘on’. By Arwa (6 yrs old)

Posted in Reflection, Research, Writing

Letters to the Moon

Posted on by KM
Photo credit: Donald Takeshita-guy

Letters to the Moon is a social sculpture that explores how art can connect diverse experiences, emotions, and perspectives, fostering meaningful dialogue between art and the wider public.

To bring this vision to life, I invited family, friends, artists from Creative Peers, members of Ghost Art School, MA classmates, and the public. Donald kindly extended the invitation and offered people some brown paper bags to write their letters on. This act of kindness touched me and made these letters more special as they are handwritten. Each participant receives a unique moon photograph, carefully selected from a collection of 670 images I have captured since 2018.

The responses have been both inspiring and humbling. People with distinctive styles and personal voices have contributed works that reflect a broad range of emotions and narratives. A key aim of this project is to ensure that people outside the art world feel encouraged to take part, breaking down the barriers that can make creative engagement feel intimidating.

This project, while still ongoing, has already reminded me of the importance of artistic variety and community. While numbers have been promising, I hope they will continue to grow as more people see themselves reflected in this vision. I look forward to the next steps—curating these works, weaving them into a book, and creating something that speaks to the complexity of art as both a personal and collective process.

Posted in Lectures 2024/2025, Reflection, Writing

The White Pube Lecture

Posted on by KM

This week, I attended a truly inspiring lecture by The White Pube, a collective I’ve admired for their influence in the art world, especially in championing new and emerging artists. Gabrielle de la Puente and Zarina Muhammad, who started their journey as students at Central Saint Martins, have since grown into influential voices in the contemporary art scene. Their candid and relatable approach resonates deeply, and it was fascinating to learn more about their evolution.

The collective has recently released a book titled Poor Artist, and I was intrigued by their process and approach to publishing. As someone planning to create a book for our upcoming exhibition in March 2025, their journey felt particularly relevant. Gabrielle and Zarina shared how they ventured into publishing without prior experience in creative writing or the publishing industry, relying instead on the foundation of their studio practice. This reminded me of Roy Claire Potter’s words about how creative work stems from lived experience, a sentiment that deeply connects with my own artistic practice.

A highlight for me was when Gabrielle reflected on a conversation with her tutor. She had asked, “How do I become an artist?” to which her tutor replied, “Don’t stop making art.” That phrase stayed with me—not just for its simplicity but for its broader implications. Making art isn’t confined to producing physical pieces; it extends to engaging with the art world in multiple ways: reading, writing, reflecting, and staying informed about what’s happening around us.

The lecture also highlighted how The White Pube began writing for themselves, creating a voice that spoke to two audiences at once: the critical, often inaccessible world of theory, and the everyday experience of artists. They carved out a niche by addressing what they felt was missing—a relatable, conversational space in art writing that didn’t conform to traditional academic or journalistic norms.

This approach inspires me to reflect on my own work and how I can make my practice and writing more accessible, honest, and personal. Gabrielle and Zarina’s story is a reminder that starting small, writing for yourself, and embracing your voice can lead to impactful outcomes.

As I think about the book we’ll be creating for our exhibition, their journey offers a template for how to take risks and embrace the unknown. It’s not about perfection but about authenticity and a willingness to keep going.

This lecture was not only insightful but also a reminder of the power of persistence and self-expression in art. I’m grateful for their honesty and look forward to delving into Poor Artist for more inspiration.

Posted in Research

Inspiring Text: Pedro Reyes on Social Sculpture

Posted on by KM

The interview between Pedro Reyes and Cara M. Jordan is a fascinating exploration of social sculpture and its potential for societal impact. Reyes presents a compelling perspective on social sculpture as a medium where human relationships become the material, transcending traditional artistic boundaries and incorporating tools from diverse fields such as theatre, therapy, and rituals.

Reyes’ reflection on Joseph Beuys as a foundational influence further enriches the discussion, particularly through his project Palas por Pistolas, which transforms weapons into tools for reforestation—a direct homage to Beuys’ 7,000 Oaks. This project exemplifies dynamic, living art that evolves over time, reflecting the transformative power of human collaboration. His appreciation for Beuys’ humour and dedication to socialism underscores an optimistic yet critical vision of art’s role in addressing complex social issues.

Reyes’ commitment to accessibility is especially notable, as he advocates for art that transcends traditional audiences and creates transformative experiences regardless of participants’ familiarity with the art world. Collaborative projects like Sanatorium and People’s United Nations (pUN) highlight his dedication to co-creation and role-play, fostering a sense of ownership and shared authorship among participants.

His belief in the transformative power of materials is equally inspiring. The act of turning rifles into flutes, for example, embodies his philosophy of relational objects—artifacts that catalyse social encounters and spark psychological shifts. This approach strongly resonates with my interest in social sculpture and the symbolic potential of everyday materials.

This interview has deeply influenced my practice, offering inspiration for integrating participatory frameworks, addressing sociopolitical themes, and ensuring inclusivity. Reyes’ approach aligns with my focus on creating art that bridges communication gaps and meaningfully engages audiences, providing valuable strategies to advance my work.

Posted in Motivations, Reflection, Writing

Artist or Writer?

Posted on by KM

Recently, I tuned into Artists That Write, a fascinating session hosted by We Are Axis, featuring Roy Claire Potter, Roo Dhissou, and Madinah Farhannah. Listening to them discuss their practices and read their work was both inspiring and thought-provoking. It’s always exciting to hear how other artists navigate the overlap between visual art and writing—a space I feel I occupy but have never fully claimed.

I’ve always loved writing, but I hesitate to call myself a “proper writer.” Writing feels more like another medium to me, something I play with and manipulate, much like clay or paint. I resist the constraints of inherited rules about “how” one should write, preferring instead to follow my intuition. As an artist, I’m not aiming for polished prose or perfect grammar; I’m exploring, experimenting, and communicating without borders.

Roy Claire Potter’s reflections particularly resonated with me. They spoke about being more interested in methods and how you make things rather than what you make, which aligns so closely with my own approach. Roy shared insights into a piece they created ten years ago, Mental Furniture, which involved a broken manual typewriter. I’m intrigued to read the book tied to that work and to delve deeper into their methods.

Another standout moment was when Roy talked about The Wastes—how they felt they contained a book within themselves, not one born of studying creative writing but one emerging directly from studio practice. This struck a chord with me. It affirmed the idea that writing, for some artists, is an extension of making rather than an entirely separate discipline.

Roy said something I’ll carry with me: “Text is a cultural thing. Films are text. Fashion is text. Images are text.” It reframed my understanding of writing and language, validating the idea that words are just one form of communication among many. As someone who constantly plays with meaning and form, this was a liberating thought.

For me, writing will always be a tool of exploration—an extension of my practice, unbound by conventions. I’m not a writer who writes like a writer. I’m an artist who writes like an artist.

Posted in Reflection, Visit, Writing

Finding Focus: The Wastes

Posted on by KM

Last week, I attended the book launch for The Wastes, a novella by Roy Claire Potter. Potter was joined by guest artists David Jacques, Roo Dhissou, and Harriet Morley at Dead Ink Books in Liverpool. It was a wonderful evening celebrating the work of an artist and writer whose practice profoundly influenced my own during my BA studies. I liked Roy Claire’s ability to weave humour and insight into their reflections on everyday working-class life. In The Wastes, this approach shines through as memories ripple across the narrative, creating a vivid and relatable journey for the reader.

Experiencing the book and the discussions around it gave me a renewed sense of direction for my MA in Fine Art. I’ve realised that writing and participatory art are central to my practice, and I want to explore these areas with greater intention. Roy Claire’s work reminded me how powerful text can be—not just as a medium for communication but as a way to build connections.

Moving forward, I’m determined to channel more energy into developing my writing alongside my participatory projects. This means refining my approach to storytelling and reflection while exploring ways to integrate these elements into interactive art-making. I want to experiment, learn by doing, and create a structured plan to support my growth in both areas.

Attending the book launch wasn’t just about celebrating a great piece of writing—it was a reminder of my purpose and aspirations. Writing and participatory art are more than tools in my practice; they are at the core of how I want to connect with others and create art that resonates.