Writing – Page 2

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

Trusting the Process.. Interim Show 2025

Posted on April 1, 2025April 29, 2025 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.

collaboration, Moon, Project, Reflection, Research, Writing

A Collaboration on Dear Moon (Service Point JNG)

Posted on April 1, 2025April 29, 2025 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==

2024/2025, Exhibitions, Motivations, Reflection, Writing

First Review in Art in Liverpool

Posted on March 17, 2025 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.

2024/2025, Assignments, Reflection

Unit 1 Assessment

Posted on February 23, 2025February 24, 2025 by KM

Learning Outcome 1:
Formulate, describe and implement a challenging and self-directed programme of study, relating to your Study Statement. (Assessment Criteria: Enquiry):

My work explores topics of communication, connection, and collective experience through projects such as Al-Mayida, Letters to the Moon, asemic writing, and childlike drawings. Each project looks at how art fosters debate, narrative, and inclusivity. Interviews with Pedro Reyes about social sculpture, White Pube’s new book, and Axis’ Artists That Write have all inspired me. Furthermore, the Art for the Earth’s Sake initiative stressed the importance of adopting an ecocentric perspective to social practice. All of these influences have shaped my self-directed method, in which I investigate and learn from literature and artists, as well as my own artwork s.

Learning Outcome 2:
Implement appropriate working methods for building an independent and effective self-organisation that enables the critical engagement with practice-based research.
(Assessment Criteria: Process):

In projects such as Al-Mayida, I experiment with diverse curatorial approaches, but in Letters to the Moon, I prioritise participant interaction. My process-driven approach accepts ambiguity and improvisation, which is consistent with Jonathan’s reflection in action research. The final session of Art for Earth’s Sake was especially powerful, as we discussed how artists can practise sustainability, set a good example, and utilise art as a tool for social and environmental change.

Learning Outcome 3:
Communicate a critical understanding of your developing practice.
(Assessment Criteria: Knowledge, Communication):

My work is a type of social sculpture, an ever-changing discussion that connects personal and collective experiences. Projects such as Al-Mayida focus on unity and history, whereas Letters to the Moon promotes communication and community involvement. My efforts with asemic writing and childlike drawing disrupt art’s traditional hierarchies, emphasising authenticity and accessibility.

At last, I want to utilise art to promote social interactions and spark meaningful discourse about sociopolitical and environmental challenges . Through documentation, reflections, short courses, and visits, I hope to create work that promotes connection, dialogue, and communal action.

Feedback requests:

I would appreciate feedback on two experiments I’m currently working on: Asemic writing with translation and childlike drawings. Both approaches are new and quite different from one another.

2024/2025, Exhibitions, Experiments, Visit, Writing

Childlike Drawing

Posted on February 23, 2025 by KM

As part of my ongoing exploration of communication, I recently created a series of childlike drawings for an upcoming exhibition in Glasgow, documenting my journey to Auchingarrich Park for the Pitch 2024 Ghost Art School exhibition.

Childlike drawings carry a unique authenticity and emotional impact. They are often raw, unfiltered, and filled with a sense of honesty. By using this approach, I aim to challenge traditional notions of what serious art should look like.

My practice has always focused on breaking down barriers and fostering meaningful connections, and this childlike style is a way to make art more accessible to a wider audience.

One of the key aspects of my practice is questioning hierarchies within the art world. By choosing a childlike style, I’m challenging the idea that only refined, technically skilled works are valuable. Instead, I’m highlighting that artistic value lies in the ideas, emotions, and dialogue that the work generates.

The simplicity and playful nature of these drawings highlight themes of innocence and exploration. In the context of my journey to Auchingarrich Park, this approach allowed me to convey a sense of wonder and curiosity, encouraging viewers to reflect on their own memories of childhood and play.

As I continue to explore this style, I look forward to seeing the book in the exhibition and observing how people will interact with it next week.

Experiments, Research, Writing

Hehehe!! A Scanner, Asemic Writing, and an Unexpected Translation

Posted on February 12, 2025February 23, 2025 by KM

I had fun playing with a new scanner I bought to help me upload the physical Moon Letters to my computer. The quality is great, and I immediately thought—this would be perfect for digitising my Asemic writing.

I decided to experiment: I uploaded a piece of Asemic writing, then tried a translation tool to read the text from the image. I wasn’t expecting much, Asemic writing is by definition without a fixed meaning, existing in a space between language and pure form. But to my surprise, I got three translated lines.

This unexpected outcome was a moment of algorithmic improvisation, a piece of text I never wrote was suddenly part of the work. The machine involved itself in the process, introducing an element beyond my control, much like the way audiences reinterpret asemic writing in unpredictable ways.

Two questions immediately came to mind:

• What does it mean for an asemic text to be “translated”?

• Does this process create a new kind of auto-generated asemic language, where machine logic meets human mark-making?

This might just be the beginning of a new asemic project. And, I’m excited to experiment more, to invite the machine into the asemic process, and to see where this unexpected collaboration between human intention and machine misinterpretation leads me.

2024/2025, Project, Research, Writing

Moon Letters and Shared Stories at Bootle Library

Posted on January 22, 2025February 23, 2025 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/

Reflection, Research, Writing

Letters to the Moon as Social Sculpture: Reflection

Posted on December 31, 2024February 23, 2025 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.

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

Reflection, Research, Writing

Letters to the Moon

Posted on December 25, 2024February 23, 2025 by KM

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.

Lectures 2024/2025, Reflection, Writing

The White Pube Lecture

Posted on December 1, 2024February 23, 2025 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.