I am very glad to share I have received £2.5K from Arts Council England Emergency Response Fund, which allows me to continue to work and relaunch my practice despite having had major cancellations due to COVID-19.
During these months I have also been running online workshops and taking part in an online art auction run by The Auction Collective.
This month I am delivering a project awarded by the London Community Foundation and PeaBody using pinhole photography. Also, BBC Four came to my studio to film the process of making a collodion glass negative of Lucy Worsley and an interview for a 60 minute episode focusing on the Victorian Era.
I was invited by Nunnery Gallery to take part in the London Art Fair 2020. The works were very well received and included in the photography highlights tour of the fair run by Diane Symth. Read more about the series on this link.
During October and November 2019, I have been undertaking a residency at Penumbra Foundation, NY. During the residency period I ran an Open Studio event and delivered a lecture at School of Visual Arts New York by invitation from Lyle Rexer. On the 27th of November, the London Alternative Photography Collective presented my practice at the Science Museum London for the Art and Science Late event.
This October I have been undertaking a residency at Lucy Art residency in Kavala, developing an in-depth research on tobacco. This residency has generously been supported by LAR, the I-Portunus programme as well as by the Kavala’s Tobacco Museum.
The work I did during the residency includes a series of chlorophyll prints using images of worker’s hands in the processes of selecting, controlling and modifying nature to render it profitable, from the archives of Kavala’s Tobacco Museum.
I also worked with a newspaper from the 21st of April of 1967 (the coup d’état day from right-wing army officers in Greece and the beginning of the regime of the colonels) to reflect on the use of farming and nature to advance specific political agendas. The newspaper talks about the new regime and the new subventions farmers had access to. The military junta was initially mainly supported by farmers. I used the cyanotype process which is often seen as naive and organic, when it’s main legacy relates to photography’s early use to study, analyse, and rationalise nature.
During the residency, I visited a tobacco plantation where religious images seemed to be placed to protect the product. Being farming an extremely tough business where one might be at the mercy of outside forces such as market fluctuations or weather, I wasn’t surprised to see them. I decided to do a perfume with Kavala’s tobacco leaves on an edition of 33 bottles of 2ml to reflect on subjective appreciations of value and worth.
Below some images of the final pieces produced as well as of the production process.