Written Support Material
Interview with Joseph Morgan Schofield - Curator of Public Programmes at Tate Modern & Tate Britain. (2025)
︎︎︎ weblink
Joseph Morgan Schofield: Benjamin, you’ve been touring your solo show, Holding The Shadow While Calling Back The Light. The third leg of this tour opens at VSSL Studio at the end of January. What can we expect to see in the show at VSSL?
Benjamin Sebastian: The exhibition brings together over a decade’s worth of my practice, including a collage series created from digital prints and archival aquatints, as well as performance art documentation (video, photographs and a wearable sculpture). In addition to these older works, I’ve created a body of new textile, soft sculpture and installation works crafted from a silver gelatin photograph, gold leaf, printed calico, reconstituted nylon flag pieces, and patchwork quilting of my mother’s discarded clothes. The exhibition design weaves all of these works together into a large-scale installation, central to which are three ambiguously gendered, human-sized Entities (patchwork soft sculptures fringed with black feather) encircling a fragmented seven-pointed star (diamond-framed textile works). Constellating these are the remaining collage and textile works. I have attempted to embody a sense of liveness within the space by allowing the audio from video documentation to spill out into the space. Repeating cries of the word ‘wolf’ and lyrics such as ‘I called out, and all that I heard was the echo of a star’ spill out into the space and wash over all of the other works. I have also installed the wearable sculpture (a body harness created from O Rings, jeweller’s chain and chandelier pendants) at torso height from a rotating mirror ball mount, echoing its original performance context.
Joseph Morgan Schofield: You have been cutting up iconography and symbols that reference your experiences growing up in Australia. The work seems to engage in a process of reckoning with (or reconciling) different forces—of settler-colonialism and a spiritual belief system that feels very rooted in the landscape of your youth. Can you say more about that?
Benjamin Sebastian: I’m definitely grappling with the realities of settler-colonialism, and my work has undoubtedly been informed by both spiritual and occult belief systems, but I don’t think that these are specific to (the land we now call) Australia. In fact, the whole premise of this exhibition is an acknowledgement that I only have a personal connection to Australia because of British colonisation. I am wrestling with ideas of what it means to be born as a settler on unceded Indigenous land while also holding a deep spiritual connection to that land. Growing up in Australia, I was immersed in a cosmology (dreaming) that wasn’t mine while simultaneously feeling a pull toward its sacred ecologies... I want to further explore – in honest, open and respectful ways – the influences I have known, how these have shaped my being and visual language and what that means in the context of contemporary Australia, as it remains a colony of the British Empire.
Joseph Morgan Schofield: What connections do you make between this and queerness?
Benjamin Sebastian: Queerness, for me, exists in the spaces between things – much like (post)colonial subjects between binaries, categories, and imposed structures of power. Colonialism, like heteronormativity, depends on strict systems of control and domination. My work disrupts these systems by embodying queer subjectivities as hybrid forms: human-animal figures, ambiguously gendered entities, and relational dynamics charged with homoeroticism. The soft sculptures, textile works, and performance relics in this exhibition resist simple categorisation; they are mutable, liminal, and, therefore, quietly defiant. The relationship between queerness and colonialism isn’t just metaphorical or poetic for me. The colonial project enforced compulsory heterosexuality and binary gender norms. To exist queerly, especially in an ongoing colonial context, is to resist and reimagine those structures, to reclaim agency over one’s body and narrative.
Joseph Morgan Schofield: Hearing you say that ‘to exist queerly … is to resist and reimagine those structures’ makes me think about time and about the way queer existence shifts as we move in time. You’ve included some older works in this exhibition. How do you look at these pieces, which were made in a different context and at a different time in your life, now?
Benjamin Sebastian: Revisiting older works is like encountering past selves for me, like re-reading a letter you wrote as a younger version of yourself. The pieces in Holding The Shadow While Calling Back The Light certainly reflect ongoing preoccupations of mine: performance as ritual, the body as a site of transformation and resistance, and the intersections of industrial, queer, and colonial histories. Works like Dead Queer Sex Fag (2013) remind me of my ongoing exploration of Victorian categorisation and queer eroticism within the mechanics of empire. Context shifts, but the core questions have persisted for me. Now, with distance, I see how these earlier works laid the groundwork for some of my newer pieces. I almost left the older works out of this show, but they all speak to each other, forming a constellation of ideas across time. There is something in this for me about trying to sculpt a neurodiverse (visual) language. Through mapping these works across time in the now finite space of the exhibition, I think I am starting to better know my own work, coming to understand the connections between things and crafting a more articulate visual language retrospectively.
Joseph Morgan Schofield: What’s exciting you in queer art and culture currently?
Benjamin Sebastian: I have always been drawn to the more political, speculative, cruisy and occult aspects of queer culture. I’m currently getting off on the artistic practices of Anne Imhof, Libby Heaney, Sin Wai Kin, Liz Rosenfeld and Carlos Martiel. I am also re-reading texts by Erica Lagalisse, José Esteban Muñoz and Jason Louv at the minute, which explore occult, anarchistic and (de)colonial histories and futures. I have loved seeing a resurgence in cruising and ballroom cultures within younger generations of our communities, the former being very dear to my heart. I would say I am much more interested in processes of queerness rather than queer this or that as a signifier of identity. As things start to align queerness with identity, I tend to move in a different direction. I think the most uplifting thing regarding queer culture for me currently is the growing embrace of intersectional politics – that shared acknowledgement that all things impact and are connected to all other things. I also feel quite empowered to witness equality discourse, making more space for equity discourse. Ultimately, I see no difference between the world-making potentials of art, occult practices and queerness, so anything operating at or close to the intersection of these modalities gets me hot.
Benjamin Sebastian: The exhibition brings together over a decade’s worth of my practice, including a collage series created from digital prints and archival aquatints, as well as performance art documentation (video, photographs and a wearable sculpture). In addition to these older works, I’ve created a body of new textile, soft sculpture and installation works crafted from a silver gelatin photograph, gold leaf, printed calico, reconstituted nylon flag pieces, and patchwork quilting of my mother’s discarded clothes. The exhibition design weaves all of these works together into a large-scale installation, central to which are three ambiguously gendered, human-sized Entities (patchwork soft sculptures fringed with black feather) encircling a fragmented seven-pointed star (diamond-framed textile works). Constellating these are the remaining collage and textile works. I have attempted to embody a sense of liveness within the space by allowing the audio from video documentation to spill out into the space. Repeating cries of the word ‘wolf’ and lyrics such as ‘I called out, and all that I heard was the echo of a star’ spill out into the space and wash over all of the other works. I have also installed the wearable sculpture (a body harness created from O Rings, jeweller’s chain and chandelier pendants) at torso height from a rotating mirror ball mount, echoing its original performance context.
Joseph Morgan Schofield: You have been cutting up iconography and symbols that reference your experiences growing up in Australia. The work seems to engage in a process of reckoning with (or reconciling) different forces—of settler-colonialism and a spiritual belief system that feels very rooted in the landscape of your youth. Can you say more about that?
Benjamin Sebastian: I’m definitely grappling with the realities of settler-colonialism, and my work has undoubtedly been informed by both spiritual and occult belief systems, but I don’t think that these are specific to (the land we now call) Australia. In fact, the whole premise of this exhibition is an acknowledgement that I only have a personal connection to Australia because of British colonisation. I am wrestling with ideas of what it means to be born as a settler on unceded Indigenous land while also holding a deep spiritual connection to that land. Growing up in Australia, I was immersed in a cosmology (dreaming) that wasn’t mine while simultaneously feeling a pull toward its sacred ecologies... I want to further explore – in honest, open and respectful ways – the influences I have known, how these have shaped my being and visual language and what that means in the context of contemporary Australia, as it remains a colony of the British Empire.
Joseph Morgan Schofield: What connections do you make between this and queerness?
Benjamin Sebastian: Queerness, for me, exists in the spaces between things – much like (post)colonial subjects between binaries, categories, and imposed structures of power. Colonialism, like heteronormativity, depends on strict systems of control and domination. My work disrupts these systems by embodying queer subjectivities as hybrid forms: human-animal figures, ambiguously gendered entities, and relational dynamics charged with homoeroticism. The soft sculptures, textile works, and performance relics in this exhibition resist simple categorisation; they are mutable, liminal, and, therefore, quietly defiant. The relationship between queerness and colonialism isn’t just metaphorical or poetic for me. The colonial project enforced compulsory heterosexuality and binary gender norms. To exist queerly, especially in an ongoing colonial context, is to resist and reimagine those structures, to reclaim agency over one’s body and narrative.
Joseph Morgan Schofield: Hearing you say that ‘to exist queerly … is to resist and reimagine those structures’ makes me think about time and about the way queer existence shifts as we move in time. You’ve included some older works in this exhibition. How do you look at these pieces, which were made in a different context and at a different time in your life, now?
Benjamin Sebastian: Revisiting older works is like encountering past selves for me, like re-reading a letter you wrote as a younger version of yourself. The pieces in Holding The Shadow While Calling Back The Light certainly reflect ongoing preoccupations of mine: performance as ritual, the body as a site of transformation and resistance, and the intersections of industrial, queer, and colonial histories. Works like Dead Queer Sex Fag (2013) remind me of my ongoing exploration of Victorian categorisation and queer eroticism within the mechanics of empire. Context shifts, but the core questions have persisted for me. Now, with distance, I see how these earlier works laid the groundwork for some of my newer pieces. I almost left the older works out of this show, but they all speak to each other, forming a constellation of ideas across time. There is something in this for me about trying to sculpt a neurodiverse (visual) language. Through mapping these works across time in the now finite space of the exhibition, I think I am starting to better know my own work, coming to understand the connections between things and crafting a more articulate visual language retrospectively.
Joseph Morgan Schofield: What’s exciting you in queer art and culture currently?
Benjamin Sebastian: I have always been drawn to the more political, speculative, cruisy and occult aspects of queer culture. I’m currently getting off on the artistic practices of Anne Imhof, Libby Heaney, Sin Wai Kin, Liz Rosenfeld and Carlos Martiel. I am also re-reading texts by Erica Lagalisse, José Esteban Muñoz and Jason Louv at the minute, which explore occult, anarchistic and (de)colonial histories and futures. I have loved seeing a resurgence in cruising and ballroom cultures within younger generations of our communities, the former being very dear to my heart. I would say I am much more interested in processes of queerness rather than queer this or that as a signifier of identity. As things start to align queerness with identity, I tend to move in a different direction. I think the most uplifting thing regarding queer culture for me currently is the growing embrace of intersectional politics – that shared acknowledgement that all things impact and are connected to all other things. I also feel quite empowered to witness equality discourse, making more space for equity discourse. Ultimately, I see no difference between the world-making potentials of art, occult practices and queerness, so anything operating at or close to the intersection of these modalities gets me hot.
Yannis Kostarias: Can you tell us about the process of making your work?
Benjamin Sebastian: My process is highly intuitive, underpinned as much by speculation as research, and very much studio & residency-led. I seek out and/or create suitable spaces that enable an immersion in the imaginaries of the yet-to-be objects, environments and actions I wish to construct. I experience the making of art as an act of (practical) magic. The parallels between artistic and occult practices are obvious to me, and I am fascinated by the potential of those practices in creating something from nothing – of drawing that which is yet to exist, into the physical/material world. I understand such parallels as explicit links between not only occult & artistic workings, yet also neurodivergent and queer(ed) experiences & actioning of life. All are processes of manifesting something-not-yet-here/known. Ultimately, I am engaged in a process of sense-making, attempting to better understand the systems and structures around me, in order to articulate and critique my position within them.
Yannis Kostarias: How would you define your work in a few words (ideally in 3 words)?
Benjamin Sebastian: Esoteric, Transdisciplinary and Assemblage.
Yannis Kostarias: Could you share with us some insights on your artwork ‘Taut’ (2024)? Is there any particular story behind this new work?
Benjamin Sebastian: I created ‘Taut’ quite recently and specifically to include in an upcoming touring exhibition of my work (Holding The Shadow While Calling Back The Light). It is one in a series of seven sewn assemblage works that incorporate printed digital collage, calico and reconstituted nylon (Australian) flag pieces. The digital collage includes two zoomorphic figures. Each (human) figure has the head of a crow (one Carrion; European and the other Torresian; Australian). They each hold one hand of the other while stepping apart, their bodies stretching in opposite directions across calico (organic) and nylon (synthetic) respectively. ‘Taut’ alludes to tension, hybridity and something of the mythic. I imagined this work – along with the other six in the series – as a commentary on the complexities of postcolonial narratives and subjectivities, specifically relating to the British colonisation of Australia. There is also a good dose of homo-eroticism in these works which I intended to gesture towards the interrelated power dynamics at play between both settler colonialism and state sanctioned, compulsory heterosexuality & normative gender expression, upon the bodies & spirits of queer people in a (post)colonial context.
Yannis Kostarias: Your upcoming touring exhibition ‘Benjamin Sebastian: Holding The Shadow While Calling Back The Light’ will launch at Herbert Read Gallery in Canterbury. What kind of artworks will you be showing there?
Benjamin Sebastian: Holding The Shadow While Calling Back The Light’ was commissioned by Arts Council England as a touring exhibition intended to position some of my older works alongside new pieces created specifically for this show. The new objects are all sewn, textile collage, soft sculpture & installation works, made from various materials. The older works include photo & video documentation (shout out to my incredible collaborators and friends Marco Berardi and Baiba Sprance) of performance art works, a wearable sculpture from a previous performance at the I.C.A. (London), as well as sewn paper and digital photographic collages. Central to the exhibition is a new installation consisting of a large (3m²), fragmented, seven pointed star encircled by three human sized soft sculptural ‘entities’. The diamond fragments of the star incorporate; gold leaf, and sewn digital collage, printed and stitched and fixed onto calico, while the soft sculptural ‘entities’ have been sewn from a patchwork fabric I created using my mothers discarded clothes. Other materials incorporated into the works include; personal family photographs, archival aquatints, and a repeating pattern created from a Royal Mail postal sticker featuring the bust of Britain’s previous monarch (Elizabeth II).
Yannis Kostarias: Could you tell us about material selection for your artworks? It looks like you put a great emphasis on the combination of various materials.
Benjamin Sebastian: I’m a collage and assemblage artist at heart, and yes, as noted I can be quite fastidious about the selection of, and relationship between, the materials I incorporate in a work. Whether found/reclaimed materials, gold (leaf), calico, archival aquatints, souvenir nylon flag pieces, or my mothers discarded clothes; the materials all have symbolisms and histories of their own, that create unique resonances and enter into dialogue with each other when configured in certain ways. For instance, working with calico in proximity to reconstituted nylon flag pieces and gold (leaf), is a subtle way for me to directly reference my familial links to the (once global) cotton milling centre of Oldham, England, while also gesturing towards the British Empire’s colonial impact in various parts of the world, such as the previous colonial rule of Calicut (now Kerala) in India, where calico originated, as well as in Australia (my place of birth), where the British (among others) pillaged natural resources such as gold during the ‘Gold Rushes’ of the eighteen and nineteen hundreds. The proximity of natural and synthetic fibres – as well as the whiteness of some of the nylon – becomes even more interesting to me when considering the fact that my English Grandfather emigrated to Australia under the ‘Assisted Migration Scheme’ – one of the Nation-Colony’s flagrant racist; ‘Populate or Perish’ policies – which encouraged (white) British people to; “Help Us Build A White Australia.”, at the end of the Second World War.
Yannis Kostarias: Are specific artworks you make created by random experiments in your studio, or do you usually come up with a particular concept or narrative in the very beginning of your artistic process?
Benjamin Sebastian: It’s a combination of these two positions for me. Quite often I will experience a very clear, defined vision – in which case I will set about drawing that exact thing into the material world. In such an instance I will usually have an explicit understanding of the particular materials with which I will work and the ultimate form that the object (action, text, environment etc) will take. On the other hand – which has been the case with much of the new works I am currently creating – sometimes I have nothing other than a feeling that I will begin to unfold in the studio, following an intuitive asexploration of processes and materials until something starts to present itself before me. I adore both processes. I liken the prior to a practical and intellectual wrestling, or problem solving process primarily with materials, that is very much of me and my ego somehow – whereas I experience the latter more as a process of attunement and listening, perhaps more akin to channelling, where there is something other than simply myself at work. I experience the synthesis of these two process as a neurodiverse methodology, which I have come to understand as a profound, intellectual and extrasensory gift.
Yannis Kostarias: What about where you work? What’s your studio space like?
Benjamin Sebastian: Currently I work from VSSL Studio in Deptford which is a small purpose built gallery space that I run with a few other artist-curators (another shout out to some more creative kin; Mine Kaplangı, Ash McNaughton & Joseph Morgan Schofield). VSSL operates as a timeshare between our performance/visual art studio practices and exhibitions of our curatorial projects. When the space is not open to the public with exhibitions – it’s a studio. So, currently, it looks like the inside of my mind, projected outward onto the walls, floor and tables of the space. I am very lucky (and hard working!) to have been able to secure access to such a great space, that is also constellated by incredibly creative, culturally savvy and kind collaborators.
Yannis Kostarias: What are your plans for the near future?
Benjamin Sebastian: I am quite busy until the Spring of 2025 with the exhibition tour of ‘Benjamin Sebastian: Holding The Shadow While Calling Back The Light’, as well as the facilitation of ‘Archipelagos: Visions in Orbit’, an exhibition I have co-curated at Whitechapel Gallery in London. I will also be contributing to an upcoming publication & cultural programme celebrating the life’s work (to date) of infamous Mexican performance artist; Rocío Boliver – in collaboration with the Live Art Development Agency. Alongside these activities I will also be delivering various offerings (exhibitions, performances, publications) from both of my curatorial projects; ]performance s p a c e [ and VSSL Studio. Beyond all of that, I will be working away in the studio on some more soft sculpture/textile and performance art works – and would like to spend some time in either Australia or Colombia visiting family with my fiancé, Matteo Cortés (who has supported me with some aspects of exhibition design for the upcoming show in Canterbury), as soon as we get the chance. You can keep track of what I’m up to by joining my mailing list, checking the ‘News’ page on my website and by following me on instagram.
The above interviews were made possible by the following partners:
Benjamin Sebastian: My process is highly intuitive, underpinned as much by speculation as research, and very much studio & residency-led. I seek out and/or create suitable spaces that enable an immersion in the imaginaries of the yet-to-be objects, environments and actions I wish to construct. I experience the making of art as an act of (practical) magic. The parallels between artistic and occult practices are obvious to me, and I am fascinated by the potential of those practices in creating something from nothing – of drawing that which is yet to exist, into the physical/material world. I understand such parallels as explicit links between not only occult & artistic workings, yet also neurodivergent and queer(ed) experiences & actioning of life. All are processes of manifesting something-not-yet-here/known. Ultimately, I am engaged in a process of sense-making, attempting to better understand the systems and structures around me, in order to articulate and critique my position within them.
Yannis Kostarias: How would you define your work in a few words (ideally in 3 words)?
Benjamin Sebastian: Esoteric, Transdisciplinary and Assemblage.
Yannis Kostarias: Could you share with us some insights on your artwork ‘Taut’ (2024)? Is there any particular story behind this new work?
Benjamin Sebastian: I created ‘Taut’ quite recently and specifically to include in an upcoming touring exhibition of my work (Holding The Shadow While Calling Back The Light). It is one in a series of seven sewn assemblage works that incorporate printed digital collage, calico and reconstituted nylon (Australian) flag pieces. The digital collage includes two zoomorphic figures. Each (human) figure has the head of a crow (one Carrion; European and the other Torresian; Australian). They each hold one hand of the other while stepping apart, their bodies stretching in opposite directions across calico (organic) and nylon (synthetic) respectively. ‘Taut’ alludes to tension, hybridity and something of the mythic. I imagined this work – along with the other six in the series – as a commentary on the complexities of postcolonial narratives and subjectivities, specifically relating to the British colonisation of Australia. There is also a good dose of homo-eroticism in these works which I intended to gesture towards the interrelated power dynamics at play between both settler colonialism and state sanctioned, compulsory heterosexuality & normative gender expression, upon the bodies & spirits of queer people in a (post)colonial context.
Yannis Kostarias: Your upcoming touring exhibition ‘Benjamin Sebastian: Holding The Shadow While Calling Back The Light’ will launch at Herbert Read Gallery in Canterbury. What kind of artworks will you be showing there?
Benjamin Sebastian: Holding The Shadow While Calling Back The Light’ was commissioned by Arts Council England as a touring exhibition intended to position some of my older works alongside new pieces created specifically for this show. The new objects are all sewn, textile collage, soft sculpture & installation works, made from various materials. The older works include photo & video documentation (shout out to my incredible collaborators and friends Marco Berardi and Baiba Sprance) of performance art works, a wearable sculpture from a previous performance at the I.C.A. (London), as well as sewn paper and digital photographic collages. Central to the exhibition is a new installation consisting of a large (3m²), fragmented, seven pointed star encircled by three human sized soft sculptural ‘entities’. The diamond fragments of the star incorporate; gold leaf, and sewn digital collage, printed and stitched and fixed onto calico, while the soft sculptural ‘entities’ have been sewn from a patchwork fabric I created using my mothers discarded clothes. Other materials incorporated into the works include; personal family photographs, archival aquatints, and a repeating pattern created from a Royal Mail postal sticker featuring the bust of Britain’s previous monarch (Elizabeth II).
Yannis Kostarias: Could you tell us about material selection for your artworks? It looks like you put a great emphasis on the combination of various materials.
Benjamin Sebastian: I’m a collage and assemblage artist at heart, and yes, as noted I can be quite fastidious about the selection of, and relationship between, the materials I incorporate in a work. Whether found/reclaimed materials, gold (leaf), calico, archival aquatints, souvenir nylon flag pieces, or my mothers discarded clothes; the materials all have symbolisms and histories of their own, that create unique resonances and enter into dialogue with each other when configured in certain ways. For instance, working with calico in proximity to reconstituted nylon flag pieces and gold (leaf), is a subtle way for me to directly reference my familial links to the (once global) cotton milling centre of Oldham, England, while also gesturing towards the British Empire’s colonial impact in various parts of the world, such as the previous colonial rule of Calicut (now Kerala) in India, where calico originated, as well as in Australia (my place of birth), where the British (among others) pillaged natural resources such as gold during the ‘Gold Rushes’ of the eighteen and nineteen hundreds. The proximity of natural and synthetic fibres – as well as the whiteness of some of the nylon – becomes even more interesting to me when considering the fact that my English Grandfather emigrated to Australia under the ‘Assisted Migration Scheme’ – one of the Nation-Colony’s flagrant racist; ‘Populate or Perish’ policies – which encouraged (white) British people to; “Help Us Build A White Australia.”, at the end of the Second World War.
Yannis Kostarias: Are specific artworks you make created by random experiments in your studio, or do you usually come up with a particular concept or narrative in the very beginning of your artistic process?
Benjamin Sebastian: It’s a combination of these two positions for me. Quite often I will experience a very clear, defined vision – in which case I will set about drawing that exact thing into the material world. In such an instance I will usually have an explicit understanding of the particular materials with which I will work and the ultimate form that the object (action, text, environment etc) will take. On the other hand – which has been the case with much of the new works I am currently creating – sometimes I have nothing other than a feeling that I will begin to unfold in the studio, following an intuitive asexploration of processes and materials until something starts to present itself before me. I adore both processes. I liken the prior to a practical and intellectual wrestling, or problem solving process primarily with materials, that is very much of me and my ego somehow – whereas I experience the latter more as a process of attunement and listening, perhaps more akin to channelling, where there is something other than simply myself at work. I experience the synthesis of these two process as a neurodiverse methodology, which I have come to understand as a profound, intellectual and extrasensory gift.
Yannis Kostarias: What about where you work? What’s your studio space like?
Benjamin Sebastian: Currently I work from VSSL Studio in Deptford which is a small purpose built gallery space that I run with a few other artist-curators (another shout out to some more creative kin; Mine Kaplangı, Ash McNaughton & Joseph Morgan Schofield). VSSL operates as a timeshare between our performance/visual art studio practices and exhibitions of our curatorial projects. When the space is not open to the public with exhibitions – it’s a studio. So, currently, it looks like the inside of my mind, projected outward onto the walls, floor and tables of the space. I am very lucky (and hard working!) to have been able to secure access to such a great space, that is also constellated by incredibly creative, culturally savvy and kind collaborators.
Yannis Kostarias: What are your plans for the near future?
Benjamin Sebastian: I am quite busy until the Spring of 2025 with the exhibition tour of ‘Benjamin Sebastian: Holding The Shadow While Calling Back The Light’, as well as the facilitation of ‘Archipelagos: Visions in Orbit’, an exhibition I have co-curated at Whitechapel Gallery in London. I will also be contributing to an upcoming publication & cultural programme celebrating the life’s work (to date) of infamous Mexican performance artist; Rocío Boliver – in collaboration with the Live Art Development Agency. Alongside these activities I will also be delivering various offerings (exhibitions, performances, publications) from both of my curatorial projects; ]performance s p a c e [ and VSSL Studio. Beyond all of that, I will be working away in the studio on some more soft sculpture/textile and performance art works – and would like to spend some time in either Australia or Colombia visiting family with my fiancé, Matteo Cortés (who has supported me with some aspects of exhibition design for the upcoming show in Canterbury), as soon as we get the chance. You can keep track of what I’m up to by joining my mailing list, checking the ‘News’ page on my website and by following me on instagram.
The above interviews were made possible by the following partners:
