인스타그램 스토리 저장

⚔️ 𝕿𝖔 𝕬𝖑𝖑 𝕾𝖎𝖓𝖓𝖊𝖗𝖘 𝕿𝖍𝖊 𝕲𝖗𝖆𝖎𝖑 𝕽𝖊𝖒𝖆𝖎𝖓𝖘 𝕴𝖓𝖛𝖎𝖘𝖎𝖇𝖑𝖊 ⚔️

You can now listen back to my @clydebuiltradio show featuring @petertreherne discussing his stunning ethnographic fantasy Matter of Britain, involving a village in Sussex reenacting the Holy Grail myth over the course of a year.

It was an absolute pleasure to talk with Peter, we touched on Protestant and Catholic aesthetics, methods for working with non professional actors and shooting high ISO. Wait for the mic drop moment where I realise the film wasn't shot on celluloid 😱

catch the film at @opencitydocs on Saturday 18th April

link in my bio

next episode of There Is No Language For Where We Are Headed will air 10am Sunday 19th April, I plan to tell some sleepy stories

⚔️⚔️⚔️

There was something like the feeling of the idea of silk scarves in the air...

Robert Ashley special now archived @clydebuiltradio
(link in bio + will add a tab on my website soon)

tracklist:

Perfect Lives: The Park (Privacy Rules)
Improvement (Don Leaves Linda): The Airline Ticket Counter (Scene 5)
Love is a Good Example
Automatic Writing
Celestial Excursions: Love Letter pt 1 & 2
Perfect Lives: The Backyard (T'be Continued)

I also played an ensemble instrumental piece called Outcome Inevitable throughout.

It was such a pleasure to delve deeper into his sumptuous, banal and strange world.

Dear George, what's going on? I'm not the same person I used to be.

There was something like the feeling of the idea of silk scarves in the air...

Robert Ashley special now archived @clydebuiltradio
(link in bio + will add a tab on my website soon)

tracklist:

Perfect Lives: The Park (Privacy Rules)
Improvement (Don Leaves Linda): The Airline Ticket Counter (Scene 5)
Love is a Good Example
Automatic Writing
Celestial Excursions: Love Letter pt 1 & 2
Perfect Lives: The Backyard (T'be Continued)

I also played an ensemble instrumental piece called Outcome Inevitable throughout.

It was such a pleasure to delve deeper into his sumptuous, banal and strange world.

Dear George, what's going on? I'm not the same person I used to be.

Happiness is just around the corner

back on @clydebuiltradio at 11am tomorrow with a special on my hero Robert Ashley

'Dear George, what's going on?'

Happiness is just around the corner

back on @clydebuiltradio at 11am tomorrow with a special on my hero Robert Ashley

'Dear George, what's going on?'

Happiness is just around the corner

back on @clydebuiltradio at 11am tomorrow with a special on my hero Robert Ashley

'Dear George, what's going on?'

Happiness is just around the corner

back on @clydebuiltradio at 11am tomorrow with a special on my hero Robert Ashley

'Dear George, what's going on?'

Happiness is just around the corner

back on @clydebuiltradio at 11am tomorrow with a special on my hero Robert Ashley

'Dear George, what's going on?'

The old world is dying, and the new world struggles to be born: now is the time of monsters 👹

Do you have a project struggling to be born?
Or one that’s alive, but needs care, challenge, or company?

This year I’m developing my mentoring and workshop practice, and I’d love to support artists in shaping, questioning, and honing their projects.

I have expertise across artist film, performance, theatre and documentary, alongside somatic awareness practices and 15 years’ experience teaching, mentoring and facilitating. I can also offer tailored performance coaching, drawing on my training at École Jacques Lecoq.

I bring warmth, curiosity, honesty and play and I care deeply about helping people realise their creative ideas.

“George is an incredible artist and a thoughtful, motivating mentor.”
Jo Mathews, artist

“George brought a sense of inquisitive calm.”
Alexis Pattie, St Albert’s School

“An absolute joy to work with.”
Elliot & Luke Tittensor, actors

“Organic and responsive mentoring - incredibly sensitive and supportive.”
Marie-Claire Lacey, artist

I work on a sliding scale (£30–£45/hr or £180–£360 per day), online or in person, and I’m always open to discussing access and affordability.

DM me if you are interested.

🌱

📷 @delicatelyspirallingupwards

The old world is dying, and the new world struggles to be born: now is the time of monsters 👹

Do you have a project struggling to be born?
Or one that’s alive, but needs care, challenge, or company?

This year I’m developing my mentoring and workshop practice, and I’d love to support artists in shaping, questioning, and honing their projects.

I have expertise across artist film, performance, theatre and documentary, alongside somatic awareness practices and 15 years’ experience teaching, mentoring and facilitating. I can also offer tailored performance coaching, drawing on my training at École Jacques Lecoq.

I bring warmth, curiosity, honesty and play and I care deeply about helping people realise their creative ideas.

“George is an incredible artist and a thoughtful, motivating mentor.”
Jo Mathews, artist

“George brought a sense of inquisitive calm.”
Alexis Pattie, St Albert’s School

“An absolute joy to work with.”
Elliot & Luke Tittensor, actors

“Organic and responsive mentoring - incredibly sensitive and supportive.”
Marie-Claire Lacey, artist

I work on a sliding scale (£30–£45/hr or £180–£360 per day), online or in person, and I’m always open to discussing access and affordability.

DM me if you are interested.

🌱

📷 @delicatelyspirallingupwards

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

George is building a new building on top of an old building.
Greg is making a costume for George.
*
The building is called the Burnieshed of Bamff.
But it isn’t a shed.
It sits on the Highland fault line, land bound to George’s family these last 30 generations.
*
There has been a structure here for perhaps 800 years,
though these stones have been in this particular order for around 200 years.
Clearly not a shed. Cottage perhaps.
Today it’s an artists’ residency space—or will be; it’s almost finished.
*
Greg is an artist. His instinct is to scry the stones for ghosts of their becoming, the life lived among them, and from that séance fashion a costume that can be worn in interaction with the building to create new perspectives on the relationship between people, materials, dwelling, and the immaterial requirements for building: means, power, and space.
*
George is an artist too, but in this particular arrangement, he is the 'owner'.
*
We compose a scene: the heroic-but-deposed old carved keystone finial
counsels the newly wrought, cocky-yet-surplus insulation
with warnings of roofless, ruinous time.
*
But come on, who was Burnie and why isn’t it a shed?
‘Burn’ is the Scots word for ‘stream’, and this building sits at the head of one, flowing down towards the quarry where the sandstone blocks came from.
So the name is for the place, not the building at all.
*
Are there ghosts in the stone?
We break it down to find out.
Matter carries within accumulated histories.
We end up with fragments under our fingernails.
*
The land is the host, the folk are the ghosts.
We make a robe, mapping out the landscape on the fabric with the crushed stone, sensing and carrying the land,
working through rituals of making and wearing.
*
George likes the rippled edge of his roof panels.
It is April, the sun gleams off the wet ridges.
It’s true that what protects you weighs you down, especially in the case of a roof, a building; armour.
*
To the City! Blocks, dust, robe and wearable Burnieshed.
We assemble the saw table, don the history and the hat,
commit the ritual: release the ghosts from the stone.

by popular vote STROMBOLI, MON AMOUR
doing a very limited run of prints of
one of my favourite volcanic bedfellows
numbered & signed together with
a hand drawn poem (actual poem on thicker paper)
half of profits to @medicalaidpal
supporting their crucial ongoing work - which shouldn’t need to be done

limited edition of 10
A4 C-type print from 35mm negative
£40 (free postage in the UK, international let's talk)

DM with your address to buy
🌋

by popular vote STROMBOLI, MON AMOUR
doing a very limited run of prints of
one of my favourite volcanic bedfellows
numbered & signed together with
a hand drawn poem (actual poem on thicker paper)
half of profits to @medicalaidpal
supporting their crucial ongoing work - which shouldn’t need to be done

limited edition of 10
A4 C-type print from 35mm negative
£40 (free postage in the UK, international let's talk)

DM with your address to buy
🌋

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

𝔄𝔫 𝔞𝔭𝔢𝔯𝔱𝔲𝔯𝔢, 𝔩𝔦𝔨𝔢 𝔞 𝔰𝔭𝔞𝔯𝔨 🛐 a text on filmmaker & fellow Marguerite Porete freak @gframsay who is shortlisted for the 2025 @film_london Jarman Award. George’s beautiful film Flesh, Wax & Glass: The Age of the Son (2024) is part two of a trilogy charting a Southern Italian bloodletting rite, structured via Porete’s Mirror Of Simple Souls & taking cues from Pasolini’s The Gospel According to St Matthew. Screening now at @whitechapelgallery & elsewhere 🩸🪞

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

The Film London Jarman Award 2025 Exhibition | George Finlay Ramsay

George Finlay Ramsay presents ‘Flesh, Wax & Glass: The Age of the Son’ (2024) - part of the month-long exhibition, showcasing boundary pushing moving image work from six artists shortlisted for the Film London Jarman Award 2025.

George Finlay Ramsay is an artist working with performance, poetry and analogue filmmaking. ‘Flesh, Wax & Glass: The Age of the Son’ (2024) is the second part of his trilogy which charts three years of a Southern Italian bloodletting rite, and one family’s process of mourning. The film follows a bereaved son as he performs the religious Vattienti procession following his father’s death, forming a tender portrait of ritual laden with medieval Christian symbolism alongside delicate gospel-inspired score by Coby Sey.

Exhibition is open 18 Nov - 14 Dec 2025.

Free to visit, find out more via #LinkInBio

#WhitechapelGallery
@gframsay
@film_london

Images courtesy of the artist.

I'd like to invite you to Flesh, Wax & Glass parts I & II @barbicancentre Monday 10th November (6:30pm) followed by conversation with @mrmabarrington

As part of the @film_london Jarman Awards tour we'll be showing these two films which are part of a trilogy charting three years of a blood letting ritual in southern Italy, and one family's process of mourning. The third part (forthcoming) will unite all three into a feature length film. Please join us for this one off event, this project means a huge amount to me. Stunning score from @cobysey & cinematography from @rwdfilm + so many others involved, most importantly the Maione family 🤍

Flesh, Wax & Glass II: The Age of the Son will also be part of an exhibition at the @whitechapelgallery 18th November - 14th December alongside works by the other shortlisted artists: @gloriousmuttley @arwaaburawa & Turab Sha, @karimahashadu and Morgan Quaintance

for the rest of the tour my film Nursted, from the sleep side will be screened:

@nottm_contemp - 4th Nov
@filmhouse_edinburgh + @luxscot - 11th Nov
@townergallery - 11th Nov
@balticgateshead - 18th Nov
@spikeisland - 20th Nov

if that weren't enough then there is a delicious bit of writing from the iconic @daisylafarge forthcoming about Flesh, Wax & Glass in relation to the mystic Marguerite Porete but more on that anon

I'd like to invite you to Flesh, Wax & Glass parts I & II @barbicancentre Monday 10th November (6:30pm) followed by conversation with @mrmabarrington

As part of the @film_london Jarman Awards tour we'll be showing these two films which are part of a trilogy charting three years of a blood letting ritual in southern Italy, and one family's process of mourning. The third part (forthcoming) will unite all three into a feature length film. Please join us for this one off event, this project means a huge amount to me. Stunning score from @cobysey & cinematography from @rwdfilm + so many others involved, most importantly the Maione family 🤍

Flesh, Wax & Glass II: The Age of the Son will also be part of an exhibition at the @whitechapelgallery 18th November - 14th December alongside works by the other shortlisted artists: @gloriousmuttley @arwaaburawa & Turab Sha, @karimahashadu and Morgan Quaintance

for the rest of the tour my film Nursted, from the sleep side will be screened:

@nottm_contemp - 4th Nov
@filmhouse_edinburgh + @luxscot - 11th Nov
@townergallery - 11th Nov
@balticgateshead - 18th Nov
@spikeisland - 20th Nov

if that weren't enough then there is a delicious bit of writing from the iconic @daisylafarge forthcoming about Flesh, Wax & Glass in relation to the mystic Marguerite Porete but more on that anon

I'd like to invite you to Flesh, Wax & Glass parts I & II @barbicancentre Monday 10th November (6:30pm) followed by conversation with @mrmabarrington

As part of the @film_london Jarman Awards tour we'll be showing these two films which are part of a trilogy charting three years of a blood letting ritual in southern Italy, and one family's process of mourning. The third part (forthcoming) will unite all three into a feature length film. Please join us for this one off event, this project means a huge amount to me. Stunning score from @cobysey & cinematography from @rwdfilm + so many others involved, most importantly the Maione family 🤍

Flesh, Wax & Glass II: The Age of the Son will also be part of an exhibition at the @whitechapelgallery 18th November - 14th December alongside works by the other shortlisted artists: @gloriousmuttley @arwaaburawa & Turab Sha, @karimahashadu and Morgan Quaintance

for the rest of the tour my film Nursted, from the sleep side will be screened:

@nottm_contemp - 4th Nov
@filmhouse_edinburgh + @luxscot - 11th Nov
@townergallery - 11th Nov
@balticgateshead - 18th Nov
@spikeisland - 20th Nov

if that weren't enough then there is a delicious bit of writing from the iconic @daisylafarge forthcoming about Flesh, Wax & Glass in relation to the mystic Marguerite Porete but more on that anon

last summer @o_hud @etittensor @luke_tittensor and I spent some days in a fairly unassuming rehearsal room in London, pretending to be gorillas and rabbits, imaging our bodies as a desert and our willies as a barracks, inventing silly salutes, watching the Marx Brothers and talking about childhood, and of course, rehearsing scenes. A bit over a year later and the film that this was for, Straight Circle has just won Grand Jury Prize and Most Innovative Prize @settimana_della_critica at Venice Film Fest. I am extremely proud of the enormous work they did in the ensuing months, and not a little envious of the time they spent in the South African desert. The film is something of a contemporary The Great Dictator, a parable about the absurdity of borders, and perhaps, if it isn't overly simplistic, how our sameness is more deeply true than our difference. It also pulls off a high degree of stylisation and theatricality whilst retaining a beating heart, which is the dream zone for me. Meeting Elliot and Luke has been a profound experience. Some of the most open hearted and present people you are likely to encounter, and their performance makes this apparent. Cannae wait for you to see it

last summer @o_hud @etittensor @luke_tittensor and I spent some days in a fairly unassuming rehearsal room in London, pretending to be gorillas and rabbits, imaging our bodies as a desert and our willies as a barracks, inventing silly salutes, watching the Marx Brothers and talking about childhood, and of course, rehearsing scenes. A bit over a year later and the film that this was for, Straight Circle has just won Grand Jury Prize and Most Innovative Prize @settimana_della_critica at Venice Film Fest. I am extremely proud of the enormous work they did in the ensuing months, and not a little envious of the time they spent in the South African desert. The film is something of a contemporary The Great Dictator, a parable about the absurdity of borders, and perhaps, if it isn't overly simplistic, how our sameness is more deeply true than our difference. It also pulls off a high degree of stylisation and theatricality whilst retaining a beating heart, which is the dream zone for me. Meeting Elliot and Luke has been a profound experience. Some of the most open hearted and present people you are likely to encounter, and their performance makes this apparent. Cannae wait for you to see it

last summer @o_hud @etittensor @luke_tittensor and I spent some days in a fairly unassuming rehearsal room in London, pretending to be gorillas and rabbits, imaging our bodies as a desert and our willies as a barracks, inventing silly salutes, watching the Marx Brothers and talking about childhood, and of course, rehearsing scenes. A bit over a year later and the film that this was for, Straight Circle has just won Grand Jury Prize and Most Innovative Prize @settimana_della_critica at Venice Film Fest. I am extremely proud of the enormous work they did in the ensuing months, and not a little envious of the time they spent in the South African desert. The film is something of a contemporary The Great Dictator, a parable about the absurdity of borders, and perhaps, if it isn't overly simplistic, how our sameness is more deeply true than our difference. It also pulls off a high degree of stylisation and theatricality whilst retaining a beating heart, which is the dream zone for me. Meeting Elliot and Luke has been a profound experience. Some of the most open hearted and present people you are likely to encounter, and their performance makes this apparent. Cannae wait for you to see it

last summer @o_hud @etittensor @luke_tittensor and I spent some days in a fairly unassuming rehearsal room in London, pretending to be gorillas and rabbits, imaging our bodies as a desert and our willies as a barracks, inventing silly salutes, watching the Marx Brothers and talking about childhood, and of course, rehearsing scenes. A bit over a year later and the film that this was for, Straight Circle has just won Grand Jury Prize and Most Innovative Prize @settimana_della_critica at Venice Film Fest. I am extremely proud of the enormous work they did in the ensuing months, and not a little envious of the time they spent in the South African desert. The film is something of a contemporary The Great Dictator, a parable about the absurdity of borders, and perhaps, if it isn't overly simplistic, how our sameness is more deeply true than our difference. It also pulls off a high degree of stylisation and theatricality whilst retaining a beating heart, which is the dream zone for me. Meeting Elliot and Luke has been a profound experience. Some of the most open hearted and present people you are likely to encounter, and their performance makes this apparent. Cannae wait for you to see it

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

George Finlay Ramsay’s (@gframsay) performance at the Mass Moving event on June 28th (2025).

📷 Andrej Vasilenko (@andrejvasilenko).

Part of New Perspectives for Action — a project by Re-Imagine Europe, co-funded by the European Union.

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)

Answers arrive in the light, life can be, yeh, kind of alright

it was a rare pleasure to be part of Mass Moving @rupert_residency to mark the move away from their Valakampiai spot. The night was curated by @magnetlink and ended in a magic metaphorical (and also very real) boat ride down the Neris river into Vilnius. We saw a beaver, lots of ducks and howled under echo-y bridges. I had my first official stint as an MC, offering bits of nonsense poetry from a tin of moving mints, and performed my new solo schtick, 'Answers arrive in the dark, life is made up of qark'

taking part were allstar cast:
Future Farmers @farmeramyaction Diede Roosens and Max Pairon (who also joined me on the accordeon)
Ruta Junevicuite & @barbora_groblyte
Alina Schmich @alina_schmuch
Sophie Paul @theunofficialsoupdragon
Edgy Palates @edgypalates

with lighting by
@liustrai

and sound by
@ignas.juzokas

huge thank you to the whole Rupert team @aistefrismantaite @aistemarija.st JL Murtaugh... the AEP gang ...

photos by @andrejvasilenko
(last vid by @jonaslapinas)