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✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

✺ yogic solar attunement
✺ every morning of Capricorn season
✺ 7-8am GMT - 22.12 — 19.1 - online
✺ by donation

🪩 As the sun is reborn from the longest darkest night of solstice, a container for shared practice opens.

🌀 I’m inviting you to attune to and nurture the cosmic relationship between body, breath and sun.

🌞 Yes it’s a season of rest but also of slow burn revelation. I’ve found that through daily, attentive, full-bodied presence and play in this relationship, my response-ability to Life is renewed. All the more when we do it together.

🌐 Every morning of Capricorn season, we’ll practice gentle asana woven with somatic sensing, compassionate touch and reflexology, surya namaskar, pranayama, and meditation. While the core sequence will stay the same - to lead us into noticing change and depth over time - I’ll be weaving in small variations in response to daily planetary shifts.

🚪 The door will be open at 7am, and we’ll call in the sun as it rises. You’re free to come to as many or as few as you want. Register with your email address at the link up there, so you receive log in and intro material.

🌸 Here, in service of the highest and deepest binding/freeing principle, companionship, orbits and rhythms, reality as radiant, devotional pluralism, and body as guide, medicine and archive. I would love love to practice with you.

* I am tasting myself in the mouth of the sun
from June Jordan’s Intifada Incantation: Poem #8 for b.b.L. (2005)

NEW PUBLICATION

In Your Own Time: Artist as Witness to Mutual Aid Disguised at Social Care 

IYOT is a self-published collection of experimental poems and critical reportage by Sean Roy Parker, written while digesting the complexity and hypocrisy of the position ‘Socially-Engaged Artists’ are often held by their employers in relation to marginalised groups whilst unable to meet their own needs. This project captures the ambience of a welfare system in chaos, and the affect of disparities imbued by cultural funding on its subjects. The artist was in residence at Erith Food Bank, south east London, when it was abruptly closed in May 2025.

IYOT’s design language is informed by DIY zines and activist pamphlets unearthed during research trips to anarchist archives and community libraries across Britain, including Sparrow’s Nest (Nottingham), 56a Infoshop (London), 1-in-12 Club (Bradford). Designer Lu Fraser’s approach blends ephemera from Parker’s visits to the food bank, found archival material and scavenged digital whimsy, as well as original drawings, while Priya Jay improved the multivocal texture as a critical reader.

This publication marks the culmination of an 18-month project commissioned by Three Rivers Bexley as part of Back To Basics, a programme of three concurrent artist-led research projects exploring basic public services in the borough, part of Creative People and Places funded by Arts Council England.

Limited Edition of 100
40 pages, singer sewn
285x203mm
4-colour risograph on Context Birch and sugar paper
Hand-cut sections
Includes a 4-colour risograph poster and bookmark
Completion date 17/11/2025

Written and produced by Sean Roy Parker @fermental_health
Designed by Lu Fraser @wet_bog.jpg
Edited by Priya Jay @internetprayer
Printed by PageMasters, Lewisham @pagemasters.co

Thanks to Lizzie Graham and Meera Shakti Osborne for their insight and advice, and all the staff, volunteers and visitors at Erith Food Bank for their patience and openness.

Note: Both the artist and organisation have agreed to write separate press releases to respect the different experiences of the project.

FULL DETAILS AND AVAILABILITY ON
FERMENTALHEALTH.SUBSTACK.COM

NEW PUBLICATION

In Your Own Time: Artist as Witness to Mutual Aid Disguised at Social Care 

IYOT is a self-published collection of experimental poems and critical reportage by Sean Roy Parker, written while digesting the complexity and hypocrisy of the position ‘Socially-Engaged Artists’ are often held by their employers in relation to marginalised groups whilst unable to meet their own needs. This project captures the ambience of a welfare system in chaos, and the affect of disparities imbued by cultural funding on its subjects. The artist was in residence at Erith Food Bank, south east London, when it was abruptly closed in May 2025.

IYOT’s design language is informed by DIY zines and activist pamphlets unearthed during research trips to anarchist archives and community libraries across Britain, including Sparrow’s Nest (Nottingham), 56a Infoshop (London), 1-in-12 Club (Bradford). Designer Lu Fraser’s approach blends ephemera from Parker’s visits to the food bank, found archival material and scavenged digital whimsy, as well as original drawings, while Priya Jay improved the multivocal texture as a critical reader.

This publication marks the culmination of an 18-month project commissioned by Three Rivers Bexley as part of Back To Basics, a programme of three concurrent artist-led research projects exploring basic public services in the borough, part of Creative People and Places funded by Arts Council England.

Limited Edition of 100
40 pages, singer sewn
285x203mm
4-colour risograph on Context Birch and sugar paper
Hand-cut sections
Includes a 4-colour risograph poster and bookmark
Completion date 17/11/2025

Written and produced by Sean Roy Parker @fermental_health
Designed by Lu Fraser @wet_bog.jpg
Edited by Priya Jay @internetprayer
Printed by PageMasters, Lewisham @pagemasters.co

Thanks to Lizzie Graham and Meera Shakti Osborne for their insight and advice, and all the staff, volunteers and visitors at Erith Food Bank for their patience and openness.

Note: Both the artist and organisation have agreed to write separate press releases to respect the different experiences of the project.

FULL DETAILS AND AVAILABILITY ON
FERMENTALHEALTH.SUBSTACK.COM

NEW PUBLICATION

In Your Own Time: Artist as Witness to Mutual Aid Disguised at Social Care 

IYOT is a self-published collection of experimental poems and critical reportage by Sean Roy Parker, written while digesting the complexity and hypocrisy of the position ‘Socially-Engaged Artists’ are often held by their employers in relation to marginalised groups whilst unable to meet their own needs. This project captures the ambience of a welfare system in chaos, and the affect of disparities imbued by cultural funding on its subjects. The artist was in residence at Erith Food Bank, south east London, when it was abruptly closed in May 2025.

IYOT’s design language is informed by DIY zines and activist pamphlets unearthed during research trips to anarchist archives and community libraries across Britain, including Sparrow’s Nest (Nottingham), 56a Infoshop (London), 1-in-12 Club (Bradford). Designer Lu Fraser’s approach blends ephemera from Parker’s visits to the food bank, found archival material and scavenged digital whimsy, as well as original drawings, while Priya Jay improved the multivocal texture as a critical reader.

This publication marks the culmination of an 18-month project commissioned by Three Rivers Bexley as part of Back To Basics, a programme of three concurrent artist-led research projects exploring basic public services in the borough, part of Creative People and Places funded by Arts Council England.

Limited Edition of 100
40 pages, singer sewn
285x203mm
4-colour risograph on Context Birch and sugar paper
Hand-cut sections
Includes a 4-colour risograph poster and bookmark
Completion date 17/11/2025

Written and produced by Sean Roy Parker @fermental_health
Designed by Lu Fraser @wet_bog.jpg
Edited by Priya Jay @internetprayer
Printed by PageMasters, Lewisham @pagemasters.co

Thanks to Lizzie Graham and Meera Shakti Osborne for their insight and advice, and all the staff, volunteers and visitors at Erith Food Bank for their patience and openness.

Note: Both the artist and organisation have agreed to write separate press releases to respect the different experiences of the project.

FULL DETAILS AND AVAILABILITY ON
FERMENTALHEALTH.SUBSTACK.COM

NEW PUBLICATION

In Your Own Time: Artist as Witness to Mutual Aid Disguised at Social Care 

IYOT is a self-published collection of experimental poems and critical reportage by Sean Roy Parker, written while digesting the complexity and hypocrisy of the position ‘Socially-Engaged Artists’ are often held by their employers in relation to marginalised groups whilst unable to meet their own needs. This project captures the ambience of a welfare system in chaos, and the affect of disparities imbued by cultural funding on its subjects. The artist was in residence at Erith Food Bank, south east London, when it was abruptly closed in May 2025.

IYOT’s design language is informed by DIY zines and activist pamphlets unearthed during research trips to anarchist archives and community libraries across Britain, including Sparrow’s Nest (Nottingham), 56a Infoshop (London), 1-in-12 Club (Bradford). Designer Lu Fraser’s approach blends ephemera from Parker’s visits to the food bank, found archival material and scavenged digital whimsy, as well as original drawings, while Priya Jay improved the multivocal texture as a critical reader.

This publication marks the culmination of an 18-month project commissioned by Three Rivers Bexley as part of Back To Basics, a programme of three concurrent artist-led research projects exploring basic public services in the borough, part of Creative People and Places funded by Arts Council England.

Limited Edition of 100
40 pages, singer sewn
285x203mm
4-colour risograph on Context Birch and sugar paper
Hand-cut sections
Includes a 4-colour risograph poster and bookmark
Completion date 17/11/2025

Written and produced by Sean Roy Parker @fermental_health
Designed by Lu Fraser @wet_bog.jpg
Edited by Priya Jay @internetprayer
Printed by PageMasters, Lewisham @pagemasters.co

Thanks to Lizzie Graham and Meera Shakti Osborne for their insight and advice, and all the staff, volunteers and visitors at Erith Food Bank for their patience and openness.

Note: Both the artist and organisation have agreed to write separate press releases to respect the different experiences of the project.

FULL DETAILS AND AVAILABILITY ON
FERMENTALHEALTH.SUBSTACK.COM

NEW PUBLICATION

In Your Own Time: Artist as Witness to Mutual Aid Disguised at Social Care 

IYOT is a self-published collection of experimental poems and critical reportage by Sean Roy Parker, written while digesting the complexity and hypocrisy of the position ‘Socially-Engaged Artists’ are often held by their employers in relation to marginalised groups whilst unable to meet their own needs. This project captures the ambience of a welfare system in chaos, and the affect of disparities imbued by cultural funding on its subjects. The artist was in residence at Erith Food Bank, south east London, when it was abruptly closed in May 2025.

IYOT’s design language is informed by DIY zines and activist pamphlets unearthed during research trips to anarchist archives and community libraries across Britain, including Sparrow’s Nest (Nottingham), 56a Infoshop (London), 1-in-12 Club (Bradford). Designer Lu Fraser’s approach blends ephemera from Parker’s visits to the food bank, found archival material and scavenged digital whimsy, as well as original drawings, while Priya Jay improved the multivocal texture as a critical reader.

This publication marks the culmination of an 18-month project commissioned by Three Rivers Bexley as part of Back To Basics, a programme of three concurrent artist-led research projects exploring basic public services in the borough, part of Creative People and Places funded by Arts Council England.

Limited Edition of 100
40 pages, singer sewn
285x203mm
4-colour risograph on Context Birch and sugar paper
Hand-cut sections
Includes a 4-colour risograph poster and bookmark
Completion date 17/11/2025

Written and produced by Sean Roy Parker @fermental_health
Designed by Lu Fraser @wet_bog.jpg
Edited by Priya Jay @internetprayer
Printed by PageMasters, Lewisham @pagemasters.co

Thanks to Lizzie Graham and Meera Shakti Osborne for their insight and advice, and all the staff, volunteers and visitors at Erith Food Bank for their patience and openness.

Note: Both the artist and organisation have agreed to write separate press releases to respect the different experiences of the project.

FULL DETAILS AND AVAILABILITY ON
FERMENTALHEALTH.SUBSTACK.COM

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Snake year, shedding made me tender tender as in raw, as in I found the horizon was already touching me, the horizon is warm and wet, the horizon is open and listening, the horizon precedes the fact, the horizon is the sky of the heart, and really really I did find a sky there, unbracing, yes the world is precise and sensitive to faith in something

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 2/2

🫀The Pealing of the Heart — August, for @deptof.love, narrating heart, its origins as a vortex of blood in our fetal chests and the expansion inherent in longing

⛩️ Contested Sites — May, publication with @iniva_arts edited by me, designed by Rose Nordin @amokamok, made with beloveds, thankful to @mso_4rt @lamya.sadiq @garyroystewart for thinking aloud together about the sites we have the sites we need, was available to pick up free in the Stuart Hall Library

🫓 breadth — November, small piece in Printing Plates/Books for Bread by Rose with @printroom_rtm, first edition all sold w. proceeds donated, next print run pending, writing for Gaza and its bread after seeing shelled bakeries and ovens made from cut oil cans is hundreds of thousands of lifetimes ago now, this many months into targeted starvation

📜 They cannot occupy the skies — January, prayers from the scroll collected since October 7, lifted from the screen, read aloud, given breath, pause and communion at @themosaicrooms thanks to @mmawadahh. Ameen as in ‘so be it’ as in ‘so be it, see to it!’ Strange but truthful to enter it back into the scroll in this way

👂🏽 And I have come to listen in — last April, for @serpentineuk long-term community project Radio Ballads by @amalandaplan @_lizzie.graham_ @laylagatens and more, listening to layers of voice and vulnerability, adding my own imprint to the chorus, online for now but on paper soon

🫂 Grief’s interference — February/May, thinking with Che Applewhaite @applewhaiting work untitle “HANDLE WITH CARE”, 2024, for Jerwood Survey III Catalogue @southwarkparkgalleries, exhibition touring + currently in Cardiff. Grief as static crackling and the negative space that is full of traces. I haven’t been home to hold the book yet so unrelated video but our conversation had a similar feeling

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 1/2

🫖 Tea & Soil — Summer/Autumn, with @artscatalyst working on a patch of land with women from @roshni_sheffield, drinking herbal teas each week + sharing food stories, bilingual zine (English + Urdu) includes plant knowledge + recipes, designed by gardening-archiving inspiration Heiba Lamara @cosyjungle and free to pick up at Arts Catalyst, Roshni or from me when I get back

🪵 Digging up words — August/October, as part of Sean Roy Parker @fermental_health work With Us All with @metrolandcultures at @st_raphaelsediblegarden, sensory prompts for exploring the garden transcribed by Roy onto found wood, stacked like books in the glasshouse he built, a permanent public sculpture, go see it if you’re in Brent, spend time in the garden, whisper into the ear of a leaf

📕 Future Commons + book — last May, a big one. Was given the opportunity by @iniva_arts to design and facilitate an alternative support structure over a couple years for art workers like me who were in a traineeship or not, which was really a chance to hold precarious workers in ways I wish I was held, and learn many things about what is possible, could should would be possible, together, away from forced productivity and visibility. Parts of our togetherness shared in an eventual zine, and launched with a beautiful meal by @maiamagoga, the books were distributed in pairs, with the invitation to keep one and give one away, reference copy available at the Stuart Hall Library. Infinitely grateful to @aminajluul @tobialexandrafalade @anahi_saravia @misstkbello @bronzed_bantu @thatcatamber @7sekonds @kinnarisaraiya for trusting and being in this process of trying to make something we know deeply but don’t see often + many others who helped me think wider

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 1/2

🫖 Tea & Soil — Summer/Autumn, with @artscatalyst working on a patch of land with women from @roshni_sheffield, drinking herbal teas each week + sharing food stories, bilingual zine (English + Urdu) includes plant knowledge + recipes, designed by gardening-archiving inspiration Heiba Lamara @cosyjungle and free to pick up at Arts Catalyst, Roshni or from me when I get back

🪵 Digging up words — August/October, as part of Sean Roy Parker @fermental_health work With Us All with @metrolandcultures at @st_raphaelsediblegarden, sensory prompts for exploring the garden transcribed by Roy onto found wood, stacked like books in the glasshouse he built, a permanent public sculpture, go see it if you’re in Brent, spend time in the garden, whisper into the ear of a leaf

📕 Future Commons + book — last May, a big one. Was given the opportunity by @iniva_arts to design and facilitate an alternative support structure over a couple years for art workers like me who were in a traineeship or not, which was really a chance to hold precarious workers in ways I wish I was held, and learn many things about what is possible, could should would be possible, together, away from forced productivity and visibility. Parts of our togetherness shared in an eventual zine, and launched with a beautiful meal by @maiamagoga, the books were distributed in pairs, with the invitation to keep one and give one away, reference copy available at the Stuart Hall Library. Infinitely grateful to @aminajluul @tobialexandrafalade @anahi_saravia @misstkbello @bronzed_bantu @thatcatamber @7sekonds @kinnarisaraiya for trusting and being in this process of trying to make something we know deeply but don’t see often + many others who helped me think wider

Releasing some vague resistance around il/legibility on this platform. I wanna be here, for now, sometimes and in some ways! Sharing loving work from the past year+ in anticipation of shifts ahead, in no particular order + bio for most links 1/2

🫖 Tea & Soil — Summer/Autumn, with @artscatalyst working on a patch of land with women from @roshni_sheffield, drinking herbal teas each week + sharing food stories, bilingual zine (English + Urdu) includes plant knowledge + recipes, designed by gardening-archiving inspiration Heiba Lamara @cosyjungle and free to pick up at Arts Catalyst, Roshni or from me when I get back

🪵 Digging up words — August/October, as part of Sean Roy Parker @fermental_health work With Us All with @metrolandcultures at @st_raphaelsediblegarden, sensory prompts for exploring the garden transcribed by Roy onto found wood, stacked like books in the glasshouse he built, a permanent public sculpture, go see it if you’re in Brent, spend time in the garden, whisper into the ear of a leaf

📕 Future Commons + book — last May, a big one. Was given the opportunity by @iniva_arts to design and facilitate an alternative support structure over a couple years for art workers like me who were in a traineeship or not, which was really a chance to hold precarious workers in ways I wish I was held, and learn many things about what is possible, could should would be possible, together, away from forced productivity and visibility. Parts of our togetherness shared in an eventual zine, and launched with a beautiful meal by @maiamagoga, the books were distributed in pairs, with the invitation to keep one and give one away, reference copy available at the Stuart Hall Library. Infinitely grateful to @aminajluul @tobialexandrafalade @anahi_saravia @misstkbello @bronzed_bantu @thatcatamber @7sekonds @kinnarisaraiya for trusting and being in this process of trying to make something we know deeply but don’t see often + many others who helped me think wider

Cleaned last moon’s dust and re-cast my altar this weekend with Rai’s badge gift. May the children we were, the children we love, the children we see and don’t see, know freedom as abundantly and intimately as their breath. LIBERATION IN THIS LIFETIME is a daily sharpening ! ⚔️🇵🇸🗣️ @___i_ca said pray like a knife

Consent to bloom

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

In January, Rose invited Heiba and I to write a text to be burned. In Scorched Signal Ceremonies - as part of The Showroom’s Editorial Tables exhib - Rose invoked the hungry ghost, Malay pantun poetic form, fire as publisher and blessed burning. Today I published mine into moonlessness, text still in my throat and hair. Rose said sacred texts are often discarded by being burned, submerged or buried. And here are some things from my mum’s pilgrimage that I’ve been asked to bury
@amokamok @cosyjungle ❤️‍🔥

These words by Stuart Hall at the beginning of the book Rose, Amrita and I made with loved ones last year through @stuart.archives, animated by my Nanaji who lived to nearly a century, who really knew living as continuing

These words by Stuart Hall at the beginning of the book Rose, Amrita and I made with loved ones last year through @stuart.archives, animated by my Nanaji who lived to nearly a century, who really knew living as continuing

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a short response to ‘May Amnesia Never Kiss Us on the Mouth’ by Basel Abbas and Ruanne Abou-Rahme, for @thecommonguild. As always, everything — from the invitation, to my hesitance because I knew I was entering a period of end of life care, to my stay in Glasgow, and one, two, three days with the work, the work! the conversation, reeling heart, two deaths at the original deadline, and being given time, real time, to grieve, and write to mourn mine and theirs, never done — fed it

Thank you @basel.abb @ruanne.ar, @chloesreith @_katrina_brown for the chance to move with this work. And @emiialrai for all the days in Leeds, after Glasgow, before London

Link in bio 🌬
And mayamnesia.diaart.org for the ongoing online project

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote a text earlier in the year called These Bones about the bones in clay and the clay in bones for @jessedarling’s File Note as part of their current exhibition Enclosures at Camden Art Centre, which is open until 26 June. The File Note - which includes other tender correspondences - is available to buy there or online for £2

Thinking with Jesse let me be led by sense as in felt instinct and warm tangents. When they said this text is kind of oracular, trust let me feel into what was emergent and sedimented somewhere in our conversation and in my own practice. So in the end, I was moved by muddy mouths, tongue sight, secret diaphragms, foetal gills, clay hands, oceanic blood, the promise of collapse, cellular memory, deep body tremors and really just me and you and us being implicated in each other, always and forever 💋

Invited and edited with kindness by @nishamatthew. And thought through with my friend in slow time and ruin, @emiialrai

🫁

1. Bootprint on wet sand, crushed shell, message to Emii
2. Last part of my text
3. Part of Enclosures at Camden Art Centre
4. Meme by @humansobbing
5. Single cell turns into salamander
6. Last part of Jesse’s correspondence with devynn emory
7. Nick Papadimitriou, from The London Perambulator on YouTube
8. From A Thousand Years of Nonlinear History by Manuel DeLanda
9. From Tongue Support for Diaphragmatic Breathing by Mary Bond
10. Building spine I saw on Old Street some years ago

I wrote an essay to mark the ends of my writing residency with @afterallresearch. I say ends because from January to June, when my residency started and ended, I had no words. I was a writer with no words and no desire or ability to write. And then summer ended and I still had no words, and slowly as autumn ended and winter began, the words came and sat next to each other in this Google Doc to help me mark some of these endings. Here’s something, a year later… the link to read is in my bio and on Afterall’s website 🫁 thanking Elisa, Adeena & Amber for their patient editorial care

“Research is a ceremony for building closer relationship with an idea” screenshot from Shawn Wilson’s lecture on Youtube ‘Research is Ceremony: Researching within an Indigenous Paradigm’. Background is my grandad reading the patient information leaflet for his eyedrops.