May 24th, 2022

12ø collective run a project challenging artists to make thirty responses on thirty days. Here is one of mine.



April 27th, 2021

Listen here

Read the full transcripts


borne was commissioned by The Museum of English Rural Life, Reading as part of their 70th anniversary celebrations, 51 Voices.

Birth call out

January 30th, 2021

I was nearly born in the lift at The Royal Berkshire Hospital, over the road from The MERL. Mum had snoozed through the night in her bed, aware that something was happening yet not feeling anxious. She kept in mind what her father had told her about animals choosing dark and quiet to have their babies.

My grandfather studied Agriculture at Reading University and my gran Dairy Sciences in the building next to The MERL, in the year it was founded. They went on to run a smallholding and my mum was born in the house there, a former inn from the 1600s. As my grandad waited for my mum to be born, he chatted to the midwife who had arrived on her bicycle. She had bought new piglets and had many questions about how best to look after them.

When my brother was born in the early eighties, Mum wanted a home birth like her mum. She worked with friends to establish the Reading Birth Centre: committed individuals with skills to support families toward the birth they hoped for.

My second child was born at home before the midwife arrived, and was caught by my mum.

As the pandemic has developed in the UK, home births and free births have risen. How has this felt for families who have had babies during this time?

Happy May Day!

May 1st, 2020

Download this poster for free from Just Seeds or The Social Art Library.


At the Yafa Deli, part of Papergirl Brooklyn 2020. Thanks to Vannessa Hock (@vanessahockphoto) for the use of her image.

Radio Influenza

March 19th, 2019


Just finished the research to support a new artwork by Jordan Baseman: radioinfluenza.org

‘Each day a new soundtrack reports on the devastation of the epidemic through the everyday, using newspaper accounts from exactly a hundred years ago to explore how the profound impact of the flu affected every aspect of life.’

Radio Influenza is commissioned by Wellcome and produced by Matt’s Gallery, London.


Socialism: a family film

May 19th, 2016

Anna 4

Anna 3Anna 2Anna1

25–27 March 2016

A number of spurs (including the loss of a great aunt who had fled Czechoslovakia the day before the Nazi invasion) conflated, with the realisation that there are great gaps in my knowledge of socialism. My practice is social: concerned with others, how we communicate with and care for each other. It seemed vital to set an informed foundation for my work, to further educate myself and look at how these ideologies might be discussed with younger people. I put forward a project examining socialism – its history, key figures and relevance in modern life. This would be used by us to make a short film: a rare opportunity to conduct a family residency.
Tolpuddle Martyr’s Museum is not too far from Powerstock, so we called in to find out more about this early example of attempts at an agricultural trade union. We found this village to be a hub of activity, hoping to return for the festival in the summer.
We arrived at Copse Barn in the bright sunshine, with a big wave from Anna. I had brought her some cooked red cabbage, a recipe of my great aunt’s. The one room would house us as we intensively worked on the initial stages of the film. I had been researching and planning for a month, with a list of episodic projects I thought might be absorbing and manageable. The stove was stoked and kettle put on the hob. As the temperature rose in the caravan, ladybirds spluttered from behind cupboards: red dots punctuating every surface. We also migrated around the interior. Flip-book construction on the sofa, slogans on stickers at the bedside table and a roll of lining paper stretched across the width of the kitchen worktop at the front of the caravan. Standing, we traced portraits of socialists, using carbon paper. The large windows, on most walls, encircled us with light and and a vantage point for the activities of Copse Barn and the weather. Wind and rain rocked the shell of the Traveller’s Buccaneer. Daffodils leaned in the gusts and the conifer under which the caravan sits, thrashed and squeaked. We were acutely aware of our domestic preoccupations, our negotiations with each other in this pared-down scenario and the attempts at order against the backdrop of the elements. In bright spells, we dashed out to film, running past the goose in her bathtub with a red flag. Anna’s welcome, her openness to sharing her space and her home, made this explorative venture – where making and playing, living and thinking were not compartmentalised – alive, flexible and possible.

Watch Socialism: a family film.

Part of  The Mothership artist residencies, hosted by Anna Best of unincorporated collaborations.

Hello Goodbye

September 9th, 2014

Welcome Mat

May 21st, 2012

I stood at the front door and welcomed visitors to my friends’ open house.


Notes from the day:

Welcome Mat, 20 May 2012

I began slightly tentatively, hands clasped and standing on the doormat outside the front door. My feet began automatically to rock up onto the toes and back down flat, as I had seen policeman do. This was as much about keeping my feet warm as settling into a stance and rhythm of biding my time. As the day went on I became more confident in my position, more upbeat and alert to the dynamics of arrivals.

The weather was much colder than I thought it would be. A chilly wind gusted around me. I had to leave my post several times to get hot tea and jump up and down. I felt lacking in my preparations.

I realised as time went on that my role was to be poised, with the emphasis on waiting for someone to arrive. Someone to receive my greeting. I could see reflections in a car in front which gave indications that they were coming. I had to focus and be receptive.

I thought of the all the jobs I have had that have involved this ‘greeter’ element. The duality of being vulnerable in needing someone else to complete the exchange, and the upper hand of being the initiator of a new relationship.

On arrival visitors were often stopped in their tracks. I stood face-on at the top of five steps in an alcove-like porch. It was a surprise to be met like this on a domestic street. They smiled on being welcomed, a mood of warmth was established on going into the house. They replied with ‘thank you’ or even ‘you’ve been so kind already’. I turned sideways to let them enter the narrowed doorway and this prompted further interchanges as we brushed shoulders in close quarters.

If they asked if I had work in the house I said no, but passed them on to the homeowners. They were curious why I was there if I didn’t have work in the house. I let this remain a question in their minds without being confrontational.

The six hours passed quickly. The porch felt like a sentry box, with a limited view. Neighbours passed back and forth, kids on scooters and cars reversing up the street. As people left I was the final point of farewell.

My original proposal can be downloaded here

How do we live?

March 5th, 2012

Here are my thoughts on compiling an A–Z of contemporary habitation, a project which is still open to contributors (2 x A3 pdf)

How do we live?

Copies of this article, hand coloured, were included in the exhibition Construct the Future, curated by Native at Hoxton Gallery, 8–10 April 2016

Exhibition details

Please contact me if you know of, or are in, an unusual place to live.

This project was launched at the This Is Not a Gateway Festival, 22-24 October 2010