This section contains the work from past Dogma 19 Artists shows. The most recent, featuring zippers as our material is at the top, with previous exhibitions further down, in date order.
Click here to go to the inaugural show, which was dedicated to cement as our primary medium, or start here to work downwards / back in time.
The primary material for the twelfth show by the Dogma 19 Artists was rubber gloves.
The exhibition opened online on 4 May and closed on 14 June 2022.
Fio Adamson. ‘Strange Fruit’. Rubber glove, ice, string. Dimensions variable.
Billie Holliday's classic song is well known to be about lynching in the American Deep South and here the hanging glove stands in for the whole body. Being the intended victim of such an act would grip anyone with icy terror. Victims were of course almost always black and the switch to a white hand lends irony but also white people's fear of bearing the brunt of revenge.
Hamish Pringle ‘Until’. Rubber gloves. Digital print of photograph 19cm x 19cm.
Removing rubber gloves means a task has been completed. The action of taking them off results in the fingers being inverted and truncated. As if they’ve been lost in the labour - “she worked her fingers to the bone”. And it most often is ‘she’. Several pairs of removed rubber gloves - ‘second skins’ - suggests a collective activity. Their pretty colours can’t disguise their role in manual work. This role is to protect the hands against the wrinkling, drying, and abrasion caused by detergents. Hands that need to be kept soft and attractive - for other reasons. These pairs of rubber gloves are supplicant. Resting until the next time.
Joana Passos ‘Third Skin’. Rubber gloves and red clay. Dimensions variable.
As a ceramist my second skin is protective rubber gloves which I wear when working with clay. I’m handling this malleable material throughout the whole transformative process: from a near-solid, to a paste, and then hardened. When recycling clay leftover I plunge my gloved hands into the bucket to break down lumps. I realise I have a third skin.
Claire Michel ‘These Gloves Are Made for Walking’. Digital photographic print. 50cm x 50cm.
‘These Gloves Are Made for Walking’.
"Here a man is wearing washing-up gloves instead of shoes. Would he rather go out for a walk than do housework?"
Nicola Siebert-Patel ‘Probe’. Surgical gloves and model.
“Can I have your name, address, contact number, emergency contact number, National Insurance number, NHS number, passport number, drivers' licence, credit card details, vaccination pass, Facebook, Instagram, Twitter, and LinkedIn addresses, political alignment, gender, race, and religion please?”
The primary material for the eleventh show by the Dogma 19 Artists was zippers.
The exhibition opened online on 30 March 2022 and closed on 3 May.
Hamish Pringle ‘Onomatopoeia’. Digital print of zip photograph and Arial Black type. 18cm x 18cm.
With iconicity and pareidolia.
Joana Passos “Honey, will you help me? Can’t reach it!”. Clay and zipper. 23cm x 4cm.
“Honey, will you help me? Can’t reach it!”
Claire Michel ‘Zip it’. Digital photograph. A3.
Depicts how women have always been kept quiet over time, how their words have always been diminished in a society where men are more powerful than women.
Nicola Siebert-Patel ‘Deathly Silence’. Black ink on paper and red zipper. 36cm x 26cm.
Fio Adamson ‘Undone’. Zips, plaster. Approximately 56cm x 40cm.
A ball of zips and plaster has exploded on what might be a buckled railway line. To quote Ophelia's cry: 'Oh woe is me to have seen what I have seen', and Isaiah, whose (much earlier) version was: 'Oh woe is me for I am undone'. Either way there seems to be some catastrophe afoot.
The primary material for the tenth show by the Dogma 19 Artists was food.
The exhibition opened online on 23rd February and closed on Tuesday 29 March 2022.
Fio Adamson ‘Marshmallow Voodoo’. Marshmallows and pins. 20cm x 12cm x 2cms.
There is a sense of non-human flesh, of a clown or puppet, even a robot. Has it been stabbed to spite or put a spell on a human, a child ? Is witchcraft involved?
Hamish Pringle ‘Sentence’. Bread sticks. 22cm x 22cm x 22cm.
We’re subject to a life sentence imprisoned by food.
Joana Passos ‘Fat Man’. Clay and pasta. 30cm x 15cm x 15cm.
Normally a clay vessel contains a foodstuff. Here roles are reversed. The pasta has erupted from within to create a carbohydrate cloud. Like the mushroom of a nuclear explosion, it looks strangely beautiful from afar, but is deadly close to.
Claire Michel ‘Calorific Beauty’. Digital photographs. A3.
Whilst beauty masks are supposed to help women feel better about themselves, these masks serve a completely different purpose. Chocolate spread, peanut butter, and raspberry jam are the enemies of women who try to stay slim, young, and beautiful.
Nicola Siebert-Patel ‘Daily Bread’. Toast. A3 print.
Exploring food as a material in a way that questions the information we consume, the narratives we chose to believe /reality versus fiction. The human brain is constantly looking for important patterns which could aid survival. Seeing ''Jesus in toast'' reflects the active role the frontal cortex plays in visual perception. Instead of ''seeing is believing'' this suggests that ''believing is seeing.''
The primary material for the ninth show by the Dogma 19 Artists was facial tissues.
The exhibition opened online on 19th January and closed on 22 February 2022.
Nicola Siebert Patel
Nicola Siebert Patel ‘Grief’. Facial tissues and thread. Metal hanger. H 75cm x W55cm.
A nightdress / undergarment made from tissue paper exploring the idea that grief is something we wear, close to the skin. The garment is intimate, fragile and loosely held together by thread.
Fio Adamson ‘Fortune Teller’. Facial tissues and paper. H 12cm x W 18cm.
A fortune teller of this kind is a moving object, changing shape with the movement of the fingers inside. The peaks imply the squawking and scrabbling of baby birds awaiting their worms, but perhaps there is also the implication of quiet prayer.
This game has several names but in my school was always a 'fortune teller'. Here it becomes a sculptural object, the result of some experimentation, and made of paper and a tissue glued together. The tissue is from a box labelled Kleenex Large Size which for decades was marketed as Man Sized, until someone pointed out that they'd never seen a man that size!
So there may be a distant echo of maleness but women in many cultures were all those decades ago, expected to modestly cover their hands with white gloves for formal occasions - such as going to town or being presented to the Queen. These same women, formerly giggling girls, had concocted nasty 'fortunes' for both friends and enemies.
So this small sculptural piece holds the joys and horrors of primary school ('You'll marry the best looking boy in the class' or 'You smell') as well as those rather stiff polite adults in little hats and wide skirts.
My friend's black/brown skin contrasts with the white tissue. She might almost have been photographed in the '50's, kneeling at a pew and wearing the white gloves so often worn by women churchgoers, both black and white.
Hamish Pringle ‘Offered. Tissue box with hand and tissue. H 50cm x 11cm x 11cm.
Considering the circumstances in which a tissue is used.
Joana Passos ‘Golden Feelings’. Acrylic sprayed tissues and clay. H 40cm x W 30cm.
This piece represents the importance of our emotions and who we should show our true feelings. Emotions are part of human biology. They are chemicals that help regulate our minds and bodies, assisting us to cope with the complexities of making decisions, interacting with people, and finding our way through life. We feel emotions to help us pay attention, focus our attention, and motivate us to action. While sometimes they’re confusing, emotions are part of us, so we might as well learn to use them well because they are gold.
Claire Michel ‘Light Lunch’. Video of a facial tissue being eaten. 03.08 minutes 50% fast forward.
After reading an article in which Janet Jackson reveals that some celebrities eat tissues in order to stop hunger pangs, I thought I’d try to eat one too. To my horror, it worked! All the chewing and swallowing made me feel quite full up and I felt a discomfort in my body for the rest of the day, like something was stuck in my oesophagus.
It’s quite sad to think what celebrities endure with the tyranny of thinness.
The primary material for the eighth show by the Dogma 19 Artists was matchsticks.
The exhibition opened online on 5th November 2021 and closed on 18th January 2022.
Claire Michel ‘A Match Made in Heaven’. Match boxes, matches, burned matches, archive photographs, and text. 7cm x 11.2 cm.
A Match Made in Heaven
Depicts personal photographs of my great-grandparents.
Nicola Siebert-Patel ‘Inflamed’. Matches, metal lipstick container, oil paint. 7cm W x 7.5cm H x 4.5cm D.
Let's talk about sex. Let's talk about sex-based rights.
Fio Adamson ‘Firefly’. Long matches, felt, plasticine, and metallic thread. Video 1min 6secs.
There is a shocking contrast between fireflies - loved for their romantic spark at night - and wildfires which extinguish insects, animals, even humans as part of a raging apocalypse. There are contrasts of scale between human viewer, matchstick trees, and almost invisible insect wing threads. The mosquito whine which on a hot night might just be an annoyance, rises to a scream apparently of terror in a scenario where 'tree' after 'tree' and 'wing' after 'wing' slowly catches fire and disintegrates. Burnt matches have a particular beauty, melted threads perhaps less so, but the viewer is made aware of death, chaos, disintegration, and species extinction.
Hamish Pringle 'Tinder'. Burnt and unburnt matchsticks on paper board. 19cm x 19cm.
Swipe left, swipe right. Alight then ignite. Unite in white heat, or withdraw singed. Some are untouched.
Joana Passos ‘Scorched Earth’. Clay and matches. 31cm x 20cm x 8cm.
The primary material for the seventh show by the Dogma 19 Artists was plastic packaging.
The exhibition opened online on 8th September and closed on 4th November 2021.
Joana Passos 'Seaweed'. Acrylic sprayed clay and plastic. Dimensions variable.
Plastic waste is littering our oceans and threatening the lives of millions of marine animals. Microplastics are a major part of the issue. Microplastics are tiny pieces of plastic which come from larger plastics that have degraded over time. For this show I used plastic material to represent seaweed ironically.
Claire Michel 'Asphyxia' , Digital photography & text. A3.
'Asphyxia' is a reflection on domestic abuse.
Nicola Siebert Patel
Nicola Siebert Patel 'HDPE with blue'. Plastic milk bottle, acrylic paint, spray paint. 28cm H x 12cm W x 9cm D.
'HDPE with blue'
A plastic milk bottle painted in the style of oriental porcelain and China tableware.
China is the world’s largest plastic producer and a major contributor to single-use plastic polluting the oceans.
Fio Adamson 'Flytip'. Packaing and moss. 25cm x 70cm.
Earphone packaging implies sound, perhaps now empty of electronic equipment, it would be the buzzing of flies on a hillside or the roar of planes in war. The yellow grid packaging is for mangoes or papayas peeled and thrown out, and takes the viewer back to smells, flies and rottenness. Blue foil bug eyes originally covered chocolate sweets -not so sweet now. All the senses are evoked in this piece. Moss was used as packaging, padding and wipes for many centuries before humans invented toilet paper, dishcloths, nappies and sanitary pads, but now moss tends to send our thoughts to the mountains and moors, even to peat which is such an important carbon sink. Using rubbish and waste which is filling our planet and is made from fossil fuels taken from the ground, can attract, like flies, numerous ideas. A kind of rubbish tip perhaps.
Hamish Pringle 'Dendochronolgy'. Plastic milk bottles and epoxy glue. 11.5cm x 7cm diameter.
It doesn't take long to collect a trees-worth of plastic milk bottles.
Think how many years they endure in land-fill and the seas.
And what stories will they reveal to archaeologists of the future?
The primary material for the sixth show by the Dogma 19 Artists was books.
The exhibition opened online on 7th July 2021 and closed on 7th September.
Hamish Pringle 'Bibliophiles'. Paperback books. Dimensions variable.
Books feed off one-another and proliferate. Ideas cross-fertilise, are copied, modified, and re-purposed. The ideologies they express can give birth to religions, economies, and empires.
Joana Passos 'Birth'. Acrylic sprayed clay and book. 14cm height x 20 cm width x 20cm depth.
A book emerges from a ceramic cradle. It’s the evolution from clay tablet to printed paper. The foundations of civilisation built upon natural materials.
Claire Michel ''Insouciances Revisited'' Video duration 01’10’’ Technique: collage on a photobook.
'Insouciances' is a book by Reza Deghati, a celebrated photographer. It documents the plight of his subjects, while celebrating the moments of joy in their lives. Yet this photobook lay unopened, unread, and forgotten. Now the language of collage reactivates and re-energises these beautiful images, and forces another look.
Nicola Siebert Patel
Nicola Siebert Patel 'Liminal' Book with pages cut.
“To be born again,' sang Gibreal Farishta tumbling from the heavens, 'first you have to die. Ho ji! Ho ji! To land upon the bosomy earth, first one needs to fly Tat-taa! Takatun! How to ever smile again, if first you won't cry? How to win the darling's love mister, without a sigh?”
The Satanic Verses, Salman Rushdie 1988
'The Beginning Of The End
Endangered insects mark the place in a paperback edition of ‘Woman on the Edge of Time’ by Marge Piercy, forming questions not just of a single lifetime but of the whole stretch of life on Earth.
The artist as a young feminist was inspired by Piercy’s utopian vision and is horrified that humanity may not have enough time to reach it. In the novel the dream of utopia contrasts with the horrors of the heroine’s psychiatric incarceration and ultimate end.
Fio Adamson ‘'The Beginning Of The End' Paperback book, plaster, Binca fabric and embroidery silks. 25cm x 65cm x 10cm
Books cast in plaster are an accompanying dead weight and the insects are embroidered on Binca fabric, used by each new generation of children, to learn cross stitch at primary school. Will new generations suffer from our delay in noticing dangerous the loss of species and will it point to the ultimate end of our own?
The primary material for the fifth show by the Dogma 19 Artists was false fingernails.
The exhibition opened online on Monday 24th March 2021 and closed on 6th July 2021.
Joana Passos 'Scratched'. Acrylic sprayed clay and false fingernails. 17cm x13cm
In the continuity of my work on ceramics, I am, once again, trying to combine this material with another.
This time the selected material was false finger nails.
I tried to take the material out of its functionality, however they were still a decorative element, not essential for the survival of the base piece (ceramic).
On the other hand, it has significantly transformed its exterior aspect, making it difficult to recognise the materials used and what they represent.
Claire Michel 'Pinky Finger' performance video. 3minutes 15 seconds.
Women’s anxiety levels have been really high during the pandemic. They are overworked and have spent more time on unpaid childcare and housework over the past year than men. They feel the pressure of looking after both their home and children. And yet, they are expected to still look pretty and they have to stay desirable for their partner.
In this performance, a somewhat mannered and well-dressed woman with an elegant look right down to her fingertips is serving what appears to be coffee on delicate china cups. But, suddenly, she starts making marks with the black ink she poured down earlier on paper with her false red fingernails. The gesture becomes more and more accelerated.
Nicola Siebert Patel
Nicola Siebert Patel 'Imposter'. Mixed media. 12cm x 9cm x 9.5cm
'Imposter’ confronts us with the reality that most of the time and money women spend on their appearance is driven by societal pressure. Too often women are judged (and therefore self-judge) on their appearance, instead of their substance. The beauty industry does some ugly things.
Fio Adamson 'Insecticide'. Plastice and charcoal. 70cm x 40cm.
Insects are vital to the food chain and therefore to life. Insect life is disrupted as trees rot and fall, are uprooted by unnaturally high winds, fires and floods, or are cut down for human profit. Human connection to the natural world is lost as cities equally grow and plastics swamp both rural and urban environments. Women give birth and nurture the next generation, but they even stick plastic nails on their fingers.
Fio Adamson ‘Insecticide’. Graphite and mixed media on paper 76cm x 54 cm.
Hamish Pringle ‘On The One Hand…’ Limited edition digital print. 19cm x 19cm..
‘On The One Hand...’
To present one’s body au naturel and unadorned, or decorated and tweaked? To succumb to the burden of other’s expectations and desires, or self-determine and celebrate oneself? Are false fingernails merely a fun fashion accessory, or a sign of subjugation and sacrifice?
The primary material for the fourth show by the Dogma 19 Artists was hessian.
The exhibition opened online on Tuesday 30th March 2021 and closed on 23rd May 2021.
Claire Michel ''The Ghost Of My Memory'.2021. person wrapped in hessian. Black gouache and string.. Dimensions variable..
‘'The Ghost of my Memory’
This work represents the sensation of being trapped by people from our past - be it by ancestors or old encounters.
The wrapping of the person is not clear, imparting an element of mystery to the work. It could be anything wrapped in the hessian and tied with string. The black faces evoke old sacks used for coffee beans. This is a memory parcel.
Nicola Siebert Patel
Nicola Siebert Patel 'Shame' ' 2021. Sackcloth, ashes, plate, knife, and fork. 22cm x 22cm
Eat out to help out coronavirus 50% off scheme begins. Covid deaths and obesity. Brexit food supply fears grow. Free school meals firm apologises over small parcel. Government changes decision on free school meals. Run eat out to help out again says takeaway giant.
Fiona Adamson ‘Plague’ 2021. Hessian and mixed media. Dimensions variable
A white woman’s head carries a plastic basket, rather precariously. A somewhat bloated locust tops the assemblage, implying not only an epidemic but also the historical and current roles of women, colonialism, power, and the biodiversity and climate crises.
Hamish Pringle ‘Commuted’ 2021. Hessian, paper, photographic collage. 50cm x 50cm.
Decades of ‘presenteeism’ have been dismantled by lockdown. Enforced flexibilty has enabled a far better blend of home and work life. Significant money and time has been saved, and productivity may even have improved. Parenting can be more easily shared. However this sudden and massive shift has created a crisis in the city. Companies are shedding office space, and commuter-dependent businesses are in turmoil.
Joan Passos ‘Trapped’ 2021. Clay and hessian. 60cm x 30cm x 20cm tbc
This piece comprises two materials with contrasting qualities. Their distinct and particular attributes speak two different languages of plasticity, and evoke very different meanings.
However, when manipulated using the same gestures, these disparate materials respond in complementary ways. There is a sense of belonging. An attractive force is created trapping one material within the other, freezing a moment in time, and becoming one whole body. These mirroring forms create a unity.
The primary material for the third show by the Dogma 19 Artists was wire.
The exhibition opened online on Tuesday 15th December 2020 and closed on 29th March 2021.
Joana Passos 'Brush' 2020 8cm x 22cm x 15cm clay and wire.
I am interested in objects, essentially domestic ones that are used for decades, but don’t play a big role in people’s lives. They are just part of unspoken human preoccupations.
Representing such an object with materials that make it impossible to use raises questions about its reasons for being.
Claire Michel 'The Moon Is Still Warm' 2020 video 00:34
'The Moon Is Still Warm'
The moon is still warm, there in the shadows of your faces.
The refreshing wind is moving you and making you dance
on our moonlight drive, making you aware of my presence.
I reach out for you, but you don't seem to care.
You just want to dance freely, completely unaware.
Nicola Siebert Patel
Nicola Siebert Patel 'Ventilator' 2020 Wire 25 cm high x 36 cm wide x 21 cm deep
The theme of breathing seems especially highlighted in these
times of Covid not also forgetting the much-publicised last words
of George Floyd ''I can't breathe''. A ventilator is a machine which
saves lives by helping the patient to breathe. The wire ventilator is
breakable and fragile. Ventilators need to be plugged in in order
to function, therefore 'wired'.
Fio Adamson 'Winnow' 2020. Video 05:53
This video was made under lockdown conditions, a
circumstance that provided extra constraint in addition to agreeing a material. The piece takes inspiration from the New Zealand artist, Len Lye. The wire objects are fine and light and their quiet landing, whispering and interaction are reminiscent of the activity of winnowing, where chaff blows away from grain as it is thrown into the air. The slight quavering of the video imparts an atmospheric noir quality.
Hamish Pringle ' ‘If I can still see, I can see a way out.’ Lockdown series 2020. Styling and photgraphy Vivienne Pringle. iPhone charger cables. 40cm x 25cn x 25cm
'If I can still see, I can see a way out'
This work was inspired by the fact that we chose wire as our primary material and is the second in a series which expresses glimmers of optimism in a dark time: rarely has the process of attrition in nature, society, relationships, and language been so abrasive. External pressures have been exacerbated by self-generated ones. We are enmeshed in communications which both enrich and imprison.
The second Dogma 19 Artists exhibition focused on tracing paper. It was held at CASS Art Space, Kingston, London in March 2020
Hamish Pringle 'Crop Trace' March 2020 250cm x 92cm
Hamish Pringle 'Tractor Trace' March 2020 250cm x 92cm
Hamish Pringle 'Road Trace' March 2020 250cm x 92cm
Each work comprised two layers: a sequence of four photographs of the same subject reduced progressively by 25%, overlaid on a sheet printed with my hand-written text about the journey depicted. The tracing papers were fixed to each other by grommets at each corner and weighed down to prevent curling by a stone with a natural hole, created by boring molluscs over millennia.
Joana Passos 'Immersion' 1-3
March 2020 30cm x 40cm
Joana Passos, 'Traces' poster February 2020
I wanted to create the opposite process, that I usually use in my work. I took the
materiality of the rubber and cement sculpture, and transformed it in a 2D work, with transparency and the use of overlapping images. The objecthood very present in my work was
brutally removed through the use of tracing paper. Challenging the viewer to visualize the physical piece in their mind, without ever seeing the piece in 3D.
Claire Michel 'Disappearance' 1-4 March 2020 143cm x 30cm
My drawings explore gender, binary models of good and evil. I seek the uncanny within my creatures and forms. Here, I played with the transparency of the tracing paper and the versatility that watercolour offers.
Fio Adamson 'Traces of String Theory' March 2020 73cm x 96cm
'Traces of String Theory'
Memories of childhood, the intense excitement of learning in primary school, and the sketches of memory generally are captured in hardly visible webs. These spiders are the ghosts of friends now lost in time and of dew-covered grasses where we played. Their eight legs and fat bodies spin tales as well, of scuttling, of beauty, of dust and shuddering.
I use creatures from nature to remind the viewer of our the emergency threatening our environment and how it ties with their own experience.
Nicola Siebert Patel
Nicola Siebert Patel 'Excerpts from my Great Grandfather's Diary' March 2020 190cm x 30cm
Nicola Siebert Patel 'Sympathy for the Devil' March 2020 90cm x 30cm
'Excerpts from my Great Grandfather’s Diary'
I chose various sentences to trace from my great grandfather’s diary from the 1st World War. The sentences I chose I found particularly haunting, reminding me of the atrocities of war and what man is capable of.
'Sympathy for the Devil'
Continuing the theme of threading cotton through tracing paper, this piece is intended to be more light-hearted. I traced the silhouette of my daughter, adding horns inspired by an image of the devil from Tarot cards which came into my possession.
The Crypt Gallery, Euston, London November 2019
The primary material for the first show by the Dogma 19 Artists was cement. This material was chosen in the context of the curatorial theme of 'Immurement', the site, which was the underground crypt beneath St Pancras New Church, and our desire to explore a medium new to us which would enable relevant and innovative responses.
Nicola Siebert Patel
Nicola Siebert Patel 'Hobbled'. Installation view at ;Immurement' at The Crypt Gallery, and studio shot by Nick Manser November 2019 36cm x 34cm x 9cm.
Working with the title of 'Immurement' (to confine) and the chosen material of cement. I created this work by casting layers of cement into a cardboard box and burying red rams horns in the top.
The cement was covered in (imitation) gold leaf leading to a play on materials.
Hamish Pringle '101 fear and ...' Installation view after participation at ;Immurement' at The Crypt Gallery and studio shot by Nick Manser Nov2019 55cm x 51cm x 33cm
'101 fear and...'
To the parameters of the Crypt Gallery site, the curatorial theme of 'Immurement', and the Dogma 19 choice of cement as our material, I added a fourth: participation. Visitors to the Private View were invited to write a word on a wooden tongue depressor representing something they feared or loathed, and then bury it in wet cement.
Joana Passos 'Pillows Talk'. Installation view at ;Immurement' at The Crypt Gallery, and studio shot by Nick Manser November 2019 `8cm x 40cm x 25cm variable
I decided to lean on the historical facts about the crypt and create these cement pillows that represent all of those who were forced to find shelter inside these walls, who slept and suffered in this space for who knows how long. Through the shape and form of these pillows, I try to tell the stories of these men, women and children, imagining those long and endless nights, absence of comfort, rest, and maybe even sleep.
Claire Michel 'Grounded'. Installation view at ;Immurement' at The Crypt Gallery, and studio shot November 2019 70cm x 25cm x 18cm variable
The starting point for Grounded was that the Crypt Gallery was used as a raid shelter during both World Wars. These prosthetics legs are quite old and were used on amputated soldiers. The fact that the legs are embedded in cement show the immobility that the soldiers had to face upon their return.
Fio Adamson 'Saint Barbara'. Installation view at ;Immurement' at The Crypt Gallery, and studio shot by Nick Manser November 2019. 120cm x 17cm x variable
Saint Barbara (possibly the original Rapunzel) was a Roman lady whose father objected to the Christianity she was devoted to. She refused suitors he brought to her and only wanted to serve the poor. So he shut her away in a tower.
The story is a symbol of the millions of women over the centuries who have disobeyed the patriarchy and been hidden in psychiatric hospitals, in prisons, in hovels and in caves because they refused to toe the line.
Asked to create site specific work I was taken by the dungeon-like atmosphere of the crypt, and learnt that the early feminist, Mary Wollstonecraft was a parishioner. In stark contrast I thought about the freedom of being in the lightness and brightness of a sunlit beach and made sandcastles in concrete to pile into a tower.