“Cut, Torn & Mended is an online exhibition which celebrates the contributions of (m)others to the collage community. With a range of different styles and techniques, this exhibition allows us to explore the diverse ways in which contemporary artists use collage in their practices. With many of the artworks for sale at affordable prices, it is a wonderful way to add to your collection and support these wonderful artists to continue making.” Lauren McLaughlin, Founding Director.
To accompany the exhibition is a limited edition Cut, Torn & Mended Zine. A5 (210 x 148mm) Full colour zine, 42 pages, perfect bound with laminated silk cover.
Each zine includes an A3 full colour cut-out sheet so you can make a collage inspired by the exhibition!
Pre-order your copy before 21st May and get 20% off with the code COLLAGE20. You’ll get it for £8 instead of £10.
There are 30 artists featured in the exhibition. My piece is within the Mended section. The artists include:
Adele Annett, Amy Whiten, Alexa Mazzarello, Alexandra Kiss, Ashley Fotheringham, Beverley Hood, Diana Salomon, Ellie Shipman, Emily YCL, Jan Ferguson, Jennifer Milarski-Stermsek, Jessie McNeil, Jodie house, Kate Cameron Reid, Kate Marsden, Kathryn Rodrigues, Kim Hopson, Kirsty Whiten, Lauren, Evans, Lynn Murphy, Megan Jacobs, Montserrat Serra Nonell, Rebecca Clouâtre, Sally Butcher, Sana Burney, Sarah Shotts, Sharon Lee Hart, Sheree Mack, Twiggy Boyer, Yagama.
A Visual Journal Spread from The Country Journal of a Blackwoman (Northumberland), archive
Right now my practice is on display within The BALTIC: Centre for Contemporary Art.
As I was out of the country when the group exhibition, Hinterlands, launched on Friday 22 October, 2022, I managed to get into seeing it after such event the following week.
I really didn’t know what to expect as you visualise the end result, the culmination of months of hard work, dreaming and winging it. But to actually see it all come together in a white cube space is another thing.
I visited my archive last week, with my daughter, excited and nervous and unsure. I got to see The Country Journal of a Blackwoman(Northumberland) exhibited on level 3 of The BALTIC. I was shocked and surprised to see my work out of context within this space. It was an emotional as well as nerve wracking experience.
Because of my absence, I had to leave instructions about the installation as well as extensive notes and labels for each art piece. There are about 50 items if not more within this creative archive. It’s to be expected that things got lost or mislaid in translation. So my focus for this trip was to make sure everything was how I wanted it to be.
After some discussion and sending of correct audio files, everything is now complete and as I want it to be presented to the world.
I’m not sure how I feel that during the launch of the whole exhibition, that things were wrong or missing. But I do know that after seeing everything in terms of my contribution and making things right after my visit, I felt great relief and was able to enjoy the achievement. It was also weird to be there at the same time as seeing peel interacting with my work. I’m not sure I want to have many experiences like that as their reactions did affect my state of mind, pride and achievement. And it would be very unsetting, I feel, to be there and witness someone laughing and disrespecting my work. I think this is something I need to gain a thicker skin for. But right now, my skin is thin for a number of reasons, tat I might explore here in time.
I know I have to return now, to take in the rest of the group show as well as the rest of The BALTIC’s exhibitions for this season, as this is a strong presentation.
I’m honoured to be showing at the same time with them.
Of course more reflection and images to come around this achievement.
HINTERLANDS 22 October 2022 – 30 April 2023, BALTIC: Centre for Contemporary
I just had this brilliant idea. I just shared it on my Patreon Page .
Have I mentioned here that I go on a residency tomorrow to the Cornwall Zine Library@ Fish Factory Arts?
Anyhow, for this coming week I’m going to be in residence and I thought it might be a good idea to share the experience over on Patreon with my supporters.
When Petrified Trees Stand Up and March Into the Sea
I carve out solitude to wander wide open shores
sanddunes, pebbles and wooden limbs
Submerged a forest of trees so tall they flowed above the clouds
what we cannot control, we destroy and call it progress.
We advance like the tide to claim what we have no right to claim
concrete blocks, seaweed and dead seals, emerge from frothy waves and marram grass.
unseasonal storms uproot ancient trees while manmade concrete lines remain in tact in place in defence
here a legion of foreign bodies marched to expand an empire, build a wall then leave it to moss.
Bizzing dragonflies, shrubs of wax mirtle and the coconut vanilla scent of golden gorse
Some day soon all this will be gone,
gorse, grass, concrete wall,
washed away like blood as the sea returns to the source,
returns to where it belongs.
There’s a small hamlet, Low Hauxley nestled behind sand dunes along a long and quiet stretch of sandy beach on the Northumberland coast. Here along the high tide line stumps of an ancient forest are visible.
It is believed the stumps were preserved by peat and sand and are believed to date back to more than 7000 years and are the remains of Doggerland- an area of bogs, marches and forest that connected the British Isles to mainland Europe.
Archaeologists have also uncovered animal footprints and it is believed red deer, wild boar and brown bears would have roamed ancient Doggerland forest.
These petrified trees. This really blew my mind.
My name is Dr. Sheree Mack. I’m Creatrix : she who makes.
My practice manifests through poetry, storytelling, image and the unfolding histories of black people. I engage audiences around black women’s voices and bodies, black feminism, grief and healing, nature, identity and memory.
I advocate for black women’s voices, facilitating national and international creative workshops and retreats in the landscape, encouraging and supporting women on their journey of remembrance back to their bodies and authentic selves. This journey is supported and recognised by Mother Nature.
I’m the founder of Earth Sea Love, which is a social enterprise, offering opportunities to People of the Global Majority living in the north east of England to develop a deeper connection with/in nature.
The Earth Sea Love Podcast has developed out of these experiences and aims to change the narrative around who has a right to have a relationship with nature. I’ve recently been writer in residence for Northumberland National Park Authority. A black-led nature project I will add. At the moment I’m Creatrix in Residence for Hadrian’s Wall part of the 1900 years festival.
My Practice is a Healing Practice.
The Practice of ::SLOW:: is how I engage with my work and the world. Living within White Supremacy Culture, we are indoctrinated into certain principles and practices which benefit the few rather than the many.
Leaving aside racism and the systematic destruction of Black, brown and indigenous peoples, White Supremacy Culture, perpetuates the pursuit of perfectionism, product over process, and quantity over quality, to name but a few.
This means that the majority of us live our lives at speed, with a greater sense of urgency, with feelings of never being or doing enough, resulting in reduced contact to ourselves, our intuition and inner wisdom.
Slowing down supports me on my journey back to self and ultimately self-love and healing. Being and walking with/in nature teaches me how to slowdown and pay attention and just be.
Nature shows me that there is an abundance rather than a scarcity. It is through these practices that I fell in love with nature.
Nature and I are connected. We are one, therefore falling in love with nature, I fell in love with myself. This in turn means I turn up in life, in connection with others not only as a better version of myself but in a better place to offer love to other people.
I wasn’t really sure what to expect about this event or what I was going to share. But on reflection now, I’m so glad that I was invited to take part because I learned so much about peatlands within the UK, around the world and the special place they hold within the global climate crisis.
So much of my language around nature and the environment has been formed through white supremacy culture which has been biased on colonialism and imperialism and capitalist consumption. And of which I am at great pains now to unlearn and find a new language or it is just a re-memory of the language of my ancestors where there is no separation between us and nature.
Something that was raised last night by Khairani Barokka, which was totally new to my knowledge and way of thinking was that within indigenous communities gender was much more fluid and diverse. The binary system of male and female/ he and she which we take as a given now, as the norm, is a construction and part of the colonist program.
That the idea of “the coloniality of gender,” which might have seen the binary gender system in Europe but was not the case for indigenous populations around the world who were brutalised, moved off the lands and eliminated through genocide. This is going to require more reading on my part but it will be completed eagerly as it’s more evidence of how this system to live and breathe is a construct of power for a few white people over the rest of us all.
When asked what I do, for a few years now I’ve replied by saying, ‘I’m Creatrix.‘
The bio I send out when requested reads as: “I’m Creatrix : she who makes, with a practice which manifests through poetry, storytelling, image and the unfolding histories of Black people. I engage audiences around Black women’s voices and bodies, black feminism, ecology and memory, nature and wellbeing, trauma and healing . I advocate for Black women’s voices, facilitating national and international creative workshops and retreats in the landscape, encouraging and supporting women on their journey of remembrance back to their bodies and authentic selves.”
But what does ‘Creatrix’ mean as it’s not a term that is in wide circulation? I know when I use it, it raises questions in others. Some are brave enough to ask what does mean, while others are happy the remain in ignorance and apply whatever labels to me they wish.
Creatrix: she who makes is what I call myself because the labels that others have put on me, or even as I’ve tried to define myself in the past, are just not good enough, or expansive enough. I’m more than just a writer, or artist, facilitator or teacher. I’m so much more than what I do in the world or produce. I’m more so interested in the person I am, who I be.
Creatrix originally is defined as a writer, an authoress. Therefore female. But now, the term Creatrix has come to mean, for me, anything that and anyone who is creative. My whole life is a creation, and so is yours. How I express my creativity is multifaceted and diverse. Yes I show up at the page to visual journal every day, but I’m also creative when I decide how I’m going to spend my time each day, what I wear, what I eat, and how I show up in the world.
Creativity is not the exclusive realm of writers, artists or musicians or dancers. I believe that everyone is creative but due to the society and culture we live in we are socialised into repressing it, conditioned into devaluing our natural, innate creativity and in the process move further away from our true selves. Being creative, consciously creative is being in communion with the Self, again another practice which is not really valued or taught within this culture ( white supremacy culture, I’ll add).
Me using and adopting Creatrix to describe myself to others is me reclaiming agency, it’s taking back control and power over how I’m defined, labeled or seen by others. I’m a person made up of many parts, personalities and responsibilities, skills and capabilities. And I bring them all to every situation/experiences/ activity I partake in. I attempt to be whole. I’m becoming whole.
Showing up more and more whole, more and more in my own power and authenticity is a practice. Being creative is a practice. It’s my constant reminder of who I be, not what I do, but who I be.
“A Creatrix is not simply a performer or entertainer – though these are the elements of what she does – she is a dedicated shaper of consciousness and energy, a culture weaver, a dreamer and midwife of new worlds. She is an asker of uncomfortable questions and a liver of taboos.” Creatrix: she who makes by Lucy H Pearce
This is what I wrote in my application, really not knowing what I was going to write when I came to the page:
Activity Description (long version): “The Creative Way is a process of gathering the bones and then breathing life into them”.
Taken from the text, Creatrix: she who makes by Lucy H Pearce, The Creatrix in Residence of Hadrian’s Wall aims to explore two vital components within this project.
The first is to be like a Palaeontologist, digging down into the different social, cultural, political and physical strata of Hadrian’s Wall to unearth the hidden bones of stories yet to be told a round creative women and people of colour. The second it to getting down to the bones of the creative process itself; documenting the magic that happens when an individual decides to accept the invitation to embark on the journey of creativity, into the labyrinth of the bodymind.
“For women poetry is not a luxury. It is a vital necessity of our existence. […] Poetry is the way we help give name to the nameless so it can be thought. The farthest external horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives.” Audre Lorde, Sister Outsider
Running parallel will be a shifting through the bones; the bones of lives from the past, lived lived along Hadrian’s Wall along with the bones of creativity so a more solid and understandable shape will emerge around the process of owning the power to create and transform.
From April, for a year, the Creatrix in Residence of Hadrian’s Wall will claim space and time at different places, sites and events for a minimum of two Wednesdays per month. In addition to these visitations, public walks, workshops and creative events will take place to share stories, practice and the Creative Way.
Activity Description (short version): Creatrix in Residence of Hadrian’s Wall is a experimental, experiential creative project exploring the strata of life, shifting through the bones in connection to the Wall as well as The Creative Way itself.
Living Wild Studios 