I love colour. Colour brings me a lot of joy. Red is usually my go to. Brown used to be my nemesis. But through use and practice I have learned to work well with brown now.
But purple is still a stumbling block. I’m not sure what it is with purple. It’s a regal colour, a symbol of power. But it just doesn’t do it for me.
It might be its sense of power that might be just too much for me. Too powerful.
Anyway, I was determined to worked into the colour purple today. Different shades of purple, to build up some layers, working it toward a pink palette. This sat better with me, for me. Made it easier on the eye and heart to be with purple.
Laying down the colour field, the piece felt flat and incomplete. Adding black and white lines worked for me. Gave me something to hang a feeling on.
What’s one small improvement you can make in your life?
I’ve been noticing how my work/ being has been reactive. There’s been a sense of scarcity and time urgency that’s been guiding my thoughts and actions. There’s been a hopelessness. Because some incidents are out of my control but which have impacted me. There’s been feelings of not being appreciated, feeling a lack of trust and working without purpose, moving away from my core values and moral compass.
I might have been using food or drink to numb my way through the shit. Through the ‘work’, not allowing myself to feel and be present. Really present to all the feels.
Do you feel me?
I know I need to take a step back and really look at the life I’ve been living. This is the only life I have and cannot be relived. I have a deep desire to change the system. To abolish the system and live otherwise.
And yet in order to change the system, I have to change my life, how I live my life. The way / how I live has to reflect the way/ how I want the world to be.
What does this mean in reality?
How I am just as much as what I do within the system will have an effect on system change. I have to be living my life with intention and purpose. Making sure I’m living my values, that I’m not compromising my integrity. That each decision I make is coming from that place of love and trust and hope.
That I’m not shutting down but open to togetherness but also trusting my gut that when I say ‘no’ it’s not from a place of malice but from a place of capacity and boundaries.
I’m learning, I’m sharing and I’m growing. Alone and in collaboration.
And I’m feeling and shifting into the practice and recognition that this is coming from a place of love and care rather than exhaustion and pain.
Small steps. Small acts. Small makes up the large. Small scales up to large.
I’ve got to be practicing the world I want to see now in my own life. Daily. Practice.
Love not hate.
Cooperation not competition.
Conversation rather than condemnation.
More care less harm.
More listening less violence.
The turn towards Mother Nature rather than against her.
A recognition in the value and worth of every human being regardless of race, class, gender, religion, ethnicity, age, sexuality, body type and body and mind abilities.
I go to my local probably about once a week if not more. I was brought up next to a library, in Bradford and in Newburn. They were places I could go to for some sense of freedom and adventure.
The librarians knew me and would recommend books to me and events. They wouldn’t rush me, I was welcome to stay as long as I wanted.
Today, I love to pop in to see the book sales at my local libraries. As I have a few on my doorstep now. I flit between them, collecting worn and torn books that I repurpose.
I was brought up to know it was ‘wrong’ to write in books. They were sacred in our home. Probably because we were poor and if we bought books, usually from the indoor market in town, we knew it was money we couldn’t afford to spend on books. But my parents spent it anyway, as they valued books, learning and education. It was our way out of poverty.
I wonder what they would say now, if they saw what I did to books?
10p is all I pay for big, colourful children’s books, withdrawn from library stock. I have to feel the paper first though before I buy them. Even if only 10p, too shiny the page and the paint won’t grip it as well. The paint just swirls around and doesn’t stick.
I like my pages rough and matt finished. Ready to absorb whatever I put down on it.
This sketchbook was my side hustle for the last month. Side hustle to my main creative sketchbook. Here I just lay down colour and see what happens.
I like when what’s underneath the paint bleeds through. I like when the different layers of paint and pencil and pen bleeds through to the surface too.
It’s like a palimpsest. The marks beneath is the feeling I’m after. The haunting, the trace, the evidence of time and the passage of time. The archive is present now.
Visual journaling in community is always time well spent.
Even if it’s their first rodeo, to witness the freedom, the mess, the expansion as paint meets paper meets card. Bliss. Magic. A gift.
Walking out with their own visual journals clutched close to their chests, promising to carry on the practice themselves, now they’ve got the power within their hands, hearts and soul.
A job well done any time the visual journaling practice is passed on.
I do believe it makes us better human beings. Better to each other and ourselves. Softer, caring and well-nourished.
With it being awards season and all, I felt called to watch Sinners again. This might have been my fifth or sixth time. I’m sorry, I’ve lost count. It still hasn’t lost its magic. The film just keeps on giving for me. To me.
This time, I’m struck by how many times freedom is mentioned. How to get free? How to be free? How to protect that freedom?
I think Sinners explores the price of freedom. The price of being free. There’s always a cost for attempting to live life on your own terms.
From the beginning, we might be introduced to sharecroppers, working for the white men, still on plantations. But this will be a self-sustaining community. More than bodies for working on the farms, the land they do not own. But they have each other. Each character is developed at the beginning of the film. The viewer is allowed to get to know them and see them in their element. They be vibrant and they be fixing to be free. Free from the restrictions of white supremacy culture, capitalism, patriarchy the whole shebang. And this isn’t without pain but also joy and laugher and love.
Sinners is what happens when a community, when people are living their own lives and are infiltrated by others, who want what they have. Outside threats come to ruin the day. Vampires come and covet what this community has. Sammie. Sammie has a gift, the gift of music that connects him with all ages. Griot.
Delta Slim’s says, “With this here ritual, we heal our people. And we be free.” This is the power of music and how a community can tell their stories through music. And outside forces, in this case vampires, who hear, see, realise this power, are threatened by it as well as want it. Want to control it take it away from this black community who are gain strength and sustainance through it all. And be free.
Sammie’s gift, the music, the very culture needs to be/ has to be protected from these outside threats at all costs. As culture, its very existence is threatened from being sucked dry by the devils coming tonight.
So as a people, as black people, we do whatever we can do to tell our own stories, protect and preserve our music, our culture as through this we heal. And we be free.
This is one of my favourite images from my extensive collection.
I know exactly when and where it was taken. Westfjords Residency, Iceland, Feb/March 2017.
This was my go to breakfast. Coffee, cornflakes and Skyr, Icelandic protein enriched yogurt. I love the colours, the composition. The items included. But most of all, I love the memories and feelings just looking at this image evokes.
It takes me back to that time of wonder and discovery during my second time to Iceland. A residency I gifted to myself, writing the application while teaching temporally; frustrated, longing to get out and create.
I stayed for two weeks in the shadows of the mountains, knee deep in snow most days until the thaw came with some greening of the landscape.
I didn’t know what the fuck I was doing there back then. I just knew in my body that I needed to get away, gain inspiration from the landscape and {BE}.
I might not have completed much when I was out there, but I know when I returned the experience shifted my creativity and how I saw myself as a creative.
I saw glimmers of the Northern Lights during this retreat. Pale creamy wisps and trails in a dark navy sky. It was magical and a mystery.
This makes me think about my art-making practice and how most of the time I’m working in the dark, moving out of my comfort zone into the unknown, looking and listening hoping to catch a glimpses of magic and mystery in the process.
What’s created on the page, like this photography, is an archive, a record which when looked upon brings to the surface all the memories and feelings of the process, the experience once again experienced to the full with wonder and a smile.
This was quickly followed with the writings and (re)drafts of Darkling, my poetry/hybrid collection published in October 2024.
After this 2025 has been a period of extended rest and refusal.
But something has been niggling me. The desire to create with paint again. the desire to play without expectations and outcomes/ products.
I’ve just scratched the itch through scrolling through Pinterest. Adding another abstract or landscape painting to a board that I’ll probably not look at again.
But it satisfied this niggling feeling. Until it didn’t.
It was going back into the classroom. Completing a few days of supply that pushed me over the edge.
The time I gave away for money. The time I’d lost pursuing my own pursuits. And realising that I wasn’t pursuing all the pursuits I wanted to pursue in the time I had/have.
So out came a creative sketchbook, inspired by the 30 days sketchbook challenge created by Cheryl Taves over at Insight Creative.
This is as much as I’m willing to share for now about the challenge, my creative sketchbook, processes and insights.
One of my rules is that it’s just for my eyes only. I want to see how this rule changes my practice. I want to create without fear but with curiosity. I want to give myself all the freedom without worrying about what others will think or say or comment on.
It’s not like I’m hanging on other people’s responses and reactions but I have gotten into a habit of just sharing anything and everything on my blog and I’m curious to see what happens when I keep things to myself.
Just for my eyes, heart, and soul only.
So far I’m enjoying the process of the challenge and I’m reflecting and paying attention to what makes my heart sing, what’s my creative vocabulary, what pushes my energies.
Do doubt whatever I explore within my creative sketchbook will be showing up in everything that I create. In everything who I {BE}. For sure.
So I said I would be back to share with you my current visual journal. Coming into the mix at the end of May after a weeks of zero colour, my soul and creativity were craving colour and space. A large space.
So I went back to Flying Tiger and purchased the A3 sketchbook I failed to purchase a couple of weeks before. The paper inside is creamy and reminds me of sugar paper from primary school. It’s a rough and ready kind of texture, rustic and low maintenance. Not too high quality to raise the fear levels of making mistakes or not being quite so perfect.
I’m been enjoying preparing the pages with colour. Throughout my day, I have the journal laid out on the table in the corner of my bedroom and when I walk past, I choose 2, 3 or 4 colours from my collection of little bottles of acrylic paint and make generous dollops on the page.
Then I bring out my trusted old faithful, the disused bank card and smear that paint around. This calms my nerves, stills the worries and brings me joy. I love how the different combinations of paint play out together on the page. It’s a true collaboration.
I know this journal is far too big to be carrying around with me as I go about my business outside: sea swims, coffee meets, trip to London at the moment. But still I carry it with me, enjoying tucking it under my arm or carrying it pressed against my chest.
Sometimes, as happened today, stray streams of paint, still wet and sticky, collect within the seams and edges of the pages, transferring to my fingers, smearing on my coat and t-shirt. Today, it was bright turquoise and sandy brown that ended up on my hands and clothes by the time I reached the metro station to get to Newcastle Central Station. I really couldn’t be annoyed as it goes with the territory. You play with paint and you’re bound to make a mess.
But I don’t care because I feel and know in my heart and gut that I’m making a whole heap of mess within my visual journal because that’s how I make sense, make joy, make a way for me to navigate through this world on my own terms.
It was so good to have a deep dive into my practice, my work around fugitivity and refusing to perpetuate white supremacy culture. And it was all welcome at Feral Words. Nothing off limits and it was so liberating to try and make sense of all the concepts and ideas and feelings that are circulating within and without of me at the moment in time. A very disturbing time.
Living Wild Studios 