
I am not my past.
I am not my mistakes.
I take these lessons with pure heart and abundant gratitude.
I am safe and I am loved.
I know my ancestors, my guides and angels are working with me not against me.

I am not my past.
I am not my mistakes.
I take these lessons with pure heart and abundant gratitude.
I am safe and I am loved.
I know my ancestors, my guides and angels are working with me not against me.

My works are propositions, meant to create alternate pasts and potential futures, questioning history and culture in order to provide a space for reassessing the present. – Firelei Báez
Describe one positive change you have made in your life.

It’s a luxury I know. It’s probably frowned upon. It’s probably not seen as productive within white supremacy culture. It’s probably classed as dangerous. I know it’s where the best insights happen.
In the morning. In my bed. In a book (non-fiction at that).
As I mentioned yesterday, I’ve taken to my bed. Well really, I don’t leave my bed, in the morning, until I’ve had a thorough lazy read. A slow imaginative wandering through my current squeeze of a book.
A Nation of Strangers by Ece Temelkuran, an exiled Turkish author who is unhomed but can see how we’re all becoming unhomed , one way or another, due to the rise of fascism.
Climate refugees, political dissenters, people seeking asylum from persecution, may be where our minds go when we think of the homeless. And yet, within these times of far right practices, war and genocide, the silent majority may still be in their homes but feel no longer at home.
Home is no longer what we knew it to be. Home is no longer safe and stable. Home is terror and fear. Home becomes strange. We become strangers and unhomed.
Some of us have never felt at home even when we have made our homes here in the UK as the message has always been we’re not welcome here. We do not belong here. Even if born here.
We search for a language to talk, to share our feelings and experiences of being a stranger within our own lands. It’s a practice.
I continue to practice reclaiming my mornings. Reclaiming the slow rise, reclaiming the time and space to read at leisure. Finding some refuge, some peace within a cocoon of sheets and pillows. Warm and cosy and safe for now.
“When Brian asks me about the word exile as we sit in front of the audience, the words come out of me as if a film ribbon were spooling off its reel.
‘Let me list why this exile thing is no longer plausible and, in fact, already a stale joke. One: Exile is not as sexy as it has been, despite what some still want to assume. I know Westerners still like to think of Europe as the safe haven for the oppressed intellectuals of the Global South, but that is giving too much credit to Europa when thousands are pushed back into the sea to die. Putting the spotlight on “the exile” to divert from “the refugee” operates as a crisis management tool, if not a branding strategy for Europe’s self-image. The Europeans’ need to believe that the continent is still a civilised haven is as critical as the refugees’ need for safety. Two: Exile is a title of nobility that generates undeserved attention. The undocumented refugees, the precarious majority of the unhomed, don’t even get a chance to relay their name so it can be put on their tombstone, whereas an exile is asked too often. Alas, many of us accept the invitation to go on and on about ourselves. We are the boring windbag aristocrats of the greater society of the unhomed. Three: The title exile gives you only two chances in life – you are either kept hostage by your personal melodrama or enslaved by the constant urge to reject your tragedy. Life cannot be diminished into such an unending test of dignity, and it certainly cannot be confined to the limits of the self. Four: If one accepts the title exile, one can never arrive home. But the fifth and the most important reason is …’
For a split second, I catch a glimpse of the listening faces. They are mostly activists, people who are already at work to build a new world, a new home. And it is hard to put your finger on it, but when you know, you know – they are with me, we are in sync. Also, now that ‘the most important’ has already escaped my mouth, I am at that delicious moment of no return. I gear up.
“Yes, the most important reason is that you are no different than me. Do you, I mean, let’s be honest here, do you really think you are more at home than me? Of course not. Otherwise, why would you, as beautiful human beings of the earth, be trying to change the world and talk about building communities all the time? Why would you imagine shelters from, rather than movements against the new fascism building around the globe? Don’t you think there is already a sense of defeat there? Aren’t you already admitting that the world is not your home anymore but a hideous jungle from which you need to seek shelter? Yes, we are many in our discontent, but still, we cannot make enough of a majority; we cannot shape the political reality into a new home. We are not powerful enough to make this world our home again, not yet. From where I sit, you are no less homeless than me. Or, if you like the word better, we are all exiles already. Misfits, outcasts, the displaced and the disowned. We are the strangers of the world”Excerpt From
Nation of Strangers
Ece Temelkuran
you’ve just got to start again. Begin again as if day one.
Day one. And it’s all about the colours.
It’s about laying the groundwork so when there’s an upsurge in energy, it’s ready to receive.
New visual journal from altered novel.






after Danez Smith

let this be the healing
the out of time and space
to flow back to the source
of love & care
let this be the honey to the wounds
the joy within the unknown
the hope to survive
in the mouth of the dragon*
let this be the refusal
the movement underground
to protect our vulnerabilities
let this be the healing
*a line from Audre Lorde’s ‘ The Transformation of Silence into Language and Action’ in Your Silence Will Not Protect You.

This weekend we’ve had the light. Having the light with a bit of warmth makes a difference. To the mood. To the outlook.
This March I’m seizing the light and going to work behind the scenes on a project I’ve been putting off but one which is close to my heart.
I’ve been divorcing myself from big tech, rich oligarch run social media and platforms. I’ve been going more analogue than digital. And I’ve definitely been refusing AI.
This month I’m working on my archives. The archives of this website. These blogposts. So that my legacy, this work and practice lives on beyond WordPress, beyond myself. Beyond the internet.
I’m taking ownership of my creativity and taking records. Backing things up, creating a trace of my presence here which isn’t dependant on technology.
This is gonna take some time, so I’ve taking the time away from posting here to archives there.
I’ll be back though. Soon come.
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.

First time working on canvas for about 3 years! It was good to play without pressure or to demand.
It was good to just let go and see what happened. Jumping int the unknown is getting easier with practice.
I found working on 2 canvases at once made them less precious, less important.
I suppose it’s that ‘not putting your eggs all in one basket’ mentality.
It was good to let go of control and the fear. I suppose this is the only time I chose ‘doing’ over {BEING}. When creativity is involved!

Yesterday marked 50 days of my creative sketchbook practice. 50 days of consistently turning up to the page to play and experiment.
What I’m learning is that I can trust myself to turn up for myself. I’m learning that my practice muscles can be strengthened. I’m learning that I love creating colour fields. It like what I create with visual journaling but different.
Here with these colour fields, there’s layers built up and then stripped back. Marked into. Scratched away to leave textures I like to see and feel. This practice is definitely expanding my palimpsest exploration and obsession.
I’m learning that I want this my creativity to be the main focus of my day and everything else is the add on, not the priority. Not the main meal. My creativity is my life source/force.
I’m practicing taking my creative sketchbook practice into my life. The attitudes, the risk-taking, the consistency, the trust in self and my art-making, these values and practices I’m carrying with me throughout my day, no matter who I come into contact with.
This creative sketchbook practice keeps me centred and focused on my feelings of joy and abundance. This practice keeps me present and checked in with myself, moment to moment.
On top of my visual journaling practice, this safe space of play and to {BE} me, is enough. Is more than enough to fill my day with bliss and connection. A practice that I’m finding opens up doors inside and outside of me, for me and others.