The aim is to create a field guide for summer which prioritises play, curiosity and wonder. Dreaming and imagination.
I want to be intentional around who I want to {BE}/ want to do over the next few summery months.
Become consistent in relation to turning up for myself in play and wonder.
Now is the time to prioritise my joy. No responsibilities but feed my inner child.
Traditionally, a field guide is something created to provide information for a reader to identify birds, flowers or trees. Or other aspects of the natural environment.
With this energy in mind, I want to create a summer field guide that identifies areas of play and curiosity that I can explore.
This field guide is an invitation to lean into what lights me up, steeping myself in the mystery and magic of it all.
Sometimes when I get a download, I just have to grab the first bit of paper and pen I can see and write.
It feels as if I haven’t got the time and patience for my visual journaling practice and I’ve just got to get the words on the page.
Like short, sharp, frenzied sex after a drought, a stream of consciousness shit comes rolling out of me. From my body. Onto the page. Words here. Paint there.
And within this pile of words/ marks are glimmers, signs, clues for next steps, moves forward. Invitations.
I’m been resting, after a full on time of exams and work and in that resting time, I did nothing creative except breathe. Breathe a little deeper and longer. Fuller.
There are still times when I have that moment of dread, that I’ve forgotten something. That I should be doing something else instead of doing nothing.
I know time will heal the wound. Time will suture the skin over the rupture and this period will become a memory. A trace left in an ache running down my neck and shoulder. A dull tugging at my soul.
Anyway, I’m back here. And I’m not going to try and fill in the gaps. The gaps are important, these liminal spaces where possibility and potential are ripe.
I come back with plans to share a new series of posts which I’m loosely calling my ‘Summer Field Guide’. My plan to get intentional about the summer ahead ( or here already!) and offer myself space to play, get curious, dream and imagine. No pressure just {BEING} my inner child out loud.
I’d set it up with Theresa Easton to go play with her letterpress printing gear again. I didn’t have so much as a plan as I did have a word: PLOT.
I rocked up with a number of different subtracts to play with and just wanted to explore what I mean when I use the word, PLOT.
We set up the printing plate with the word PLOT repeated in different type fonts. We arranged them into a neat A5 sized piece and then let the inking commence.
I played with different coloured inks, directions of papers, different papers and got myself into a meditative rhythm.
It was so much fun and I’m so grateful to Theresa to allowing me to play in her studio for free.
It is reproduced here to raise awareness of a troubling increase in the number of black women going missing and later found dead by/ within bodies of water.
I had the pleasure of gathering with the WOC Azadi again in Sheffield today.
We gathered to share ideas around how to plot/plotting our healings, our liberation together.
Visual journaling was on hand to capture our thoughts, feelings, plans and plots.
It was such a nurturing and nourishing space in nature. It was a gathering of hope and aspirations.
It was an honour to be part of the day retreat. Ideas for The Plot of Our Repair came about from a reading is Saidiya Hartman’s essay , The Plot of her Undoing (2020).
The plot of her undoing begins with his dominion. It begins in the fifteenth century with a papal bull, with a philosopher at his desk, pen in hand, as he sorts the world into categories of genus and species. It begins with a bill of sale, with a story in the newspaper that enumerates her crimes, with a note appended to the file: she answers questions easily, but appears stupid; it begins with a wanted poster that reduces the history of her life to a single word-condemned.
And then towards the end of this essay there is a switch. A turn to explore how we can undoing the plot of her undoing. How we can move against the forces aiming to ruin/ control/ oppress the black/brown woman.
The undoing of the plot proceeds by stealth. It is almost never recognized as anything at all and certainly never as significant.
…
It begins with the earth under her feet. It begins with all of them gathered at the river and ready to strike, with all of them assembled in the squatter city, with all of them getting ready to be free in the clearing.
The undoing of the plot begins with her runaway tongue, with her outstretched hands, with songs shared across the unfree territory and the occupied lands, with the pledges of love that propel struggle, with the vision that this bitter earth may not be what it seems.
The undoing of the plot, the plot developing towards our repair was started before us. We stand on the shoulders of our ancestors. We continue this journey, this plotting together. Today makes me feel that we have already won.
I was brought up on the Eurovision Contest. We would gather together at my mum’s with food and drink, and sing along to every song even though we didn’t know the words.
It was an occasion of celebration and fun. We laughed and cried, argued and commiserated.
Whenever I think of Eurovision, I automatically think of my mum. But I can no longer hold Eurovision close to my heart. I cannot continue to support this institution any longer as it has become co-opted by Isreal.
Within hours of Russian invading the Ukraine in 2022, it was banned from Eurovision. Why hasn’t the same happened to Israel?
We have to ask the question what is happening behind the scenes? Especially when last year Israel received the biggest support from the public vote when we know that the genocide in Gaza is not supported by the majority?
Nemo, who won Eurovision in 2024, probably the last time I watched Eurovision, has returned their trophy in protest at Israel’s inclusion. As well as the 1994 winner Charlie McGettigan(from Ireland) returned their trophy in protest too.
There is something rotten in Eurovision.
There is no music that can cover up the atrocities that are happening to the Palestinians. No amount of music can justify a genocide. There is no stage that should platform genocide and apartheid.
Spain, Slovenia, Iceland, Ireland and the Netherlands are boycotting this year’s Eurovision because they cannot continue to ignore the genocide in Gaza.
We refuse to be silent when Israel’s genocidal violence soundtracks and silences Palestinian lives. When children in Israeli prisons endure beatings for humming a tune. When all that’s left of nearly every stage, studio, bookshop and university in Gaza is piles of rubble, under which slaughtered bodies still await recovery and proper burial.
As artists, we recognise our collective agency – and the power of refusal. We refuse to be silent. We refuse to be complicit. We call on others in our industry to join us. And we stand in solidarity with all principled efforts to end complicity in every industry.
No stage for genocide. #BoycottEurovision.
Consider signing the letter and standing with Palestine here.
Irish TV, RTÉ, will be broadcasting the 1996 episode A Song for Europe , Father Ted as Ireland boycotts Eurovision in protest against Israel’s inclusion.
It’s a funny episode which I won’t mind watching as Father Ted and Father Douglas perform their song My Lovely Horse. I’ll not spoil it by telling you how many points they get!
Slovenia are planning to air documentaries under the theme of Voices of Palestine.
These countries boycotting and showing their condemnation of Israel and support for Palestine is what more countries and people should be doing, and I don’t use ‘should’ lightly.
One more point, the Father Ted episode is satire. The Irish put them into Eurovision because the song was so dreadful that they hoped they wouldn’t win again so that they wouldn’t have to foot the bill for hosting the next year’s contest.
Ireland has won the contest 7 times, and back to back wins in 1992 and 1993, is said to nearly have bankrupted the country as they had to host the concert again and again.
For me this is a clear indication of Eurovision, the non disqualification of Israel, the lack of calling out the genocide all comes down to money and vested interests.
Living Wild Studios 