February 2024

I submitted my Wishing and Hoping artwork to a Covid Cautious Queers Zine and was so happy to see myself including alongside people who are still doing what they can to avoid covid and protect ourselves plus our communities. 

Steel Transplants, who put the project together said in their instagram caption: “COVID Cautious Queers Zine Free and Digital Available Now!!!  This zine is an amazing collection of 158 pages of COVID-related art by 80 2SLGBTQ artists from across the globe! This zine includes art mediums such as: collage, digital art, painting, comic, poetry, prose, essay, mixed media and more.

I spent approximately 50 hours pouring my love into this and it is one of the projects I will forever be very proud of and grateful for.

Creating this zine in 2024, year five of the COVID-19 pandemic feels more important than ever, in a time when pandemic denial, lack of safety and isolation are so prevalent for disabled and immunocompromised community members.

This zine captures queer and disabled solidarity through art, language and virtual connections. This zine is a reminder that we are not as alone as we feel most of the time, there is queer community that continues to keep each other safe and show solidarity across intersections.

A general content/trigger warning for discussions of nental health struggles, death, rage, griet and many other difficult emotions that come with being CovIb cautious in a time of denial. This zine might bring up similar feelings for you, may you channel those into art or community support.”

I love that it was curated with the goal of community and making sure we dont feel alone. It does feel lonely living in a world where most people have moved on from the threat of covid in hopes of going back to the “normal” of 2019. Its scary, lonely and dangerous to be the only person masked most of the time. We should all be demanding clean air, safer conditions for working, learning and enjoying life. Without this, and with masking, most disabled people risk their lives and health just trying to participate in society. It breaks my heart that most people learnt nothing from the early pandemic, where we were all in it together. So quickly everyone went back to individualism. Covid didn't just disappear. We should all care about it whether we have pre-existing conditions or not. Being part of this zine was beautiful and heartwarming for me. 

Me and Mollie went to Barbican Conservatory to see a new sight specific series of artworks by Indian artist Ranjani Shettar made from reclaimed wood, and using traditional craft techniques local to where she grew up. She creates organic shapes which sit perfectly amongst the nature in the conservatory. The concrete, the green plants and the sculptures made from natural materials work in absolute harmony. It was special to witness and be amongst such beauty. I had never been to the Barbican Conservatory before, I love a good conservatory or botanical gardens. It was beautiful! I loved the contrast between the hard grey concrete with nature, overflowing from balconies, cascading down like water. It was like the true example of a concrete jungle. 

“Ranjani Shettar - Cloud songs on the horizon

Ranjani Shettar's (b.1977) two-decade-long artistic practice is informed by the close observation and study of the natural world. Continually meditating on the subjective unfolding of time in nature, her abstract forms seek to evoke what she calls the "adaptations", those imperceptible and innumerable processes of change and metamorphosis taking place amid the various species of any given environment.

Cloud songs on the horizon, commissioned specifically for the Barbican's Conservatory, comprises of five suspended sculptures, each of which has been handcrafted by Shettar in her studio in rural Karnataka, India.

Working intuitively, Shettar's approach is embedded and responsive to its own context and surroundings. Gliding above the koi pond is a sculpture carved from a reclaimed teak wood pillar, while each of the components of the other sculptures are first moulded from a stainless steel base and then handwoven muslin cloth is bound to the steel armature, a technique she had adapted from a local crafts tradition. The effect is deeply textural and Shettar progressively introduces colour across these sculptures. Starting with components accented with lacquer, graduating to those unfurling with hints of colour coming from the root of the madder plant, culminating in an exuberant mix of lacquer, madder and natural pomegranate dye.

Carefully installed throughout the Conservatory, Shettar has intentionally nestled some sculptures amongst the foliage, to be discovered. All are to be viewed from multiple points, encouraging wandering and exploration.

Shettar draws us into the Conservatory, gently persuading us to look at a tree, flower, leaf, plant and to appreciate their own rhythms. To slow down and to recognise the cycles of transformation embedded within each of them; and just like the clouds above us, know that they are always quietly shapeshifting.”

Our cousins Amy and Francesco came to stay for the weekend in early Feb. It was so good to see them again after meeting for the first time last year. Uniting with family and instantly connecting is something so special, and a bond we all dont take for granted. On the first night we got a delicious Indian takeaway, which we all feasted on. Francesco is 12 and is really emotionally mature, smart, funny and has a great palette, something I wish I had when i was his age! We all love history and art and architecture and weird stuff, so we had a lovely visit to Kenwood House in Hampstead and had a walk around the grounds before coming back home for a delicious roast with yorkshire puddings and even pigs in blankets! We just had a cozy weekend of watching movies, playing games, eating good food and having laughs. I cant wait to go visit them in the south of Italy soon.

On the 18th of November last year, Josh’s girlfriend Zoe’s cat Luna had kittens! I have posted pictures of them here and there but this month, the two ginger lads joined our household. A bit of background info, Luna gave birth to three kittens, but was still showing signs of being in labour the next day. They took her to the vet and learnt that the biggest kitten, who had deformities in its legs didnt make it. Luna had to have a c-section which involved drugs and meant it wasnt safe for her to breast feed the kittens. Josh and Zo had to feed them by hand, starting off every two hours and increasing as they got bigger and bigger. It was so stressful for them to have such a responsibility of life or death in their hands but they did soooo well and raised these kittens into perfect little balls of fluff. The girl, known as Tabby has stayed with the Mum while the two boys came to live with us. Mum has always wanted a ginger kitten and we couldnt bare to separate them after josh and Zo bonded with them all while raising them. It was hard enough separating the boys from their sister and mum, Josh and Zo found it really emotional and overwhelming, I could tell it really got them down even though they logically knew it was for the best. Josh was basically living there from Nov - Feb, so splitting up their little family unit must have been really hard, they are very empathetic and have big hearts.

The boys, who we have 99% decided to name: dark ginger = Shiva Mango Hill and the light ginger = Chewy Anatolius Hill. Shiva is of course inspired by the Hindu God and represents our Indo side, as well as referencing the tiger in Walking Dead. Anatolius is an ancient Greek saint, representing Zoes Greek Cypriot side and meaning sunrise. They are the sweetest little lads, and its so different adopting kittens in comparison to Mew and Ginger who found their way into our lives through the front and back doors. We had to earn their love and trust whereas Zoe and Josh have raised the kittens to be so loving and cuddly. We feel so blessed to have kitten energy in the house. Theyve been here for almost three weeks, we’re taking it slow with introducing them to Mew and Ginge, theres been a bit of hissing when their paths have crossed but it will just take some getting used to this new normal. Its so sweet seeing the two brother playing with eachother, jumping in and out of cardboard boxes, playing with bandanas and balls of tissue paper. After they eat and run around like a stampede, they fall asleep together on our chest or lap. They constantly purr and I love watching them look out the window at birds flying past. So proud of Josh and Zoe. Im feeding and cleaning up after them more than i am doing so for myself 😂 

Mashramani is celebrated on the 23rd of February, commemorating the day Guyana became a Republic, cutting ties with the british monarchy. Guyana gained independence from Britain in 1966, and in February 1970 officially became a Republic. The day is celebrated with parades, floats, Masquerade bands, dancing and costumes. Lots of Calypso music is played, as well as competitions from Calypso, Soca and Chutney Soca (the Indo-Caribbean blend of Soca). The word Mashramani comes from an Amerindian (Indigenous) word meaning “celebration after working hard together”. The Independence festival originated in 1966 in Mackenzie, Linden. Linden is the second largest city in Guyana, bauxite mining. After its massive success in 1970 it was brought to the capital, Georgetown in 1972. I cant wait till the day I get to experience Mashramani celebrations in Georgetown for myself.

I told my Mum that we’re going on an art day, and she said there is an exhibition of Palestinian art. I said that is actually one of the exhibition we will be visiting! We headed to Kings Cross, to P21 Gallery which is a gallery that showcases and champions Arab art and culture. It was really hard to see such beautiful work, knowing the pain and suffering from those who made them and their people. There were some works which directly referenced the violent occupation of Israel, such as keffiyahs hanging from barbed wire, video footage of devastation from bombs, drawings of children crying, sculpture of a woman waving a Palestinian flag, paintings of prominent Palestinians and a video which showed the day by day destruction in 1948 of 500 villages being taken over by Israeli forces. There were artworks so beautiful and dreamy, so many of never ending landscapes with plants, trees and homes, photographs of women in beautifully embroidered Tatreez thobes and smiling happily while enjoying the waves of the oceans. In Pursuit of Utopia #7 (pictured below) was so beautiful I wished I could jump into it, and I said it looks like the kind of art my Grandma would by a puzzle of (high compliment) At a time where people are trying to dehumanise and erase, saying there were no people there in Palestine, that Palestinian people, history and culture dont exist, it is so important to highlight the truth. Palestine has a rich history, a rich culture, all worth fighting for the safety and protection of. For so long the Palestinian people have been under Occupation, suffering mostly alone while the world ignored or through propaganda were convinced to ignore/misunderstand how this is all part of colonialism, apartheid and ethnic cleansing. Now we cannot un-see what we have witnessed. We need to stand with Palestinians across the world, in their fight for freedom, justice and liberation. Below is copied from the P21 website, I’ve included a few artworks which stood out to me, as well as a video of more works in the exhibition.

1. Black Thobe with Tatreez embroidery on chest panel and arms. I regrettably didnt take note of who or where it was made.
2. 3 x 3 grid of paintings called Palestinian Portraits, Acrylic on Canvas 40x30cm in red, black, white and green by Jacqueline Benjani, 2022: From left to right - Row 1) Mahmoud Darwish, Samia Halaby and Leila Shahid. Row 2) Suad el Amiry, Susan Abulhawa, Fadwa Tuqan. Row 3) Hiam Abbas, Ghassan Kanafani, Ibrahim Tuqan. Next work: Jana Abdu, 
3. Children of War - Give Us Back Our Childhood Collection, 2023 - 4 Individual drawings in water colour and pencil of children crying. 
4. Women’s March 3 by Mohammed Alhaj, 2021 mixed media on panel. A metallic brass looking surface of a geometric figure of a woman wearing hijab, waving a large flag of Palestine. 
5. In Pursuit of Utopia #7, 2020 by Nabil Anani, Acrylic on Canvas, 138 x 500cm. A large, bright colourful landscape, of rolling green hillsl ined with trees, with a blue and yellow sky.

“From Palestine with Art is a unique showcase that aims to share the vibrant culture, heritage, and struggles of the Palestinian people through various artistic expressions. The exhibit features a diverse range of talented Palestinian artists and seeks to shed light on their experiences, history, and aspirations.

The first Palestinian museum in the Americas, Palestine Museum US, is excited to announce the re-exhibition of its celebrated exhibit, From Palestine with Art. After its successful showcase as a Collateral Event exhibit at the 59th Venice Biennale Arte 2022, the exhibit will now be showcased at the prestigious P21 Gallery in London, UK. This exhibition will provide an opportunity for audiences in London to experience the rich Palestinian story through the lens of art.

Palestine Museum US is proud to bring this significant exhibition to the P21 Gallery, known for its dedication to showcasing international contemporary art with a focus on the Middle East and North Africa. The re-exhibition of From Palestine with Art highlights the growing recognition of Palestinian art and culture on the global stage.

The P21 Gallery in London will host the re-exhibition of From Palestine with Art starting 1st February 2024. Visitors will have the opportunity to explore a wide array of art forms, including paintings, sculptures, installations, embroidery, and multimedia presentations. Through the power of art, the exhibition aims to foster dialogue, create awareness, and promote a deeper understanding of the Palestinian narrative.

Palestine Museum US encourages art enthusiasts, historians, and individuals interested in promoting cultural diversity and exchange to visit the P21 Gallery and engage with the beautiful artworks on display. This exhibition serves as a platform to foster dialogue, challenge stereotypes, and create connections between diverse communities.”

My goal for 2024 is a quilting project where every month i will choose a different quilt block to learn and explore. There are so many different kinds, until now i have pretty much just used squares and triangle half squares in my art. There is so much i have to learn about patchwork and quilting in general. I have found it so fun to focus on something new. A new challenge and space for me to make mistakes and learn. I made my first patchwork in 2022, and i have yet to figure out what my visual language is when it comes to quilts. My embroideries and illustrations are bold and colourful, mostly true to life. With patchwork and quilting there is so much design and planning which i need to figure out. What fabrics do i like, what styles and methods do i like? I know i love my calico and colourful bandanas so that is where i am starting. I have already had so much fun planning designs on my ipad. Theres so many options and using my ipad shows me quickly what combinations and variations can look like. Its also a way for me to plan and prepare measurements and where i will use the different types of fabrics. This project will be like a crash course for me to have fun, experiment and learn. I aim to go with the flow, not be too controlling or disappointed if my plans dont always go as i hoped. At the end of the 12 months im hoping to create a quilt which combines at least one of each of the different quilt blocks i have made. At this stage I have done Log Cabins for January and Im currently working on Seminole. I’ve also started doing daily drawings again so that’s where the below illustrations come from!

Well the 2024 Quilt Project officially started in February, but January’s theme was Log Cabin. I have made a Log Cabin once before for my Gender is Vast 2.0 piece which i submitted to Euphoria Quilt. This time i wanted to use the contrast between the tie dyed calico and the colourful bandanas i have in my fabric stash. Log Cabin is great because contrast is one way you can highlight the design, having light fabric on one side and dark on the other, with a (traditionally) red or yellow centre representing the hearth/heart of the home. Red representing the hearth (fireplace) of home and yellow representing a welcoming window. This is a classic American colonisers design dating from the mid 1800s and was popularised during the American Civil War and Log Cabins with black in the centre were used to signify safe house stops on the Underground railway. The design forms around a central square and a strip is added as the block is rotated and gets bigger and bigger. 

The blue one was my first attempt, using 2.5 inch strips. I love how the bandana is so bold in contrast to the most subtle tie dye. According to my drawn plan, it was meant to be half grey and half blue but i didnt have much grey fabric to use so i adapted. As i said i want to try to be flexible, not stress myself out and have fun. 

This inspired me to continue this style but using 1.5 inch strips. I made a yellow, orange and red one, a green and turquoise one, another blue one and finally a pink and purple one. I then sewed them all together with the calico corners in the centre. I may at some point add some felt appliqué on to these quilt blocks, as is the plan. I just want to focus on the patchwork part first.

Finally I chose a Log Cabin variation called Courthouse Steps where instead of the block being spilts diagonally creating an L shape from the corners, the strips of fabric are repeated opposite each other. This is also using 1.5 inch strips as I didnt want to use more fabric than necessary for these experiments. I chose the rainbow colours as I have a lot of fabric to work with and find rainbows and colour blending to be so satisfying. I love how each layer from the centre is the same colour but contrasts between the bandana and the tie0dyed calico.

In conclusion, Im really happy with how my first month of experimenting and learning has gone. Its really fun to engage my brain in a new challenge. I like the way you work from the centre outwards, adding as many layers as you want. I hope you enjoy reading about my patchwork explorations and I look forward to sharing more of my progress with you over the next 12 months. 

I found the Royal School of Needlework: Queer Needlework Practices of Past and Present talk by Laura Moseley, founder of Common Threads Press to be so inspiring and validating. Laura is a passionate sewer and studier of textiles and crafts, saying that Queer Theory and Craft Theory combine in a way that feels like home. Queer Material history is full of badges, tshirts, protest banners and there is a long history of DIY and crafts used for community, therapy, documentation etc. She said that the term Craftivism created by Betsy Greer, doesnt just include feminist activism but as Queer activism, where many politics intersect there is a need for it. 

Laura highlighted this quote from artist Lacey Jane Roberts in  'Put Your Thing Down, Flip It, and Reverse It: Reimagining Craft Identities Using Tactics of Queer Theory, in Extra/Ordinary: Craft and Contemporary Art, ed. by Maria Elena Buszek: "I maintain that by using the tactics and strategies of queer theory, craft could gain purchase by deliberately asserting an identity that defies fixed or historically prescribed boundaries in relation to its use of materials, processes, or formal vocabularies. This radical and critical position would relocate craft as an aesthetic category that embraces an enormous range of multiple and seemingly contradictory practices, as well as an agent to challenge existing systems that define materiality and makers." I took from this meaning that craft can be endlessly expansive, and can learn a lot from Queer Theory, such as being limitless and without binaries. Rethinking craft and materials to go far beyond textiles and techniques we may associate with craft. 

Laura talked about how shortly after The Artist and The Quilt exhibition in the 80s, in 1987 the quilt transformed from only being seen as domestic, it became a symbol for Remembrance and campaigning during HIV/AIDs pandemic. This was one of the only places to be able to mourn their loved ones, many funeral homes and cemeteries refused to facilitate. With widespread government suppression, Queer people resisted by making this quilt. There were sewing Bee’s in Gay Clubs. Quilts tell stories and they preserve. 

Here are 6 artists and their artworks which Laura highlighted, please do more research into them and learn about their lives and approaches to textile art if you can.

Laura said “Archives are a commitment to our future” and I think its so beautiful and necessary to look at archiving, preserving and documenting in this way. We can look to the past, to understand and express our present as well as our future. We need to keep archives of our history so that it cannot be erased. “The quilt is the diary of touch” - Lucy R Lippard - Up Down and Across in The Artist and The Quilt. It was a pleasure and revelation to see Laura talk about how Queer Theory and Craft Theory inform and support each other with a long shared history. 

As has been tradition over the past few years I have joined my parents going to Kew for their annual Orchid Festival. Orchids are some of Mum’s favourite flowers, she has often rescued and patiently cared for orchids which have a home in the kitchen so we see them daily when they are in flower. This year the Orchids came from across Madagascar, a large island off the coast of Africa which consists of many habitats such as Dry Forest, Grassland-woodland Mosaic, Humid Forest, Mangrove, Sub-humid Forest, Spiny Forest and Tapia (a tree). I learnt that “Malagasy  is used to describe the people of Madagascar, instead of Madagascan. Malagasy is the name of the native language spoken in Madagascar and the same word is used to describe anything pertaining to Madagascar. Malagasy and French are the official national languages of Madagascar.”

Madagascar has over 1,000 species of Orchid and is home to some of the most rare plants, including 14,000 which are found nowhere else in the world. You can watch a video about Kew Gardens conservation work with Madagascar HERE.