Eclectic, Nonffart Newbridge memo. Jan 2022
‘Like a glove’ Newbridge memo, Nonaffart
2021 performance drawing video special for @nonaffart it’s here 28th of October👀. #auditorium #night #happings #Drawingapparatus #drawingperfomace #lethergloves #markmaking #redcurtain #paranormal #artdecorooms #eeriespace #control #lossofcontrol #contemporarydrawing #welshValleyart #Newbrige #ynysdduart @newbridge_memo @nonaffart well done to all who participated in drawing performance workshop tonight
Control is an illusion that leaves a mark.
20min reduction to 3min
alittle_space Gallery AOTH 2021
Proud to be Curating and displaying this extraordinary International group exhibition for @aoth.np20 Artist from Australia, North Wales, Cardiff and Newport all in one little space 27/11/2021 starting st marks church, Newport at 12 noon#weallneedalittlespace 10 artist to produce little work. The line up of artist are as follows. Kate Mercer
Beth Sal Greenhalgh
Sarah Goodey
Siân Barlow
Rhiannon Fogarty
Ermintrude Wheeler
Mieke van den Berg
Andy Podmore
Edmund Sweeny
Stephen Hammett
Artist links @mieke_artist @skomerart.ermintrude @liquidbits @sian_barloww @_katemercer @ Andy Podmore @ Edmond Sweeney @sarahnicolegoodey @stephen.hammett.927 @beth.greenhalgh.11
This exhibition will be taken around @aoth.np20 for this years Art On The Hill. Built with the idea of access to all and reclaiming of public space. #weallneedalittespace #minigallery #portablegallery #theworldonyourshoulders #accesstoall #accesstoart #artforall #contemporaryartandspace curated and assembled by TEMMAH @temmahacceber follow on @alittle_spacegallery grand opening set for November 2021. #doyouneedalittlespace to apply DM. Exhibition for the 27/11/21. ( after AOTH @alittle_spacegallery is open for submissions for solo exhibitions any medium excepted with a little consideration for size)
18/11/2021 7:04-10pm. Experiences of The Thursday show. Collaborative of tactileBOSCH and Shift Cardiff, Capital Shopping Center, basement.
Marega Palser & Leona Jones - Tess Wood - Imogen Marooney - Tessa Waite - FFRWD - Rachel Helena Walsh - Jess Parry
The significant forms of the night began with an introduction to shift space, we were welcomed in from the cold of the night and the pain of waiting for something, something that’s been on the tip of our tongues since first lockdown began, a thirst that is not so easily quenched by online stimuli. The tactile and should I say BOSCH of being in a physical environment with performing artists, the eagerness of the human contact and vulnerability was all over me.
The bass and low tones of the evening were set when you were met with a spinning contraption out of a cut and adapted metal coffee can, projecting a most intriguing shadow, attached to old tec of some kind with many wires and attachments. It rattled and clunked a most strange sound, this sound emanated across the space that had interesting echoed acoustics because of the size of the room.
I explored the room and was met with artist Jess Parry removing her boots in readiness.
Exploring further I noticed large installations of cardboard by artist Tessa Waite and what looked like spray paint on large tracing paper towards the back of the room. Projected on the top using an old projector were wet cut outs of hearts and a ominous small metal pendulum hung from the very large ceiling, wires going to a foot pedal and a large ladder by artist Tess Wood.
As I explored the space I noticed around the corner on a small chair, what at first glance, looked like blood on her scarf, hands and fabric was artist Imogen Marooney. I examined the room further to find plastic ducks lined up on a table with a flashing light of different colours, which attacked my eyes. Projected behind were the words disco is dead. This installation was by artist Rachel Helena Walsh. I turn my attention back to the red stains on the fabric and notice that other viewers have now formed a queue, each having red residue painted on there hands with a finger in the chair adjacent to the artist like a red baptism. I became interested in what she might be saying so I take my turn and place in the chair. “turn your hands out and upward like this” “this is beetroot. Do you consent to having it on your hands” I nod rather than answer I cant remember everything she said in my recollection, it went something like this “before this moment you were not alive” she starts to paint the beetroot as she talks her sermon of red “before this moment you wore dead man fingers but now your aware in this moment turn you hands” I obey “you are alive and a beast in this moment don’t forget this moment”.
Bewildered I hold my hands out not to drip on my surroundings, I arise from the chair and continue my journey of oddities. Jess parry is now in full swing, taping a mask of red and gold glitter to her face with big red feathers, it has a feel of burlesque, with her red shoes. It feels as if she might dance but she remains in her chair chewing and regurgitating marshmallows with a red fluid into a dog bowl.
I sit with this a minute, then carry on my way to find myself among the installation of cardboard boxes. In bold letters ‘popcorn’ was printed large on one of the boxes, there seems to be an element of theatre involved, as artist Tessa Waite crawls amongst the boxes whilst popping cut-out, cardboard animal heads on sticks out of a box, similar to a puppeteer. I couldn’t see as much as I wished, whilst on my tip toes above the crowd, I could only catch little moments of gestures.
A announcement is made that a performance will be starting around the corner by artist Tess Wood. To begin with she was sat on top of a large ladder, she stepped down and started to synchronise her movement to the movements of the small pendulum. With a foot peddle and mic in her hands she starts to sing… I cant remember her exact words this is my recollection of what she sung. “My sexuality and poses are not for you” probably nothing like what she actually sung, but then with the peddle sounds and tones repeated, which created a symphony, it distorted the words. It reminded me of a form of throat singing, however the word ‘sexuality’ remained clear to myself. As this creation was automated, she returns to harmonising her movements with the pendulum. A climax is reached as she welcomes the pendulum into her mouth while on her tiptoes, gyrating rhythmically with an up, down motion which was simultaneously disturbing and erotic…. She invited some one from the audience, leaves them with a note and joins the crowd. I could not hear what was spoken from this note however the crowd clapped so I assumed it must be an indication of the end… I am delighted at the questions I am left with such as, what are these hieroglyphics spray-painted onto large tracing paper? What is this Motion of harmonising ? What is the meaning behind the cut out hearts making heart like shadows?……… I join the flock as we move back to the durational work of Jess Parry, returning to that low base tone of the cranking can…… sounds of eating marshmallows in red fluid…. Lured by the sound of duck disco we head to the back of the room Rachel Helena Walsh, in full funeral attire, including a black veil, was beheading plastic ducks with a hacksaw to a bizarre disco song, ducks ping as some of the heads drop to a Metal bucket below the table, some of the ducks remained unharmed……
we have a break in the cold wondering where the others I had arrived with had gone…… we return to the basement and cold concrete and warm body’s in the space (shift).
Jess parry finishes her bowl of fleshy looking squished marshmallow and red fluid and now what must be her own saliva, we are startled by a gentle wrestling of twigs and bell sounds as Marega Palser & Leona Jones make their way to the back of the space, the ducks have now disappeared as if never there. The crowd is slow, but at the back I want to hurry along and follow the rhythm of their movements…. When we get to the back of the room we are met with Marega in a slightly translucent cream dress, and a low hanging light. Beautiful deep sounds can be heard, that I can’t quite place, sounding like a mixture of electronica and familiarity. Marega moves the cohesion of movement and sound becomes one, neither one can be separated from the other visceral in quality an animal like crouch towards the light in total cohesion with the deep sound, I wonder if it’s hot. I wonder if it feels warm I sit down, my hand is still stained with beetroot and I catch the cold and craziness of the concrete floor. I see Marega move curled toes on concrete and I wonder if it hurts, still she moves freely and gracefully but with an animal like nature to the sound and rhythm of the deep, with bones and muscles glistening in the light…… finally she violently swings the light in a circle in cohesion with the sound, letting go for it to move in a self propelled motion. It was a display that was terrifying and fascinating and showcased a great degree of talent to understand distance and space….. she moves slowly towards the back, left of the space, where awaits her a small wooden chair and some sort of metal pan or cauldron on the floor…..there’s a string hanging above the chair with possibly a wire hanger attached. Marega attached her dress to the hanger, whilst removing herself through the bottom of the dress, to crawl from the chair in an animalistic way, leaving the dress to cast a shadow that reminded me of a hanging. The deep sadness overwhelms me so that I become closer and closer to the floor as if to ground myself, touching my knuckles physically to the cold concrete feeling the sound tones in the floor…. Marega, in a simple black leotard, slowly starts to crawl forward over her own body making movements perplexing and beautiful, she eventually sits inside the cauldron spinning about then glides up to a gap in the wall and puts her head through it. The music changes from a tempo that was in tune with her body to now become more and more intense and a-posed to her movements as she begins to walk away………………….,…
A break was called before the last performance, breaks are sometimes useful to sort of regain a sense of reality before you discover something new and wonderful.
The last performance by artist FFRWD, who actually set the baseline and low tone of the entire exhibition with his tin can making sounds. Removing wires and putting them in new places, female to male ports and vice versa on an old analogue system, whilst holding a microphone to different areas, banging with a hammer against metal pipes somehow creating this bizarre techno and electronic sound. Old tec sounds, similar to a dial up tone, that you can’t get any other way, I wonder if you could repeat the same sound if you wanted to. He seems to have an amplifier that has an ability to record and repeat sounds over and over, he has a bottle of beer which seems as if he could be anywhere just relaxing and making sounds. He isn’t, he’s here making unusual and incredible sounds. I haven’t heard anything like it before he seems as if he’s some kind of scientist discovering some sort of new language or a way of communicating through sound. The tones seem familiar, like the sound it used to make when you had dial-up on your Internet, coming to fanatic finale of hammering the instruments which was also very terrifying…… We’ve all missed the tactile nature of the Bosch.
bone china 2020.
“llestri esgyrn” (video stills) is a Conversation between me and my mother over tea about Women and bones at the end of the tea and Conversation we will Break our teacups to rebuild them at a later stage. #osteoporosis #doredo #teaandart #bonechina #bonesandWomen #Conversationswithmymother #liveteacups #boneikechina #performativeArt #collaborationsandfamily. An online live event @liveroomTEMMAH continuations of collaborations with my family and loved ones started in 2019.
147 days waiting.
Full video (15 mins) available on “window 2020” @liveroomTEMMAH on Facebook #Boycottnewsfeeds Pick who and what you look at f**k the algorithm let’s stop living in bubbles and start talking to each other take time to look at the people you follow individually don’t except suggestions stop ignoring people who don’t agree with you debate with them let’s do something radical with social media lets choose how we use it. Spend at lest 2 hours a day with your shoes off and feet in grass. “Counting space” 2020 In the beginning of the pandemic I was performing whilst pregnant in the tB lounge window as part of the collective concentric For International women’s Day. Entitled “Waiting Room” they were flash performances dealing with the anxiety of waiting for Labour to begin and feeling a spectacle. Due to the coronavirus 19 the residue remained on show in the window for 147 days, because of this unusual turn of events. Now with my second son born and safe, and these extraordinary sad and bizarre times I performed a ceremonial taking down of the residue entitled “counting spaces”.
My children are the greatest worry to me and how they have been affected. It seemed to make sense to take the residue down in a comical way. My sons words resonate with me, he is 3, “what do strangers look like mama” a statement that holds hilarity yet a dark under tone. To him the virus was some alien thing. I don’t know the affects this will have on him, I do know the contrast was great as there were moments of such happiness as we spent so much time together my two sons and my partner. It made sense to try to produce the comedic sadness and anxiety in the take down of “waiting room” The transition into “counting space” counting down the days , the wearing of masks, looking into windows . The new normal. #newnormal #windows #thefuture #now #yellowrubbergloves #listen #pigmask #wecartbreath #thebubbles #whatarewenow
feet on the ground 2020
Grounding
Use when you’re feeling very upset, very angry, very frightened, are having intrusive or intense thoughts or memories/flashbacks, “Grounding” is a way of helping you to gain some distance from these, by bring you back to the present moment – the here and now.
Concentric Residency 5-19th March 2020.
Flash 👁 Performance “waiting space” TEMMAH @tactilebosch lounge @concentric_art images by @stephen.hammett.927.
I’m experimenting with my time nine months pregnant listening to my body on the inside and building body apparatus in the window as I go.
I am a Multi Disciplined Visual Artist. my practise has focused on body sculpture/apparatus, mark making becoming consequential. creating a developing interplay with control between the sculpture/apparatus and myself. current practices stem to embrace my own body’s current position. Position in regards to social, political and autobiographical aspects.
concentric "The neck Stone" 2019-2020 march 20th.
Coch 鹿
Starting in the restaurants and streets of Tokyo to the the TB lounge and streets of wales. 09/06/2019- 22/03/2020
Performative act public space.
We hang stones around our necks holding back on what needs to be expressed, bury feelings of true self behind a mask of social norms. Considering my body’s current position as subject matter
Voice is unique to each individual we are more unfamiliar with our own.
The evolution of human beings is reproduced in an event for each individual known as “the descent of the larynx” at the age of 4 months. This event is attached to the evolution of language and the tone of human voice as we know it. Only one other animal have a larynx in a similar position, a Red deer. A symbol of what we once were, the animal self.
We can not forget the Red dear.
wondering the streets of Tokyo-wales with a stone of experience. Images by @phisheads
Express Yourself (Elysium Gallery) Swansea Jan-Feb 2020
“Shaving face”
A continuation of collaborations with TEMMAHs loved ones.
experimental video collaboration between TEMMAH and Phishead exploring themes of sexuality and contemporary Unity.
exploring the landscape of each-others body through removing a equal line of hair, an intimate act of Unity and joining of DNA.
We leave a ephemeral mark on each other joining the hair in a permanent state Beyond the body.
“Beehave”
from newport2019-Swansea 2020
Blindfolded protest activist act of being concerned about bees the humming sound disappearing there Numbers declining so meany flowers and food rely on there pollination what would the world be with out the bee.
I’m worried............... I cannot hear...................as many................The hum......................of the bush.......................is not as clustered............where should I look......................Where are ........................all the beesI’m going to cover my eyes for the day and listen in a gesture of trust a offering of bee friendly seeds take and listen to the sermon of bees.
"Lead and Beehave" AOTH2019
AOTH .Lead and Beehave.
“Lead and behave” with sound work “Sermon of bees” a bilndfolded protest. AOTH2019. 23rd November 2019 From st Marks Church 10:00- durational promenade to Victoria Crescent EXPRESS YOURSELF. Newport.
sit in two different areas, participating in art on the hill, blindfolded with a bee hive mask and a dress covered with removable seed bags that are bee friendly. These will be given out to the people of Newport with a sign that reads ‘take seeds save the bees’ the two locations are St. Marks Church and in the evening “express your self.
I’m worried............... I cannot hear...................as many................The hum......................of the bush.......................is not as clustered............where should I look......................Where are ........................all the beesI’m going to cover my eyes for the day and listen in a gesture of trust with the city of Newport. I hope to raise awareness of the disappearing of the bees. I hope that your all worried, so much colour and delicious food would be unlikely to survive with out our friendly Pollinators and their co-inhabiting relationship with the flowers.I sit here and choose not to see for the day, but I hope you do take some seeds and remember not to pull up all the weeds, dandelions are good for bees. Put away pesticides maybe find other ways to protect besides. I hope when you plant your seeds you #AOTHsavethebees and enjoy these with your families.
UTCC tactileBOSCH
colabaration TEMMAH and Steveo.
YMBAREL TERMAU “umbrella terms” collaboration between TEMMAH and Steveo as a part of UTCC tactileBOSCH. November 2019 1st live 2 hours -16th sound scape event 1 hour. in the old vicarage archive. Cardiff.
YMBARÉL TERMAU. UMBRELLA TERMS.
TEMMAH is a Multi Disciplined Visual Artist. Her practise has focused on body sculpture/apparatus, mark making becoming consequential. creating a developing interplay with control between the sculpture/apparatus and herself. current practices stem to embrace her own body’s current position. Position in regards to social, political and autobiographical aspects.
Stephen Hammett father to TEMMAH worked with many mediums specialising in painting, Sculptureand paper cutting. His work mainly focused On autobiographical And Philosophical elements Moving in to the Shamanic and spiritual.
Description
The main shelter of the urban environment the umbrella, has also been used as a shield in an attempt to repel rubber bullets during the protests in Hong Kong of late. The umbrella became a symbol of the protests. In this instance the umbrella becomes a note pad to share the curiosities and the worries of individuals at night. We often wear a different face at night to the day time, but as we walk alone what do we think of the fact that we originate from different backgrounds and different age groups. Temmah and Stephen Hammett, both are dyslexic, a good example of an umbrella term and an attempt to categorise different ways of thinking. Sharing their stories on a walk of U V illumination, connected by blood they will walk around the UTCC to place there thoughts in the old Vicarage archive.
13th-15 September 2019. Llandudno. FOR LLAWN
TAWEL/ UCHEL . QUIET/LOUD.
PERFORMANCE 1
TEMMAH I am a Multi Disciplined Visual Artist. my practise has focused on body sculpture/apparatus, mark making becoming consequential. creating a developing interplay with control between the sculpture/apparatus and myself. current practices stem to embrace my own body’s current position. Position in regards to social, political and autobiographical aspects.
Victoria Space, Llandudno
Unspoken past, the Victorian era gave rise to many advances towards helping the voices of children to be heard. However before the positive movements there were many travesties, due at this time to religious ideals. For example the exile of illegitimate children resulting in baby farming. Furthermore, many establishments, including the adoption societies used a method at the time called ‘the quietness’ a product that had opium in it would be administered to starving babies, which would silence them.
When the chemicals in your brain are altered by external forces of pressure , you have to take anti depressants to activate a balance. From a personal standpoint due to a journey of mental health issues, in the process of getting the medication right I find it impossible to cry and become detached from my emotions and through the depression itself I have lost pleasure in food.
Description
I use only woodcarving tools/ hand-body sculptures as hands so I am unable to touch directly with my hands. My access to the world has changed, I will spend my time cutting and consuming onions. Onions have an unpleasant biological response, they make your eye ducts leak, when an onion is cut this chemical is released into the air. It irritates the lachrymal glands, causing them to excrete tears, a forced emotional response. I also find the taste of onions very unpleasant. I won’t be able to prevent or wipe away the tears as I will not be able to have access to my face due to the obstruction of my hands. In the end only the marks on the chopping board, body sculpture and onion shells will remain.
Performance 2.
YMBARÉL TERMAU. UMBRELLA TERMS.
TEMMAH is a Multi Disciplined Visual Artist. Her practise has focused on body sculpture/apparatus, mark making becoming consequential. creating a developing interplay with control between the sculpture/apparatus and herself. current practices stem to embrace her own body’s current position. Position in regards to social, political and autobiographical aspects.
Stephen Hammett father to TEMMAH worked with many mediums specialising in painting, Sculptureand paper cutting. His work mainly focused On autobiographical And Philosophical elements Moving in to the Shamanic and spiritual.
Description
The main shelter of the urban environment the umbrella, has also been used as a shield in an attempt to repel rubber bullets during the protests in Hong Kong of late. The umbrella became a symbol of the protests. In this instance the umbrella becomes a note pad to share the curiosities and the worries of individuals at night. We often wear a different face at night to the day time, but as we walk alone what do we think of the fact that we originate from different backgrounds and different age groups. Temmah and Stephen Hammett, both are dyslexic, a good example of an umbrella term and an attempt to categorise different ways of thinking. Sharing their stories on a walk of U V illumination, connected by blood they will walk to meet each other in the middle.
At Lates:Space National Museum Cardiff July 18th 2019. tactileBOSCH and Blue Honey. INSDE/OUTSIDE collaboration between Charlotte Morgan and TEMMAH.
the neck stone. Tokyo 2019. 02/06-10/06.
The neck stone.
TEMMAH
09/06/2019.
Performative act public space.
Streets of Tokyo.
Bars and restaurants of Tokyo.
Photography by Jason Fisher
We hang stones around our necks holding back on what needs to be expressed, bury feelings of true self behind a mask of social norms.
Voice is unique to each individual we are more unfamiliar with our own.
The evolution of human beings is reproduced in an event for each individual known as “the descent of the larynx” at the age of 4 months. This event is attached to the evolution of language and the tone of human voice as we know it. Only one other animal have a larynx in a similar position, a Red deer. A symbol of what we once were, the animal self.
We can not forget the Red dear.
wondering the streets of Tokyo with a stone of experience.
1 out of 10 Polaroid’s of action two 19:00-24:30.
Final Action D2P 2019 27/04-11/05.
TEMMAH.
Manja Williams Photography
dadleoli a ffracta.
copperdollar studios Draw to perform residency with the support of the Art Council Of Wales 40kg of sand on the body for 40mins.
In life presser builds up as a result of gender, status, work, relationships and identity we carry; that weight heavy on us. Feelings become displaced cross over we spread the weight evenly as to not shatter the precepts of coping. Is it ok not to cope can we share the load. Who is the other? How can we really deem ourselves as different from the other when it is quite impossible to truly walk in the others shoes, with past history, experiences and actions that correspond to formulate each other’s characteristics. To empathise understand and share the feelings of another. Do we only respond to reflections of ourselves ? Time is Fractal not linear we remember things as we want to remember them but how can we gauge control of the subconscious.
The way she was dressed on tour with tactileBOSCH.
Research links, ‘the way she was dressed‘.
https://inews.co.uk/news/long-reads/this-is-not-consent-thong-rape-case-ireland-protests/
https://www.independent.co.uk/news/world/europe/teenage-girl-underwear-rape-trial-cork-sex-latest-a8625871.html
https://www.bbc.co.uk/news/blogs-news-from-elsewhere-42633751
https://www.euronews.com/2018/01/17/brussels-recreates-rape-survivors-outfits-to-tackle-victim-blaming