7/12
The flyer for Letters to Forever is DONE!
It feels so good to tick that off the list. This month has been a whirlwind — less about hands-on studio time, more about collaboration, planning, and shaping the story behind the work.
I’ve really felt the pull of the studio — missing the mess, the materials, the making. But at the same time, this shift has been exciting in its own way — a different kind of creativity. I’ve been working on video art, recording interviews, writing new text for the project… stretching myself in unexpected ways.
One of the most beautiful parts of this process has been meeting people — creatives, grief specialists, other artists — each bringing something unique and generous to the table. These conversations have added so much depth and direction to the work.
There’s a short film that will be part of the exhibition — we shot it in the local woods. I waited for just the right kind of day: soft, warm, a little wild. At one point, a sleepy butterfly landed on my silk brown dress — probably thought it had found a tree trunk. I was laying letters around an ancient oak, surrounded by stinging nettles. It took four hours (and quite a few itchy moments), but it was worth it. I’m really looking forward to seeing the final edit.
Another collaborative piece is almost there. It’s been months in the making — Letters to Forever is an experimental film and sound piece created with multimedia artist Casey Francis. The work is built from a beautiful collage of archival family footage, layered sounds, field recordings, and poetry. It explores the aftermath of Francis’ mother’s passing, woven together with my own story and voice.
I’ve also been coming up with titles — one of my favourite parts. I rarely struggle with them. They come easily and feel like little poems. Titles are the way I seal a work emotionally — never literal.
Some are: Where light smells like shadows, The Words that stitch the silence, I carried voices in the wind.
Outside the screen, I’ve been recording interviews — with both art critics and grief professionals. It’s helped me understand how this project lives in both of those worlds: as creative expression and as a way to hold space for loss.
Interview with Estelle Lovatt
https://youtu.be/5OA8NkCIIOg?si=iLY463R3talM49w8
Interview with Annette Fernando.
https://youtu.be/XnqFyC76E5c?si=8dNKyTxP0PqyoygR
Interview with Tara Nash
https://youtu.be/JU_1xAWpMo0?si=8nZAsmo0OxCxHSrq
Culturalee in Conversation with Natalia Millman – Culturalee
Also — exciting news — the workshops are officially confirmed! There’ll be five holistic sessions running alongside the visual exhibition, all led by brilliant local practitioners and overseen by Cruse. They’re designed to help people connect to their own experiences of loss, gently and meaningfully. I really wanted to offer something more participatory — not just something to look at, but something to step into.
And yes, finally, back to making! Today was a materials day — shopping for fabrics and bits I can’t wait to start hammering together. I’ve made a clay piece that holds a small bottle of oil I blended for the show. I stamped it with a line from one of the letters: there is a song in the wilderness. Plus a few more drawings.
Oh — and self-care? That’s a work in progress, but I’m keeping it going. Golf Tuesdays (I know), mindfulness drawing with the wonderful Katie Sollohub, sketching with my mum in Kew Gardens, taking my niece to see Anthony McCall light sculptures and a soul-soothing silent retreat at Souland Yoga. Trying to balance it all.
And I am getting ready for the Affordable At Fair in Hampstead as part of Arts for Dementia, a Charity Partner and I am honoured to show some new pieces there.
