Pity is a video of a live art performance which was originally launched at LUPA (Lock-up Performance Art) Summer Fête in June 2013. The original Charity Doll Collection boxes were commonplace outside Spastics Society shops in the 1970s, eventually withdrawn from use when it was acknowledged that the image of a sad looking child with cerebral palsy being used to draw on pity for donations was highly offensive.
As a living Charity Collection Doll, downcast and seeking money, Araniello brings to life the original doll. By confronting the viewer with a living embodiment of the charity the viewer is forced to reassess their own subconscious thoughts on both disability and charitable giving. The performance parodies charities still generating income through emotive images and provides an alternative representation of disability as Araniello is able to remove herself from this particular role when ever she wants. The soundtrack plays on the theme of pity that is prevalent in the economics of charities to this day.
Katherine Araniello is a London-based artist using video, digital imagery and performance art to respond to contemporary themes around disability. She does this through subversive humour aiming to create frameworks that challenge and alter preconceptions.
Katherine is currently an Artsadmin Associate artist (2012-2015). She has an MA in Fine Art from Goldsmiths College, University of London (2003) and a BA(Hons) from London Guildhall University (1999).
Recent exhibitions and performances include The Dinner Party Revisited for Unlimited 2014, Southbank Centre, London (2014), Screw the Taboo, The Yard Theatre, London (2014). Araniello’s film Pity was runner-up in Shape Open (2013) at Bow Arts, The Nunnery, London.
Home is Not Home, 2011
Home is Not Home is a movement/video collaboration created by Lisa Bufano and Jason Tschantre. It was originally made for L'art+toi, Bethune 2011, France. The work has also been shown in the exhibition Re:purpose, curated by Syrus Marcus Ware and Elizabeth Sweeney, at the Robert McLaughlin Gallery, Oshawa, Canada in 2014.
During a special event as part of the exhibition the curators, along with New York based video artist Jason Tschantré, paid homage to the prolific work of the late Lisa Bufano. Ware and Sweeney discussed the significance of Bufano’s practice within the larger contemporary disability arts movement and Tschantré shared his experiences of collaborating with Lisa, which he described as ‘…a priceless and unforgettable experience… Lisa influenced me as an artist and as a person, deeply.’
Lisa’s work has rarely been seen in the UK and we are delighted to be able to exhibit a series of photographic stills from Bufano and Tschantre’s collaborative performance Home is Not Home as part of Slippage: The Unstable Nature of Difference.
Lisa Bufano (1972-2013) was a interdisciplinary disabled artist and performer, originally from Boston, Massachusetts. Following the amputation of both her feet and fingers at the age of 21 Lisa found innovative ways to incorporate her body into video, animation, dance and performance work. Lisa pursued stop-motion animation and sculpture at the School of the Museum of Fine Arts in Boston. From 2006 to 2010 she toured with AXIS Dance Company, performing works choreographed by Victoria Marks, Joe Goode, Kate Weare.
Bufano is best known for her dance work and performances. Lisa often incorporated a variety of prosthetics and extensions into her performances, most notably her orange Queen Anne table legs. Bufano explored themes related to alternative locomotion, physical difference, sexuality, and animation, often through collaboration with other artists. One of her most extended collaborations was with video artist Jason Tschantré.
Jason Tschantré lives and work in Brooklyn, New York as a video artist and 3D projection mapper. He has created works for various gallery exhibitions in Brooklyn, and most recently developed 3D projection mapping installations in Brazil, the Museum of Natural History and Lincoln Centre.
Reflection is a series of videos showing portraits of people with facial disfigurements. Instead of being filmed directly to camera the sitters’ faces were filmed reflected in a pool of water, both still and moving.
The work offers the viewer an opportunity to reflect on identity and difference. It also suggests narcissism which usually has a negative connotation. However, psychologists have argued that healthy narcissism, or self-love, may be a necessary element for the development of identity. In this context, the work questions if a certain amount of healthy narcissism is essential to regaining self-acceptance in the aftermath of disfigurement. It also questions if contemporary society’s obsession with unrealistic ideals of beauty is a form of unhealthy narcissism.
Eric Fong is a visual artist based in London. He was born in Hong Kong and educated in Canada and the UK, where he gained an MA in Fine Art from Goldsmiths College, University of London. His artwork includes film, photography and sculpture.
Fong’s art practice explores themes relating to the body, identity and difference, often informed by his experience as a former medical doctor.
His work has been exhibited across the UK and internationally, including EAST International, Norwich; London Group Open, Shape Open and Creekside Open, London; Pratt Manhattan Gallery, New York; International 3 Gallery and Chinese Arts Centre, Manchester; Gallery 44 Centre for Contemporary Photography, Toronto; Ludwig Museum of Contemporary Art, Budapest; and numerous international short film festivals.
Fong’s work is held in the Arts Council England Collection. His awards include a visual arts grant by Arts Council England, artist residency grants by Leverhulme Trust and British Council & Arts Council England, and exhibition prizes awarded by Victoria Miro (victoria-miro.com) at Creekside Open and by Yinka Shonibare (Turner Prize nominee) at Shape Open, London.
If You Prick Us Do We Not Bleed? 2015
Video projection, fabric and fan
80 x 50 cms
Lesley Halliwell is perhaps better know for her large scale Spirograph drawings; ambitious works which explore repetition, pattern, popular culture and process art. Time, endurance and the tension between chaos and control are at the core of her practice. If You Prick Us Do We Not Bleed? focuses on Halliwell’s disabled son as the subject of the work and this is the first time she has made work of such a personal nature. The title is taken from Shylock’s speech in Shakespeare’s The Merchant of Venice. Shylock begins by reminding the Venetians that all people, even those who are not part of majority culture, are human:
If you prick us do we not bleed?
If you tickle us do we not laugh?
If you poison us do we not die? (III.i.49–61)
While Shylock takes his monologue in a rather different direction Halliwell acknowledges that there are basic human attributes shared by us all despite differences in culture, ability or appearances. The focus here is on Halliwell’s son's laughter as the parachute rises and falls above him. Over the years Patrick has become far less vocal so smiling and laughing, when they happen, are very precious.
Lesley Halliwell originally trained as painter (Nottingham Trent University, BA Hons Fine Art) and has gone on to gain an MA in Art History (Goldsmith’s College,1995) and an MA in Fine Art (Manchester Metropolitan University, 2001). She is currently undertaking a practice-led PhD (AHRC NWCDTP Award holder) at MIRIAD, Manchester Metropolitan University.
Lesley has exhibited her work throughout the UK, including (detail), H-Space, Bangkok and Transition Gallery, London (2014); Beauty is the First Test, Pumphouse Gallery, London (touring 2012-14); The Drawing Project, Castlefield Gallery, Manchester (2014); The Infinity Show, NN Northampton (2013). She has been selected for the Jerwood Drawing Prize (2010), New Contemporaries (2002) and nominated for Beck’s Futures (2003). Lesley is Director of Suite Studio Group; a thriving studio group in Salford which prides itself on creating a supportive and critical environment in which to work. She is a Visiting Lecturer at the University of Chester (2002 - to date).
Mother’s Pride and Pray, 1998
White Stoneware paperclay, clear stoneware glaze with vanadium
Height 50 cms
JesusFoetus (detail from Nativity), 1998
Earthenware casting slip, transparent earthenware glaze, enamel, gold lustre, perspex
Height 25 cms
A recurring theme of investigation in Paddy Hartley’s work is the way in which the human body is changed, modified and reconfigured, either by choice or circumstance. His work has taken the form of installation, ceramics, assembled objects, garment creation and modification and digital embroidery.
Mothers Pride and Pray were inspired by the idea that fine-tuning the genetic make up of an unborn could lead to the parent fulfilling unrealised ambitions by living their own life through their ‘perfect’ child. Parental influence and the pre-defining of an individual’s destiny prompted the making of these precocious ceramic infants. Clearly mass-produced, but with the hand of the maker still evident, they eerily strike poses beyond their physical and intellectual capabilities.
The installation Nativity investigates the technology and theoretical intentions of human cloning technologies as well as the changing attitudes towards cutting edge biomedical science, particularly in relation to theological doctrine. Nativity was developed between 1997-1998, following a period when cloning technologies made significant advances due to the research conducted by the Roslin Institute and controversies surrounding anticipated uses were regularly featured in the media. Nativity presents a hypothetical manufactured ‘Second Coming’ whose components are a hybrid of biomedical and theological artefact.
Since 2004 Paddy has collaborated with Gillies Archives Curator Dr Andrew Bamji, interpreting the stories of facially injured WW1 servicemen who underwent pioneering reconstructive surgery at the hand of Sir Harold Gillies. Paddy’s digitally embroidered works produced as a result of their Wellcome Trust funded ‘Project Facade’ have and continue to be exhibited and published widely and displayed in the permanent collections a number of museums in the UK and USA including the Wellcome Collection and The Museum of Arts and Design New York.
Paddy’s long standing collaboration with biomaterials scientist Dr Ian Thompson at Kings College London has seen the pair innovate new techniques in the production of patient specific Bioglass facial implants for the repair of facial bone injuries. Their current work examines the phenomena of memorialisation and conflict acquired medical technologies and is being developed in conjunction with the Gordon Museum of Pathology.
Paddy was Curator at Brass Gallery Leeds for 10 years, speaks as a guest lecturer on his 20+ years in the creative industries at Colleges and Universities throughout the UK. Originally from Dewsbury, West Yorkshire he is a graduate of the University of Wales Institute, Cardiff with a Masters Degree in Sculpture and Ceramics and currently bases his practice at his London Bridge studio at King's College London. He is currently a Wellcome Trust Arts Awardee, Creativeworks London 'Creative Entrepreneur in Residence' at King's College London and is Artist in Residence at Exeter University in the College of Humanities.
Mapping Perception, 2000-2004
Mapping Perception was a four year multi media collaboration (2000-2004) between Andrew Kotting, Eden Kotting, Mark Lythgoe and Gilles Lane. The ambitious project examined the limits of human perception through an investigation of impaired brain function, making visible the connections between scientific and artistic explorations of the human condition, probing the thin membrane between the able and the disabled.
At the heart of the project is Eden, Andrew's daughter. She was born in 1988 with a rare genetic disorder; Joubert Syndrome, which causes cereberal vermis hypoplasia and several other neurological complications. Eden participates in the project as both a catalyst and a cypher for a more general investigation into how we see the world and perceive difference.
Mapping Perception (2002) culminated in a 37 minute 35mm film, an immersive and environmental sensory installation, a book, a CD-ROM and website. After being in hibernation for the last ten years it is fantastic to see Mapping Perception re-presented for Slippage: The Unstable Nature of Difference. Eden will also be exhibiting a series of her recent paintings alongside Mapping Perception.
Andrew Kotting is a British director, writer and artist. He studied BA Fine Art at Ravensbourne College of Art and Design, London (1984) and has an MA in Mixed Media from the Slade School of Art, London (1988). He is currently a teaching Professor in Video Arts Production at the University of the Creative Arts.
Kotting’s films include Gallivant (1996), premiered a the Edingburgh Film Festival where it won the Channel 4 Best New Directors Prize; This Filthy Earth (2001), Mapping Perception (2002) and Ivul (2009), screened at the 53rd London Film Festival. Recently Kotting has returned to working within a gallery context with Wake of a Deadad, shortlisted for the Derek Jarman Award 2008. In 2010 Kotting was one of two directors in residence at the La Rochelle International Film Festival, South West France.
Eden Kötting was born in 1988. She grew up in London and developed a keen interest in drawing and painting. She was the star of Gallivant (1996) and the inspiration for Mapping Perception (2002). She had her first solo exhibition in Evelyn Street, Deptford (1999) and in 2006 her work was selected to be part of a group show at Tate Modern organised by Project Artworks (an artist led organisation that works with people who have complex needs).
In 2007 Eden performed in her father’s short film Offshore and worked on the voice-over with the writer and film-maker Iain Sinclair. In 2009 Eden presented Off Ground He; a series of drawings for an installation at Le Fresnoy Gallery in Tourcoing, France and then murals and drawings for F-ISH Gallery, Hastings. She is presently part of the Wednesday Mentoring Group at Project Artworks and shares a studio with her father in the Old Town Hastings.
One Morning in May, 2012
A film by Hydar Dewachi
On the 28th of May 2012 Noëmi Lakmaier set out from Toynbee Studios in Tower Hamlets towards one of London's most iconic buildings, the ‘Gherkin’, in the City of London. This normally easy 1 mile stroll was a slow and exhausting test of endurance as Noemi did it on her hands and knees. Smartly dressed in business attire she crawled through the streets of London, her clothes getting increasingly dirty and torn. The film of her arduous journey shows passer bys offering to help while others watch on incredulously. After 7 gruelling hours she crossed the border from the Borough of Tower Hamlets to the City of London.
Noëmi Lakmaier studied for both her BA (2003) and her MA (2004) in Fine Art at Winchester School of Art. She has exhibited widely in the UK and internationally including We Are For You Because We Are Against Them, The LAB, Dublin, Essence, Beldam Gallery, Brunel University, London 2008; The Works of Others, Whitechapel Gallery Project Space, London 2006; Redundancy, Aspex Gallery, Portsmouth 2005. In 2008 she was artist in Residency at Camden Arts Centre, London and from 2008 – 2009 she held a studio residency at the Fire Station Artists’ Studios in Dublin.
She has won awards and bursaries including NAN New Collaborations, the Adam Reynolds Bursary, a Fire Station Studio Award and an Arts Council England Grant For The Arts. Lakmaier has guest lectured at the University of Brighton, Brighton, the University of Hertfordshire, Hatfield and NCAD, Dublin. Noemi is curator of Dis-rupted at MAC, Birmingham (2015).
Photo credit Hydar Dewachi.
Paper Interior, 2013
Video Installation and performance
Paper Interior (2013) is a filmed performance and installation that explores the ‘in-between-ness’ of space between the self, feminist art history, painting and video.
Filmed in daylight in a former hospital that is currently Glyndwr University Paper Interior was inspired by an art object that was used in a Research and Development project funded by the Arts Council Wales and Betsi Cadwaladr University Health Board (BCUHB) and completed in 2013. The research was a collaborative project between artists Karen Heald and Susan Liggett and two psychiatrists Professor Rob Poole and Dr Richard Tranter from Bangor University and was titled ‘In-between-ness: Using art to capture changes to the self during antidepressant treatment.
The object that inspired the artwork was a magnifying glass used as a prompt to encourage the participants in the research, who suffered from major depression, to document their day in a variety of ways. The film references Guy Sherwin’s Paper Landscape (1975). The resulting ‘dream film’ is reminiscent of a reverie with the interior/exterior framing creating a physical, metaphorical and philosophical ‘in-between-ness’ in its exploration of space. The film culminates with the artists cutting through the frame of the painting and entering the space of audience in the gallery. The viewer transgresses reality and enters the film space as the artists tear away to reveal the image as the viewer comprehends the space beyond. The image is then slashed by the present reality evoking yet another space. The piece makes reference to how we construct our reality and evokes a sense of being ‘in-between’ akin to that experienced by those suffering from mental health issues.
Karen Heald is an artist, experimental filmmaker, an Honorary Research Fellow in Social Sciences and a lecturer in Fine Art at Bangor University. She has a practice-based PhD (2014), an MA in Contemporary Fine Art from Leeds Metropolitan University and a BA (Hons) in Visual Arts from the University of Salford. Her research explores in-between-ness through time, creativity and its relationship to video, site-specificity, and the philosophical complexities of arts and science collaborations.
Susan Liggett is a practicing painter, Reader in Art and Design and Media, Art and Design Research Centre Head at Glyndwr University. She has a PhD from the University of Wales (2008), a Post Graduate Diploma in Painting (MA) from the Royal Academy Schools London (1994) and a BA(Hons) from Nottingham Trent University (1989). Her work explores personal memory within the genres of landscape, figure and still life painting.
Recent collaborative exhibitions include: In-Between-ness’ Oriel Sycharth, Wrexham, 2013, Videoformes, Trinity Church, Salford (2012); The Vending Machine, Serra dei Giardini and the Contemporary Art Galleria Perela, Venice (2011);
Limbs Unmade, 2013
Asssemblages and video
Limbs Unmade is a series of mixed media assemblages exploring the body and its relationship to prosthetics. The assemblages include casts of liners used in prosthetic limbs. Liners are cast themselves from the residual limb following amputation. The casts are made from a range of materials, bronze, ceramic, paper. There are a collection of objects and remnants from a Limb Centre where prosthetics are made. Chairs are used as a metaphor for the body and altered. Split screen video images play on a loop, extending a sculptural interest in the body fragment to a time based medium which allows for focus on the movement of the residual limb and the action of putting prosthetic limbs on and off. There is an interest in how changes to an object might alter a ‘reading’ of the object and it’s identity.
The aim of this work is to relocate ‘otherness’ from the realm of the spectacle to the every day. Through the use of familiar connections there is a personal communication about humanity and what might underpin an everyday existence.
Jo Thorne is a recent Fine Art graduate from the University of Chester (First class honours 2014). She has exhibited in Unlucky (2013) and Foyer Exhibition (2014) at Contemporary Art Space Chester. Jo spent her University placement working as an Exhibition Organiser for the University’s gallery, overseeing a number of exhibitions, including: Gaza, Loss of Innocence (2011 curated by Rod Cox), Fastnet to Dogger (2012, curated by Matt Denniss), Mothers (2012, curated by Harry Pye) and Reflective Stories (2012 curated by Tim Dunbar).
Jo works part time as an Independent Reviewing Officer for a Local Authority and as an Associate Lecturer for the Open University. She has previously worked in the voluntary sector as a manager and has experience of community development work in a range of communities.
Untitled I, II & III, 2012
Drawings on paper
50 x 35 cms
Daksha Patel’s practice encompasses animation, print, photography and drawing. The body, particularly the medical model of the body, is an on going concern in her work. She is interested in the images produced by medical visualisation technologies (such as MRI) that are used to scan and map the human body and questions how these images change our perceptions and experience of the body and our sense of self.
The process of drawing is central to her practice. Patel has worked with materials that are unstable such as oil, animal fat, and clay and drawn upon grounds such as vellum and latex to create works that are ephemeral and transitory. The three drawings in SLIPPAGE: The Unstable Nature of Difference examine the relationship between measurement systems and the body. They are inspired by medical scans of bodies undergoing trauma. Patel describes the organic forms by restricting her mark making to the horizontal and vertical lines of a graph. By working against the grain and attempting to fit bodies into a rigid system of representation, she points to the nature of difference. The controlled and beautiful mark making belies an arduous and labour intensive process; one that adds another layer of meaning for the artist's embodied experience of drawing.
Daksha Patel is an artist based in Manchester, UK. She has an MA (2008) and BA(Hons) (2003) from Manchester Metropolitan University and is currently undertaking an AHRC funded practice-led PhD at Northumbria University. She has completed residencies at The Christie Hospital (2010), The Chinese Arts Centre (2011) and Arts Catalyst/Lighthouse (2011).
Recent exhibitions include Micro-Nations, Imperial War Museum North Installation, part of Asia Triennial Manchester (2014); Digital Sensations, Baltic 39, Newcastle (2013); Brains: The Mind as Matter, Museum of Science and Industry, Manchester, an interdisciplinary art/science Wellcome Trust exhibition (2013); Noise and Signal bio-mapping event, FACT, Liverpool and Cornerhouse, Manchester (2013). Solo exhibitions include Bodytopos at Touchstones Rochdale (2014- 15) and Dust, Paper Gallery, Manchester as part of Manchester Science Festival (2014). Daksha will be undertaking a residency in the neuroscience and medical imaging departments at University of Manchester in 2015.
A View from Inside, 2012
C-Type digital prints
100 x 80cms each, mounted and framed
C-type photographic prints
40 x 50cms plus text panels
The ten photographs that make up A View From Inside draw on the principals of eighteenth century portrait painting to give form to some of the unique realities encountered by different people during psychotic episodes. Whilst the people photographed here all appear entirely ‘normal’, their ability to function within society has, to varying degrees, been affected by the experience of a psychotic ‘disorder’ such as Bipolar or Schizophrenia.
The aim of this work is not to exoticise the ‘unreal’ or bizarre perceptual experiences of the people portrayed, but to find a visual language that will provoke discussion and add to our understanding of the experience of mental illness, and of psychosis in particular.
A book that includes statements by each participant and essays by the Canadian cultural theorist, Jeanne Randolph and British psychiatrist, Professor Graham Thornicroft accompanies the photographs.
Skin was made in collaboration with Professor Irene Leigh, Consultant Dermatologist at London Hospital, and people with disabling skin conditions. Images of conditions such as Vitiligo and Psoriasis are set against ornate or brightly coloured fabrics. These are accompanied by extensive texts in which the subjects narrate their experiences.
The images are modelled on medical photographs, but the backgrounds bring a different set of connotations to the unusual or 'monstrous' appearance of the skin. The texts also work to humanise the images and to moderate any negative reactions on the part of the viewer.
Alexa Wright is an artist based in London, UK. She uses photography, video, sound and interactive digital media to explore some of the heavily defended boundaries of human identity. In different ways her works make us aware of the processes by which we constitute our sense of self in relation to others.
Alexa's work is exhibited, published and critically acclaimed Internationally. Exhibitions include Hybrid Bodies, PHI Centre, Montreal (2014); Digital Aesthetic 3, Preston (2012), DaDaFest International, Liverpool (2010); The Definition of Self, 21_21 Design Sight Gallery, Tokyo, Japan (2010); Locate Me, Kunstraum Kreuzberg, Bethanien, Berlin, Germany (2010); International Symposium of Electronic Art, Ormeau Baths Gallery, Belfast (2009); El cuerpo (con)sentido, Centro the Historia Zaragoza, Spain; Amber 08, BM Suma Gallery, Istanbul, Turkey (2008); FILE ‘07', SESI Art Gallery, Sao Paolo, Brazil (2007) and the International Women Artists’ Biennale, Incheon Arts Centre, Korea (2007). An animated image from the 'A View From Inside' series was part of the inaugural exhibition, Born in 1987: the Animated Gif on The Wall at the Photographers Gallery, London, 2012.
Alexa teaches at the University of Westminster in London. Her book, 'Monstrosity: The human monster in visual culture' (IB Tauris) was launched in June 2013.
Tactile Perception, 2015
Reclaimed teak, aluminium, copper, slate, mirror, scaffold tubes and fixings.
Chris Millward has been commissioned to make a piece of work specifically for SLIPPAGE: The Unstable Nature of Difference that can be touched, felt or handled in some way.
Chris is a sculptor whose practice is concerned with the aesthetic quality of materials. He is known for restoring and modifying found and discarded wooden furniture, transforming them into multiple storage units which contain quantities of metal objects, often made by a repeated process and presented in regimented rows and columns.
The contrast between different materials; the warmth of natural wood against cool metal provides a visual and tactile aesthetic while the containers themselves are an attempt to keep and maintain an element of order and control in a world that is besieged by personal and peripheral chaos.
Millward’s sculptures represent one of the few things over which there is any degree of certainty. Each individual object can be viewed as a special memory, an event or a relationship contained in a piece that has been subjected to its own inanimate past existence. In each case, the timber has been extracted from its natural trajectory and placed into another scenario. This suggests that history and the future are never set; they are always subject to change. We constantly exist in a state of flux despite our best efforts to order and control our own lives.
Chris has a BA(Hons) in Fine Art (2002) and is currently studying for an MRes at The University of Chester where he is Fine Art Technician. He has exhibited in numerous exhibitions throughout the North West and is an elected member of the Royal Society of British Sculptors. His current research is concerned with curatorial practices and the interaction between audience and artworks.
Performance Poet Jackie Hagan will be performing intermittently during the opening of SLIPPAGE:The Unstable Nature of Difference on Thursday 12th March at Contemporary Art Space Chester.
You are welcome to come and join us between 5 - 7 pm.
Jackie describes herself as a 'militant optimist and flirtatious amputee'. She believes in the power of theatre as a force for social change and live art as the antidote to too much screen time. Jackie makes courageous, down to earth, passionate, funny theatre, tackling issues such as disability, sexuality and class.
She is about to embark on a national tour of her solo show ‘Some People have Too Many Legs’, a show about using adversity to your advantage, and is currently working on commissions from Graeae Theatre, the National Rural Touring Forum, Contact Theatre, The Wellcome Trust and Bluesci Arts and Well-Being Centre.
She has been delivering creative workshops for 10 years and has worked extensively with people with learning disabilities, mental illness and challenging behaviour.
Eden Kotting has enjoyed drawing and painting from a very early age, especially with her father, Andrew Kotting. Together they have had exhibitions in the UK and France. She began working at Project Art Works in 2010 as part of the mentoring group.
Eden loves to paint objects that she has chosen from 'Still Life' but sometimes she might also choose to paint images from her head. Her visual impairment influences the way she sees the world and she has worked hard to develop her abilities to look carefully at what she sees. She plans out her drawings in pen or pencil before adding plenty of colour. Working in the studio at Project Art Works has enabled her to expand her range of mark making as well as her painting skills. The discipline required to remain focussed on a piece of work over several weeks has been challenging but ultimately very rewarding.
"I like drawing because it makes me feel good. It makes me feel big and I am happy when I am drawing. I like people looking at my paintings and drawings. I like writing on my drawings. I like working with Charlie at Project Art Works and with daddy in his studio. I am happy, happy, happy."
Eden Kötting was born in 1988 with Joubert Syndrome, a rare genetic disorder. She grew up in London and developed a keen interest in drawing and painting. In 1996 she appeared in her father’s experimental feature film GALLIVANT along with her Great Grandmother Gladys. She had her first solo exhibition in Evelyn Street, Deptford in 1999. In 2002 she collaborated with Dr Mark Lythgoe and Andrew Kötting on the multi-media SciArt project Mapping Perception.
In 2005 she moved to St Leonards-on-Sea and attended 6th Form College at Glyne Gap where she further developed her drawing and painting skills. In 2006 her work was chosen to be part of a group show at Tate Modern organised by Project Artworks (an artist led organisation that works with people who have complex needs). In 2007 she performed in her father’s short film OFFSHORE and worked on the voice-over with the writer and film-maker Iain Sinclair. In 2009 Eden presented – OFF GROUND HE – a series of drawings for installations that were exhibited at Le Fresnoy Gallery, Tourcoing, France and then murals and drawings for F-ISH Gallery, Hastings. She is part of the Wednesday Mentoring Group at Project Artworks and shares a studio with her father in the Old Town Hastings.