Anna Bunting-Branch

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	<title>Anna Bunting-Branch</title>
	<link>https://annabuntingbranch.com</link>
	<description>Anna Bunting-Branch</description>
	<pubDate>Sun, 27 Oct 2024 11:59:15 +0000</pubDate>
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		<title>Futures Within, Futures Without</title>
				
		<link>https://annabuntingbranch.com/Futures-Within-Futures-Without</link>

		<pubDate>Sun, 12 Nov 2023 10:18:54 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

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The commitment to life without reproducing
demands new genres of storytelling. &#38;nbsp;Futures Within, Futures Without makes space for fertile counternarratives that re-vision
childlessness: experimenting with a hybrid genre of “speculative life writing” to bring together personal experience and the testimonies of others who are
questioning dominant narratives of reproduction.Through animating, crafting, writing and workshopping, this research explores how the future is conceived: engaging the “what if?”
speculations of SF to revision the feelings of negativity, failure, longing and lack that have long-haunted those futures within that
are determined to be futures without children in the familiar sense.
&#60;img width="926" height="1169" width_o="926" height_o="1169" data-src="https://freight.cargo.site/t/original/i/202ce2ed2d8dd6fd66fc3e81f9b2c5a1197d6bceec32b51f03666216c8e545f7/Anna-Bunting-Branch-Rewilding-Studio.png" data-mid="219680467" border="0"  src="https://freight.cargo.site/w/926/i/202ce2ed2d8dd6fd66fc3e81f9b2c5a1197d6bceec32b51f03666216c8e545f7/Anna-Bunting-Branch-Rewilding-Studio.png" /&#62;
Rewilding, acrylic paint on paper clay panel formed of shredded business documents, 2024

The first outcomes of this research were presented in Holding Space at God’s House Tower, Southampton, in 2024.

Forthcoming works include Dose Makes the Poison, a visual novel commissioned by Helen Starr, launching in 2025.︎ Interested in contributing to this ongoing research? Get in touch ︎&#38;nbsp;


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	<item>
		<title>Potential Wor(l)ds</title>
				
		<link>https://annabuntingbranch.com/Potential-Wor-l-ds</link>

		<pubDate>Mon, 15 Feb 2021 07:38:24 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/Potential-Wor-l-ds</guid>

		<description>&#60;img width="621" height="785" width_o="621" height_o="785" data-src="https://freight.cargo.site/t/original/i/9e9922a1aa92e3c35967d297a5953b64d3f65184e716b8db894727781bf1f278/Potential-worlds---Soft-Bodies-.jpg" data-mid="98898325" border="0"  src="https://freight.cargo.site/w/621/i/9e9922a1aa92e3c35967d297a5953b64d3f65184e716b8db894727781bf1f278/Potential-worlds---Soft-Bodies-.jpg" /&#62;Extract from the Potential Wor(l)ds dictionary and archive


Potential Wor(l)ds is an ongoing collaborative project with Aliyah Hussain, drawing on shared interests in feminist science fiction, embodied processes of making, and different ways of worldbuilding.&#38;nbsp; 
︎&#38;nbsp; Visit the Potential Wor(l)ds dictionary and archive&#38;nbsp; ︎︎︎


Potential Wor(l)ds workshops have been held at Bergen Kunsthall (2018), Lighthouse Brighton (2019), The Studio School in Liverpool (2019), Sonic Acts Academy in Amsterdam (2020) and Project Arts Centre in Dublin (2021).&#38;nbsp; &#38;nbsp;A gallery presentation of project was developed for ‘Soft Bodies’ at Castlefield Gallery, Manchester, in 2020.&#38;nbsp;

The project was developed as part of Who’s Doing the Washing Up? curated by Eva Rowson.&#38;nbsp; It was supported at Bergen Kunsthall and Lighthouse Brighton&#38;nbsp;


by Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.


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		<title>Holding Space</title>
				
		<link>https://annabuntingbranch.com/Holding-Space</link>

		<pubDate>Sun, 13 Oct 2024 17:14:00 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

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Holding Space, installation views at God’s House Tower, Southampton, 2024. &#38;nbsp;Photo: Luke Shears


Holding Space explores the role of reproductive refusal in climate activism. The exhibition – which comprises an animation, painting objects, bespoke furniture, research material, and community gatherings – invites audiences to consider different ways of conceiving the future in the face of climate emergency. &#38;nbsp;&#38;nbsp; 


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Holding Space, HD video with sound by Rosie Carr, 9 minutes, 2024


Taking breath as a metaphor for the intimate relationship between body and environment, the animation touches on the personal and political stakes of reproductive refusal.&#38;nbsp; In response to what the animation’s protagonist calls the violent comforts of late capitalism, refusal is here reclaimed as a generative and loving act. &#38;nbsp;

︎ Watch an extract of the animation&#38;nbsp;︎︎︎
 

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Holding Space, acrylic paint on aluminium, 2023


A series of painting objects draw themes and imagery from the animation out into the gallery space; with allusions to extraction and burnout, depression and navel gazing. &#38;nbsp;The moons that cycle throughout the space evoke natural rhythms and the passing of time. 

 
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1a05f1630837befa8971c87af489cfa0c4db3847f5f67437a9cd40c256ba7532/Anna-Bunting-Branch-GHT-31.jpg" data-mid="219682717" border="0"  src="https://freight.cargo.site/w/1000/i/1a05f1630837befa8971c87af489cfa0c4db3847f5f67437a9cd40c256ba7532/Anna-Bunting-Branch-GHT-31.jpg" /&#62;Moon Cycle, acrylic paint on aluminium, 2023. &#38;nbsp;Photos: Luke Shears


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Invert, acrylic paint on aluminium, 2023


For the exhibition at God’s House Tower, modular furniture was made in collaboration with my partner using surplus timber from Weber Industries, the “family business” where we both work. The flexible, flatpack design creates a furniture kit that the gallery team can re-purpose for future exhibitions and events. &#38;nbsp;Elsewhere, shredded documents produced by my administrative labour for the business provides material for new painting objects.

 
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Burnout #1, aluminium, acrylic paint, graphite and paper clay formed of shredded business documents, 2024. &#38;nbsp;Photo: Luke Shears


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Holding Space, installation views at God’s House Tower, Southampton, 2024. &#38;nbsp;Photo: Luke Shears


During the course of the exhibition, I hosted regular gatherings for a small group who responded to the themes of Holding Space.&#38;nbsp; The aim of these gatherings was to build a sense of collective enquiry and establish the roots of a community that could continue to meet and support each other in the future. Outcomes from the workshops were incorporated into the exhibition, forming a generative archive that will inspire the next chapter of this research.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/46bbfc230e54dcd6da090f21ac38ac47654d9e8e36f8e24585191ceae04a791d/Anna-Bunting-Branch-GHT-10.jpg" data-mid="219682727" border="0"  src="https://freight.cargo.site/w/1000/i/46bbfc230e54dcd6da090f21ac38ac47654d9e8e36f8e24585191ceae04a791d/Anna-Bunting-Branch-GHT-10.jpg" /&#62;Holding Space, documentation of a small group gathering, 2024. Photo: Luke Shears

Holding Space was originally commissioned by ‘a space’ arts for their Climate Action Programme. &#38;nbsp;As part of the project, we calculated the carbon footprint of the production period for the exhibition. 

︎ You can read our Environmental Impact Report here ︎︎︎&#38;nbsp;&#38;nbsp;

With special thanks to Mia Delve, the God’s House Tower team, and the small group participants. 


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		<title>Good Bad Books?</title>
				
		<link>https://annabuntingbranch.com/Good-Bad-Books</link>

		<pubDate>Sun, 27 Oct 2024 11:59:15 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

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Good Bad Books? The Promise of Pleasure, Barbican, 2023


Who is at “home” in a genre like science fiction or mystery? What kinds of reading relationships are forged by passionate fans of horror or romance? How can artists and writers make use of the mixed feelings evoked by genre fiction: from the spine-tingling to the cringe-inducing? Good Bad Books? was a public programme produced in collaboration with Naomi Pearce, which explored the imaginative spaces of genre fiction as sites of comfort and conflict.&#38;nbsp;

This project responded to the unique context of the Barbican Library and was developed in dialogue with library staff. &#38;nbsp;A series of writing workshops were led by invited artists and writers – Temi Oh on Science Fiction, Lucy McKenzie on Mystery &#38;amp; Crime, K Patrick on Romance, and David Steans &#38;amp; Hardeep Pandhal on Horror. In developing their own short stories, participants were invited to re-imagine the Barbican through the lens of genre: as the scene of a crime, the setting for passionate encounter, or a refuge in a dystopian near-future.


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&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d5113749a268bd817a04d28060b8d9aa98a3e03a6e97996c6b4f4fc2953a19e8/GoodBadBooks_2023_08.png" data-mid="220365363" border="0"  src="https://freight.cargo.site/w/1000/i/d5113749a268bd817a04d28060b8d9aa98a3e03a6e97996c6b4f4fc2953a19e8/GoodBadBooks_2023_08.png" /&#62;

Good Bad Books?, writing workshops with K Patrick and Temi Oh, Barbican Library, 2023 &#38;nbsp;


A closing event explored the mixed feelings provoked by so-called ‘good bad books’, with screenings, readings and discussion. Featuring contributions from Lucy McKenzie, Martine Syms, TJ Cuthand, Jamie Crewe, So Mayer, Temi Oh, Mark Aerial Waller, Heman Chong, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt, Steve Rushton and Leif Magne Tangen, along with readings from workshop participants Clive Niall and Jane Healey.&#38;nbsp;

︎ See full event details ︎︎︎


&#60;img width="1508" height="1131" width_o="1508" height_o="1131" data-src="https://freight.cargo.site/t/original/i/b5650896436b7b13324688f33f07e16774c572498da9e3a738cfe8b55b731650/GoodBadBooks_2023_04.png" data-mid="220365359" border="0"  src="https://freight.cargo.site/w/1000/i/b5650896436b7b13324688f33f07e16774c572498da9e3a738cfe8b55b731650/GoodBadBooks_2023_04.png" /&#62;
&#60;img width="1039" height="1385" width_o="1039" height_o="1385" data-src="https://freight.cargo.site/t/original/i/14475062fd85bfbabb5e5bbba5f6b6701352c9ca03fad6301a755c161a369841/GoodBadBooks_2023_06.png" data-mid="220365361" border="0"  src="https://freight.cargo.site/w/1000/i/14475062fd85bfbabb5e5bbba5f6b6701352c9ca03fad6301a755c161a369841/GoodBadBooks_2023_06.png" /&#62;
&#60;img width="1382" height="1037" width_o="1382" height_o="1037" data-src="https://freight.cargo.site/t/original/i/550e036dce148af23f63b40df5a56cd1d8caf97ce9be18d06c5d71d2f18df05b/GoodBadBooks_2023_03.png" data-mid="220365358" border="0"  src="https://freight.cargo.site/w/1000/i/550e036dce148af23f63b40df5a56cd1d8caf97ce9be18d06c5d71d2f18df05b/GoodBadBooks_2023_03.png" /&#62;

Good Bad Books? The Promise of Pleasure, Barbican, 2023


The Promise of Pleasure publication gathers together a selection of original short stories created by participants of the writing workshops, with an afterword by So Mayer.


︎ Read&#38;nbsp;The Promise of Pleasure (PDF) ︎︎︎

︎ Request a copy of the printed publication&#38;nbsp;︎︎︎


With special thanks to Naomi Pearce, Matt Harle, Trish Carter and the Barbican Library team.


</description>
		
	</item>
		
		
	<item>
		<title>Practicing the Difference</title>
				
		<link>https://annabuntingbranch.com/Practicing-the-Difference</link>

		<pubDate>Wed, 11 Jan 2023 13:56:02 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/Practicing-the-Difference</guid>

		<description>


Practicing the Difference: Reading Luce Irigaray with Feminist Science Fiction is a practice-related PhD thesis that considers feminist
science fiction as a methodology to approach the question of sexual difference
raised by Luce Irigaray.&#38;nbsp; 
As something
that has not yet happened—the stubborn embodiment of that speculative potentiality
of the “what if…?” which resists the lure of transcendence or universalised
abstraction—the spectre of sexual difference continues to haunt ideas of
feminist progress (Irigaray, 1996; Butler, 2004; Er, 2018).&#38;nbsp; This dense and difficult corpus also appears
jarringly out of sync with intersectional, trans feminist, non-binary, and
genderqueer accounts of sexual difference raised by her readers (Deutscher,
2002; Butler, 2004; Murphy, 2007; Salamon, 2010; Spivak, 2010; Johnston, 2015).&#38;nbsp; As such, I remain open to the generative
possibilities of difference within Luce Irigaray’s writing, as well as
embracing divergence from her thinking in feminist practice. 


My practice-related research is
animated by three key questions:&#38;nbsp; 
1) &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Can reading Luce
Irigaray with feminist science fiction allow her philosophy of sexual
difference to be thought differently? 
2) &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; How can this
different thinking be put into practice? 
3) &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; What can practicing
the difference offer to future feminist movement? &#38;nbsp; 


In response, I engage feminist SF
as an imaginative methodology (Lefanu, 1988; Rieder, 2010); drawing out
qualities that constitute the genre—thought experiment, worldbuilding,
defamiliarization, fan activity, sense of wonder—to ‘practice that difference’
which is so vital to the Irigarayan project (Irigaray [1977] 1985:159).&#38;nbsp; 
Moving from reading and writing through
painting, animating, and other ways of making and making public, this thesis
locates Luce Irigaray in the context of speculative feminist practice from the
past—spanning SF, activism, theory, fandom, and art.&#38;nbsp; Revisioning these strange, provocative, and
even failed texts as spaces in which more generative responses can proliferate,
I posit practicing the difference as a way of engaging critically and
creatively with the philosophy of sexual difference.


&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/be0d25dd7cf50046dfab5ae7e37e50409274e1f2b9d1137b205f8fe25f6fb03d/202211_Thesis_E1.png" data-mid="164354899" border="0"  src="https://freight.cargo.site/w/1000/i/be0d25dd7cf50046dfab5ae7e37e50409274e1f2b9d1137b205f8fe25f6fb03d/202211_Thesis_E1.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/e8933bd6b563d39c9702ffacbe21b6c6158132334214058565e14a71c906ae63/202211_Thesis_SS1.png" data-mid="164354902" border="0"  src="https://freight.cargo.site/w/1000/i/e8933bd6b563d39c9702ffacbe21b6c6158132334214058565e14a71c906ae63/202211_Thesis_SS1.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/906369d7be91594dc0b534e9b288b607b6c9bda1dbff277ebffe8016c7edb5b2/202211_Thesis_SS1_2.png" data-mid="164354901" border="0"  src="https://freight.cargo.site/w/1000/i/906369d7be91594dc0b534e9b288b607b6c9bda1dbff277ebffe8016c7edb5b2/202211_Thesis_SS1_2.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/e85ffd173796aeb5dfb8333657186cca5c5db8d68807e19fc9e852778c5df2d1/202211_Thesis_E2.png" data-mid="164354897" border="0"  src="https://freight.cargo.site/w/1000/i/e85ffd173796aeb5dfb8333657186cca5c5db8d68807e19fc9e852778c5df2d1/202211_Thesis_E2.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/74a3d8291bb55fd1a930abad746bc98affb4e548faa080f6d408e6385ea82138/202211_Thesis_SS2.png" data-mid="164354896" border="0"  src="https://freight.cargo.site/w/1000/i/74a3d8291bb55fd1a930abad746bc98affb4e548faa080f6d408e6385ea82138/202211_Thesis_SS2.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/a6cd9a76ecccfd6114acf0dd894ffd2acee271228884907fb5b52637c23b297d/202211_Thesis_SS2_2.png" data-mid="164354895" border="0"  src="https://freight.cargo.site/w/1000/i/a6cd9a76ecccfd6114acf0dd894ffd2acee271228884907fb5b52637c23b297d/202211_Thesis_SS2_2.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/41a0b2fab1547d55b14501b308135082b2e08030a4356f3091461f624a40afdb/202211_Thesis_E3.png" data-mid="164354894" border="0"  src="https://freight.cargo.site/w/1000/i/41a0b2fab1547d55b14501b308135082b2e08030a4356f3091461f624a40afdb/202211_Thesis_E3.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/fe61eb964ca79b9e6b122928627307c1b993e13d46151d5dda3dbb8f3d122dc4/202211_Thesis_E4.png" data-mid="164354892" border="0"  src="https://freight.cargo.site/w/1000/i/fe61eb964ca79b9e6b122928627307c1b993e13d46151d5dda3dbb8f3d122dc4/202211_Thesis_E4.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/ca5826aa6f97dec5ebf2b4b556f2c6a1d58dcbc328f336fc789f268cf4e4a34c/202211_Thesis_SS3.png" data-mid="164354890" border="0"  src="https://freight.cargo.site/w/1000/i/ca5826aa6f97dec5ebf2b4b556f2c6a1d58dcbc328f336fc789f268cf4e4a34c/202211_Thesis_SS3.png" /&#62;
&#60;img width="2480" height="1754" width_o="2480" height_o="1754" data-src="https://freight.cargo.site/t/original/i/41d651307277932de299f43d01f195c96b746d31f5a6922f70c42bb632f905d9/202211_Thesis_SS3_2.png" data-mid="164354889" border="0"  src="https://freight.cargo.site/w/1000/i/41d651307277932de299f43d01f195c96b746d31f5a6922f70c42bb632f905d9/202211_Thesis_SS3_2.png" /&#62;


Extracts from Practicing the Difference, practice-related PhD thesis, 2022


︎ Access the thesis via UCL Discovery ︎


Practicing the Difference: Reading Luce Irigaray with Feminist Science Fiction was completed in 2022.&#38;nbsp; This practice-related research was supervised by Prof Sharon Morris and Dr Hayley Newman at Slade School of Fine Art, University College London.&#38;nbsp; The thesis was examined by Dr Mo Throp and Dr Melanie Jackson.&#38;nbsp; 
This research was made possible by a studentship award from the London Arts &#38;amp; Humanities Partnership—Arts &#38;amp; Humanities Research Council, with additional support for research visits to WisCon40 and the University of Oregon Special Collections and University Archive, and the 8th Conference of The Irigaray Circle.
 &#38;nbsp;

 
</description>
		
	</item>
		
		
	<item>
		<title>Moving Worlds</title>
				
		<link>https://annabuntingbranch.com/Moving-Worlds</link>

		<pubDate>Wed, 11 Jan 2023 18:09:14 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/Moving-Worlds</guid>

		<description>&#60;img width="932" height="692" width_o="932" height_o="692" data-src="https://freight.cargo.site/t/original/i/f8f282271290902673b7da90be8fcba70eda86e10d56dcab2a638cc32e6e0dc9/COFFEE0.PNG" data-mid="164392872" border="0"  src="https://freight.cargo.site/w/932/i/f8f282271290902673b7da90be8fcba70eda86e10d56dcab2a638cc32e6e0dc9/COFFEE0.PNG" /&#62;Modest Magic #1, acrylic paint and gessoed paper on folded aluminium sheet, 2022


Moving Worlds is the outcome of an artist residency and workshop series at the

National Centre for Gaming Disorders. 

 This body of work is inspired by my experience of the relational dynamics at play in the work of the clinic; reflecting on what it means to prompt or participate in the transformation of perception—to shift the nature of your relation to things.&#38;nbsp;


︎&#38;nbsp; Find out more about the clinic ︎


&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/7d2051fb50633b1c9cd1f7af41eacd1630a7b5813cd1f717bbcf152ff4e08f9d/RESOURCE.png" data-mid="164391085" border="0"  src="https://freight.cargo.site/w/1000/i/7d2051fb50633b1c9cd1f7af41eacd1630a7b5813cd1f717bbcf152ff4e08f9d/RESOURCE.png" /&#62;
&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/0013eaafdb04ffe2eb1a3dcefcad9b6197d4c9f739304d43c34d23b32732b373/Building-A-World-A2-TEXT.png" data-mid="164389544" border="0"  src="https://freight.cargo.site/w/1000/i/0013eaafdb04ffe2eb1a3dcefcad9b6197d4c9f739304d43c34d23b32732b373/Building-A-World-A2-TEXT.png" /&#62;
&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/7cf976d11c94b2b050612d1292037c19a6c8af9ee343920415f2769266ae7a2a/Building-A-World-A2-TEXT2.png" data-mid="164389543" border="0"  src="https://freight.cargo.site/w/1000/i/7cf976d11c94b2b050612d1292037c19a6c8af9ee343920415f2769266ae7a2a/Building-A-World-A2-TEXT2.png" /&#62;


Building a World, Starting with Breakfast, digitally printed 8-page zine, 2022


&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/03e43b77a829257d8974ed7c8fba31412f2ba197a168046da1616b122958e735/TOAST0.png" data-mid="164394427" border="0"  src="https://freight.cargo.site/w/1000/i/03e43b77a829257d8974ed7c8fba31412f2ba197a168046da1616b122958e735/TOAST0.png" /&#62;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/30f4f0896987e4b22fabf6c7f6332cf030fe7421332cbf065a45dd31982686db/TOAST1.png" data-mid="164394429" border="0"  src="https://freight.cargo.site/w/1000/i/30f4f0896987e4b22fabf6c7f6332cf030fe7421332cbf065a45dd31982686db/TOAST1.png" /&#62;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4971654017291d2b819fed07b76e4e59f12a9df290f9f05d5a9397578f002e91/TOAST2.png" data-mid="164394430" border="0"  src="https://freight.cargo.site/w/1000/i/4971654017291d2b819fed07b76e4e59f12a9df290f9f05d5a9397578f002e91/TOAST2.png" /&#62;

Modest Magic #4, acrylic paint and gessoed paper on folded aluminium sheet, 2022


Moving Worlds was created during an artist residency at the National Centre for Gaming Disorders (2022).&#38;nbsp; This project was developed by artist Katriona Beales in collaboration with Professor Henrietta
Bowden-Jones at the Central and North West London NHS Foundation Trust and
supported by Arts Council England.&#38;nbsp; With special thanks to Family Psychotherapist &#38;nbsp;Alison Smith.&#38;nbsp;


︎&#38;nbsp; Link to Arts &#38;amp; Health Hub event ︎


 &#38;nbsp;

 
</description>
		
	</item>
		
		
	<item>
		<title>Recipes for Disaster</title>
				
		<link>https://annabuntingbranch.com/Recipes-for-Disaster</link>

		<pubDate>Wed, 11 Jan 2023 13:29:59 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/Recipes-for-Disaster</guid>

		<description>&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a1749a12ed59f062b021415984eddfed9f5bef031d64b2b2c5e50d649f946675/ABB_Recipes_PPT_GIF.gif" data-mid="164346341" border="0"  src="https://freight.cargo.site/w/1000/i/a1749a12ed59f062b021415984eddfed9f5bef031d64b2b2c5e50d649f946675/ABB_Recipes_PPT_GIF.gif" /&#62;


Recipes for Disaster, GIF, 2021


This creative writing workshop explores ways to prepare, create and transform in the face of disaster: from personal and political heartbreak to austerity, illness, climate emergency, and whatever else the future may have in store.&#38;nbsp; 
Thinking about the recipe as a minor genre that embraces both practical instruction and wonderous alchemy, participants are guided through the process of writing recipes for disaster that mix ingredients for sustenance, indulgence, survival and insurrection.
 

&#38;nbsp;


&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/3ace6afd7225f0e69e851f88710619da3f44bdaf0ac7d4400f281cc00a1232ec/Slide19.jpg" data-mid="164346541" border="0"  src="https://freight.cargo.site/w/1000/i/3ace6afd7225f0e69e851f88710619da3f44bdaf0ac7d4400f281cc00a1232ec/Slide19.jpg" /&#62;
&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/4ae290cec6fe2496d5009239c5bf01b13630eca0348be202a10a5fb3898384af/Slide12.jpg" data-mid="164346539" border="0"  src="https://freight.cargo.site/w/1000/i/4ae290cec6fe2496d5009239c5bf01b13630eca0348be202a10a5fb3898384af/Slide12.jpg" /&#62;
&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/fa5fc967a54589fc7a33e64a66d476cbc5050b54d4e34c4fdd9dedace255285e/Slide22.jpg" data-mid="164346542" border="0"  src="https://freight.cargo.site/w/1000/i/fa5fc967a54589fc7a33e64a66d476cbc5050b54d4e34c4fdd9dedace255285e/Slide22.jpg" /&#62;

Extracts from Recipes for Disaster, workshop, 2021 &#38;nbsp;


This workshop was originally created for&#38;nbsp;Interior/Interior, an event curated with Zoë Mendelson at Chelsea Space, London in 2021.&#38;nbsp; Later that year,&#38;nbsp;Recipes for Disaster was also hosted for Net//Work participating artists at Wysing Arts Centre.
 &#38;nbsp;

 
</description>
		
	</item>
		
		
	<item>
		<title>Warm Worlds and Otherwise</title>
				
		<link>https://annabuntingbranch.com/Warm-Worlds-and-Otherwise</link>

		<pubDate>Sun, 28 Oct 2018 20:40:29 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/Warm-Worlds-and-Otherwise</guid>

		<description>&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/8079e3e18ab7185ccaf4738fdf73ebabb08636cd786f7f60f6ea5d96fe1edde6/03-install-web.-Image-by-Rob-Battersby.jpg" data-mid="56074140" border="0"  src="https://freight.cargo.site/w/1000/i/8079e3e18ab7185ccaf4738fdf73ebabb08636cd786f7f60f6ea5d96fe1edde6/03-install-web.-Image-by-Rob-Battersby.jpg" /&#62;Installation view as part of you feel me_ at FACT, Liverpool, 2019.&#38;nbsp; Photo: Rob Battersby.

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;This project engages painting, digital animation and virtual reality to explore ideas of worldbuilding, embodied perception and technologies of representation.Central to the project is META, an experimental 360-degree animation.&#38;nbsp; As the viewer is transported between environments – from an unknown planet to a restaurant orbiting in space and beyond – we inhabit the bodies of different human and non-human characters in the narrative.


︎ &#38;nbsp;View the Warm Worlds and Otherwise publication ︎


&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/50d243a0806b67af992aabee501e331b00a5b8ff1151f0de8d08d0291c7786a1/META_FACT_Final-0-00-27-06.jpg" data-mid="56076087" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/50d243a0806b67af992aabee501e331b00a5b8ff1151f0de8d08d0291c7786a1/META_FACT_Final-0-00-27-06.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/010cc6b18dfa33ba8de7a90bf40726999fd5918834413abd4edd5cbf57c82ff6/META_FACT_Final-0-03-27-37.jpg" data-mid="56076573" border="0"  src="https://freight.cargo.site/w/1000/i/010cc6b18dfa33ba8de7a90bf40726999fd5918834413abd4edd5cbf57c82ff6/META_FACT_Final-0-03-27-37.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/dd3356d2bd252ed0b75a3f2068c58684551890943f02a31e2a6db853a78e2eef/META_FACT_Final-0-06-11-00.jpg" data-mid="56076576" border="0"  src="https://freight.cargo.site/w/1000/i/dd3356d2bd252ed0b75a3f2068c58684551890943f02a31e2a6db853a78e2eef/META_FACT_Final-0-06-11-00.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a335f7e6e9f84f148105f9f35957112440098eb77aa5fc4375526b2ff4598cec/META_FACT_Final-0-07-12-54.jpg" data-mid="56076577" border="0"  src="https://freight.cargo.site/w/1000/i/a335f7e6e9f84f148105f9f35957112440098eb77aa5fc4375526b2ff4598cec/META_FACT_Final-0-07-12-54.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/3e743de7593bca21c15f62dad4adc41f051387699ba34b28bd94ca03a6e1951f/META_FACT_Final-0-09-08-15.jpg" data-mid="56076589" border="0"  src="https://freight.cargo.site/w/1000/i/3e743de7593bca21c15f62dad4adc41f051387699ba34b28bd94ca03a6e1951f/META_FACT_Final-0-09-08-15.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/417b519eb329bb5e8c687b70c2e56a741a26a64dbaf56a2876a8da55c7a3a549/META_FACT_Final-0-11-26-05.jpg" data-mid="56076592" border="0"  src="https://freight.cargo.site/w/1000/i/417b519eb329bb5e8c687b70c2e56a741a26a64dbaf56a2876a8da55c7a3a549/META_FACT_Final-0-11-26-05.jpg" /&#62;
&#60;img width="4096" height="2048" width_o="4096" height_o="2048" data-src="https://freight.cargo.site/t/original/i/606539f715e6aeb531ba3f0822a58b552848ff412fca97f3f7ad60285d9c7656/META_FACT_Final-0-13-01-19.jpg" data-mid="56076597" border="0"  src="https://freight.cargo.site/w/1000/i/606539f715e6aeb531ba3f0822a58b552848ff412fca97f3f7ad60285d9c7656/META_FACT_Final-0-13-01-19.jpg" /&#62;
Equirectangular stills from 
META, 

 360-degree video with sound by Aliyah Hussain, 15 minutes, 2019
In exhibition, four specially designed viewing stations present META on a series of modified Oculus Go headsets.&#38;nbsp; These interactive painting objects make the SF-inspired images of technology from the animated storyworld manifest in the space of the gallery. &#38;nbsp;


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e2b96bcf376d824d10bf09f48b510029a528d94b810910e7c54c0e9d45f219d3/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-15.jpg" data-mid="83062435" border="0"  src="https://freight.cargo.site/w/1000/i/e2b96bcf376d824d10bf09f48b510029a528d94b810910e7c54c0e9d45f219d3/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-15.jpg" /&#62;&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/bb02b47a58743bea4cc912bca6620c5be1490167543ae03bd9ec5c8ff4455ff7/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-4.jpg" data-mid="27283827" border="0"  src="https://freight.cargo.site/w/1000/i/bb02b47a58743bea4cc912bca6620c5be1490167543ae03bd9ec5c8ff4455ff7/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-4.jpg" /&#62;Installation views at Wysing Arts Centre, Cambridge, 2018.&#38;nbsp; Photos: Alice Speller
Warm Worlds and Otherwise draws inspiration from a wide range of fictional and non-fictional sources, not least the collection of short stories by James Tiptree Jr. from which the project takes its title.&#38;nbsp; 
META remixes imagery from the writing of theorists Luce Irigaray and Jakob von Uexküll, the work of painters Maria Lassnig and Maria Sibylla Merian, and SF texts such as Naomi Mitchison's Memoirs of a Spacewoman (1962) and Aliette de Bodard's 'Immersion' (2012); while&#38;nbsp;“Well-come World Travellor!” reimagines a scene from 
Joanna Russ’s ‘Bodies’ (1984). &#38;nbsp;


“Well-come World Travellor!”, HD video, 4 minutes (looped), 2018.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ba6509f08d508389c3736881a3942f6cb170b6ff596d26691ee7a67744a3f8d1/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-20.jpg" data-mid="27283647" border="0"  src="https://freight.cargo.site/w/1000/i/ba6509f08d508389c3736881a3942f6cb170b6ff596d26691ee7a67744a3f8d1/2018_Warm-Worlds-and-Otherwise_Wysing_Photo-Wilf-Speller-20.jpg" /&#62;“Well-come World Travellor!”, HD video, 4 minutes (looped), 2018.&#38;nbsp; Photo: Wilf Speller


As well as inspiring the visual imagery of these works, these diverse sources provide a starting point for the sonic worlds created by artist Aliyah Hussain for the project.&#38;nbsp; This ambient sound work underscores the viewer’s experience in the gallery space as well as in the virtual environment. &#38;nbsp;


&#60;img width="5680" height="3787" width_o="5680" height_o="3787" data-src="https://freight.cargo.site/t/original/i/820f13c5c55d4dea6c369dac0cce2ea71c8055cae4c48dc852513e412594bb07/ABB_Warm-Worlds-5.jpeg" data-mid="83062916" border="0"  src="https://freight.cargo.site/w/1000/i/820f13c5c55d4dea6c369dac0cce2ea71c8055cae4c48dc852513e412594bb07/ABB_Warm-Worlds-5.jpeg" /&#62;Installation view at QUAD, Derby, 2020.&#38;nbsp; Photo: Charlotte Jopling.


Warm Worlds and Otherwise was commissioned as part of Worlds Among Us, a collaboration between Wysing Arts Centre, The Mechatronic Library, FACT, Liverpool and QUAD.&#38;nbsp; The project developed from the&#38;nbsp;Worlds Among Us&#38;nbsp;retreat in 2017, which featured contributions from Rebecca Allen, Katriona Beales, Anna Bunting-Branch, Ami Clarke, Sonya Dyer, Candice Jacobs, Wilf Speller, 555-5555, Werkflow and The Mechatronic Library. &#38;nbsp;
The project was first presented as a solo exhibition at Wysing Arts Centre in 2018, before touring to FACT in 2019 (as part of the group exhibition you feel me_, curated by Helen Starr) and QUAD in 2020.&#38;nbsp; The project was celebrated in a publication by The Mechatronic Library and QUAD in 2020. &#38;nbsp;In 2021,&#38;nbsp;META was awarded an Honorary Mention by Prix Ars Electronica. &#38;nbsp;

Warm Worlds and Otherwise was supported using public funding by Arts Council England.


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	</item>
		
		
	<item>
		<title>W.I.T.C.H. (Redux)</title>
				
		<link>https://annabuntingbranch.com/W-I-T-C-H-Redux</link>

		<pubDate>Thu, 11 Feb 2021 14:51:10 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/W-I-T-C-H-Redux</guid>

		<description>
&#60;img width="7016" height="9933" width_o="7016" height_o="9933" data-src="https://freight.cargo.site/t/original/i/213057b449fb314f66ce8332a3d286a5f2c639434c51a05575ff4f6a3539ed83/POSTER_Womxn_Induce_A1.png" data-mid="98571556" border="0"  src="https://freight.cargo.site/w/1000/i/213057b449fb314f66ce8332a3d286a5f2c639434c51a05575ff4f6a3539ed83/POSTER_Womxn_Induce_A1.png" /&#62;
&#60;img width="1000" height="1414" width_o="1000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/47b384a6f9c7e5f8da3f16371876a3ce1925ff50e26458821f1d4a7e74e5e24d/POSTER_International_Terrorist_A2.png" data-mid="98571723" border="0"  src="https://freight.cargo.site/w/1000/i/47b384a6f9c7e5f8da3f16371876a3ce1925ff50e26458821f1d4a7e74e5e24d/POSTER_International_Terrorist_A2.png" /&#62;
&#60;img width="8344" height="11796" width_o="8344" height_o="11796" data-src="https://freight.cargo.site/t/original/i/7418b0ea0ff1808ccef6b09c7855483bfc88f7955f047617072737198cc772b7/POSTER_Windriding_A0.png" data-mid="98571555" border="0"  src="https://freight.cargo.site/w/1000/i/7418b0ea0ff1808ccef6b09c7855483bfc88f7955f047617072737198cc772b7/POSTER_Windriding_A0.png" /&#62;
&#60;img width="4961" height="7016" width_o="4961" height_o="7016" data-src="https://freight.cargo.site/t/original/i/cceffe44a86e574c4623aabc91a7c786e50fcc9b44a4f8cfe50a4ad05ac6cf3b/POSTER_Crones_Hair_A2.png" data-mid="98571552" border="0"  src="https://freight.cargo.site/w/1000/i/cceffe44a86e574c4623aabc91a7c786e50fcc9b44a4f8cfe50a4ad05ac6cf3b/POSTER_Crones_Hair_A2.png" /&#62;
&#60;img width="8344" height="11796" width_o="8344" height_o="11796" data-src="https://freight.cargo.site/t/original/i/6faeb9af5cbfa5869ec7a247ba9f4a7a6d03d12d3a5252001519a91ff92892a2/POSTER_Heretic_A0.png" data-mid="98571553" border="0"  src="https://freight.cargo.site/w/1000/i/6faeb9af5cbfa5869ec7a247ba9f4a7a6d03d12d3a5252001519a91ff92892a2/POSTER_Heretic_A0.png" /&#62;
&#60;img width="7016" height="9933" width_o="7016" height_o="9933" data-src="https://freight.cargo.site/t/original/i/8eff5c882232f8b93e8c2b68dde612e17445fa98c11435d8d980b5302adbfe58/POSTER_Wild_Imaginations_A1.png" data-mid="98571554" border="0"  src="https://freight.cargo.site/w/1000/i/8eff5c882232f8b93e8c2b68dde612e17445fa98c11435d8d980b5302adbfe58/POSTER_Wild_Imaginations_A1.png" /&#62;

W.I.T.C.H. (Redux), digital posters, dimensions variable, 2020.&#38;nbsp;

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;When curators Matteo Binci and Giacomo Pigliapoco proposed to exhibit W.I.T.C.H. (2016) as part of their group exhibition&#38;nbsp;Crepuscolo (DUSK) in 2020, the invitation presented an opportunity to revist this earlier body of work.In W.I.T.C.H. (Redux),&#38;nbsp;the original painting objects are translated into a reproducible, digital form.&#38;nbsp; This series includes new designs and revisions to imagery from the 2016 works. &#38;nbsp;


 &#60;img width="2365" height="3543" width_o="2365" height_o="3543" data-src="https://freight.cargo.site/t/original/i/de0aaa8db51bd36cd241176fcbf7bd3ff0c61eaaab53ccdf81acbf0ed41b3a89/19.-Anna-Bunthing-Branch.jpg" data-mid="98571545" border="0"  src="https://freight.cargo.site/w/1000/i/de0aaa8db51bd36cd241176fcbf7bd3ff0c61eaaab53ccdf81acbf0ed41b3a89/19.-Anna-Bunthing-Branch.jpg" /&#62;Installation view at&#38;nbsp;Bastione Sangallo, Loreto.&#38;nbsp; Photo: Michele Alberto Sereni.
The exhibition Crepuscolo (DUSK) (2020) at Bastione Sangallo in Loreto, Italy,&#38;nbsp; featured works by Enrico Boccioletti, Giulia Crispiani, Harun Farocki, Raffaela Naldi Rossano, Athena Papadopoulos, and Raphaela Vogel.

︎&#38;nbsp; &#38;nbsp; Printed posters are available to purchase ︎


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	</item>
		
		
	<item>
		<title>The Labours of Barren House</title>
				
		<link>https://annabuntingbranch.com/The-Labours-of-Barren-House</link>

		<pubDate>Mon, 29 Oct 2018 10:28:20 +0000</pubDate>

		<dc:creator>Anna Bunting-Branch</dc:creator>

		<guid isPermaLink="true">https://annabuntingbranch.com/The-Labours-of-Barren-House</guid>

		<description>&#60;img width="2000" height="1499" width_o="2000" height_o="1499" data-src="https://freight.cargo.site/t/original/i/386a631ae520e814bfb35f0d3efe8883d50dc966598ce5723e342193c87ad3b2/GAL1_P_24873_WEB.jpg" data-mid="27281167" border="0"  src="https://freight.cargo.site/w/1000/i/386a631ae520e814bfb35f0d3efe8883d50dc966598ce5723e342193c87ad3b2/GAL1_P_24873_WEB.jpg" /&#62;Installation view at Jerwood Space, London, 2017.&#38;nbsp; Photo: Anna Arca

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;This body of work was informed by a period of research undertaken in the archives of the University of Oregon exploring Láadan – the constructed ‘women’s language’ that was developed by Suzette Haden Elgin in her science fiction trilogy Native Tongue (1984-1994). &#38;nbsp;
An animation, titled&#38;nbsp;The Linguists, draws on imagery of witchcraft and séances to channel the spirit of Elgin’s interest in the production of subversive and transformative knowledges.&#38;nbsp; 


&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/f597c82fd5510fd8154234e975f7b6b7faba356c44461f0ee32a9553eb415dbd/Final-Timeline-0.00.24.15.jpg" data-mid="56077297" border="0"  src="https://freight.cargo.site/w/800/i/f597c82fd5510fd8154234e975f7b6b7faba356c44461f0ee32a9553eb415dbd/Final-Timeline-0.00.24.15.jpg" /&#62;&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/f71b6ed88633eed967302343fadbadf5558cfc01ffd53d8479244db5ff00d5f6/Final-Timeline-0.01.39.10.jpg" data-mid="56077151" border="0" data-scale="100" src="https://freight.cargo.site/w/800/i/f71b6ed88633eed967302343fadbadf5558cfc01ffd53d8479244db5ff00d5f6/Final-Timeline-0.01.39.10.jpg" /&#62;&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/e508c6ec3f91d249445fb422402f79655a2bc618533c9b613116a6d3fe1db2ba/Final-Timeline-0.01.57.15.jpg" data-mid="56077162" border="0"  src="https://freight.cargo.site/w/800/i/e508c6ec3f91d249445fb422402f79655a2bc618533c9b613116a6d3fe1db2ba/Final-Timeline-0.01.57.15.jpg" /&#62;

  Extracts from The Linguists, HD video with sound, 8 minutes 4 seconds, 2017

The etymology of the word ‘glamour’ – drawn from the Greek gramma, meaning 'letter', and in fifteenth century English coming to mean a witch’s spell that created the illusion of castration – inspires the strange re-imagining of a lipstick-like substance.&#38;nbsp; This bloody fluid is applied to the mouth by the protagonists’ tongues, and transferred to ritual objects through kisses, before eventually flooding their surroundings. 


&#60;img width="2000" height="1499" width_o="2000" height_o="1499" data-src="https://freight.cargo.site/t/original/i/b4c77cd1725d7a5ee8c7894469d455df8c6ae240d8cf3b87ca9e5f2f2a41ba6d/GAL1_P_24886_WEB.jpg" data-mid="27281880" border="0"  src="https://freight.cargo.site/w/1000/i/b4c77cd1725d7a5ee8c7894469d455df8c6ae240d8cf3b87ca9e5f2f2a41ba6d/GAL1_P_24886_WEB.jpg" /&#62;
&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/561d095de00777178ec9bc91875cd2303087c7c922fc1d5b56917af46ed10128/GAL1_P_24912_WEB.jpg" data-mid="27281881" border="0"  src="https://freight.cargo.site/w/1000/i/561d095de00777178ec9bc91875cd2303087c7c922fc1d5b56917af46ed10128/GAL1_P_24912_WEB.jpg" /&#62;
&#60;img width="3543" height="4728" width_o="3543" height_o="4728" data-src="https://freight.cargo.site/t/original/i/208716cdb2be349b3cd3e2d1f07f7135349f50ecbb1881a044838706be4420dd/GAL1_P_24857_WEB.jpg" data-mid="27281879" border="0"  src="https://freight.cargo.site/w/1000/i/208716cdb2be349b3cd3e2d1f07f7135349f50ecbb1881a044838706be4420dd/GAL1_P_24857_WEB.jpg" /&#62;
Fingerspell (“G.L.A.M.O.U.R”), mixed media, 2016. Photos: Anna Arca
The painting objects, titled&#38;nbsp;Mother Tongue and Fingerspell (“G.L.A.M.O.U.R”),&#38;nbsp;take up the ideas around embodied perception and language that underpin The Linguists.&#38;nbsp; Translating the ritual figure from this animated storyworld into monumental ruins encountered by a viewer in space, these painting objects perform as the fictional artifacts of future histories. &#38;nbsp;


&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2c3259388a3acd3c4ffffcdca520a0bcb55183adb2d0c9c64a7c48608b831d27/GAL1_P_24955_WEB.jpg" data-mid="27281882" border="0"  src="https://freight.cargo.site/w/1000/i/2c3259388a3acd3c4ffffcdca520a0bcb55183adb2d0c9c64a7c48608b831d27/GAL1_P_24955_WEB.jpg" /&#62;
&#60;img width="1314" height="985" width_o="1314" height_o="985" data-src="https://freight.cargo.site/t/original/i/6aa2a895df0d53ec68b5a974fdca3b3a344ca5c20641d839360aa474d14d3475/GAL1_P_24962_WEB.jpg" data-mid="27281883" border="0"  src="https://freight.cargo.site/w/1000/i/6aa2a895df0d53ec68b5a974fdca3b3a344ca5c20641d839360aa474d14d3475/GAL1_P_24962_WEB.jpg" /&#62;
Mother Tongue, mixed media, 2016. Photos: Anna ArcaThe Labours of Barren House was originally created for Jerwood Solo Presentations 2017, supported by Jerwood Charitable Foundation.&#38;nbsp; Research in The University of Oregon Special Collections and University Archive was supported by the AHRC London Arts &#38;amp; Humanities Partnership Research Fund.&#38;nbsp;
︎&#38;nbsp; &#38;nbsp; Read text by James Gormley ︎


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