Moving image / HD Video / 2022 (21 mins )
Collaboration with AToMR / Mark Jeffery (USA) / Supported by Dance4 (UK) & SAIC (USA) Screenings:
Inbetween Time Festival, Bristol, UK, 2020
Light Moves Festival, Limerick, Ireland, 2021
Fine Arts Festival, NYC, USA, 2022
Rencontres International Paris / Berlin, 2022
LGBTQ Unbordered International Film Festival (Award Winner), USA, 2022
Artists’s Forum Festival, NYC, USA, 2022
Sentient Performativities, Symposium, Dartington Arts, 2022, UK
Exhibitions:
(group) School of the Art Institute Sabbatical Triennial, Saic Galleries, Chicago, USA, 2022
(solo) WINTERAGE: SWEETLAND multi-part exhibition, installation & community engagement for WestShore Community College, MI, USA, 2024
(group) Visions in the Nunnery, Bow Arts (curator: Onyeka Igwe) 2025
(group) Wild Things! Arts of Life, Circle Contemporary Chicago, USA, 2026
Book chapter:
Conversation in the Shape of a Cowlick & Other Tongues in Interspecies Performance, (Edited by Laura Cull Ó Maoilearca and Florence Fitzgerald-Allsopp) Performance Research Books, 2024
article by Maud Lavin for >> Chicago Artist Writers 2022
response by poet Osunwunmi for >> Inbetween Time 2021
"Uncanny and unlike anything I’ve experienced before. The film brings so many different agencies together and distributes them (human/nonhuman, physical body, animated body, physical landscape, animated landscape, text, physical sound, mediated sound, song). These are all inseparable from personal/social history, pop cultures and hidden cultures, queer cultures, wild/unbounded space, confined space, climate change..."
Lin Hixson (Every House Has A Door)
Winterage: Last Milk is a collaboration with Chicago-based artist, Mark Jeffery.
It was filmed in three days in rural Derbyshire on the farm where Mark grew up and where his dad suffered a fatal accident - falling from the roof of the milking parlour.
The film takes the personal narrative space of memory and filters it through the abstract circulatory systems of language and archaic agricultural systems such as that of hedge-laying. Hedge-laying is a process whereby a hedge is cut back to its roots and layed horizontally in order to sustain and prolong its lifecycle. This process also results in habitat for wild life and has its own aesthetic traditions, depending on which part of the UK the laying takes place in.
The language that appears in the film is created from technical and dialect terms for aspects of dairy farming and hedgelaying and borrows generative tropes from systems of coding in order to create new words for feelings and qualities of place that don't currently exist.
Responding to layers of memory, the image is cut and 'repaired' in a manner reminiscent of 'kintsugi', the japanese art of honuring a repair and embracing its flaws. Despite being moved into a new state, the image nevertheless acknowledges its loss whilst connecting with the kinetic qualities of the wearable sculptures designed by Grace Duval. These ‘costumes’ gesture towards life (gold) and death (black) and usher in their own choreographic qualities, making visible the shift of light or the play of wind..
The performative elements of the film arise from Mark’s imaginative ledger of choreographic material drawn from rituals acknowledging collective and personal traumas. The film’s specific movement score is a singular iteration, made for and within the space of the farm.
Screenings include: Light Moves Festival (work in progress) 2021; Inbetween Time Festival (2021) Sentient Performativities 2022; Rencontres Internationales 2022; SAIC residency exhibition 2022; Artists Forum Film Festival, NYC 2022; Award Winner LGBTQ Unbordered International Film Festival 2022.
Mark and Lucy, with artist, Judd Morrissey & writer & professor, Sara Jane Bailes have given a performative lecture about the film: Talk in the Shape of a Cowlick or a Hedge Lay
article by Maud Lavin for >> Chicago Artist Writers 2022
response by poet Osunwunmi for >> Inbetween Time 2021
Winterage: Last Milk
/ It’s both paen and elegy / It’s an honouring of a life lived / It doesn’t tell a story but instead dreams the stories we carry in us / It’s a remembering of an event none of us here, witnessed / It’s a laying of hedges, it’s a cycle of regeneration / It touches places of loss and mourning / It’s an honouring of the shadow in light and the light in shadow / It’s a portrait of a place and a person through a place / Like a plant its energy comes from light and time / It’s an improvisation with cows and dog and rain and the contours of a cowshed / It’s a staging of transformation through costume and movement / It’s an embodying of the ways in which we are human and more than human, how the edges of us are not sealed and discrete, that energy runs through us and between us / It’s a wondering about the roots of us and the roots of language and how language contains both place & movement / It’s a choreography between sound and image, marinaded in shared cinematic references -
Derek Jarman // Agnes Varda // Powell & Pressberger // Robert Bresson // Frederico Fellini // Maya Deren // Andrei Tarkovsky // Lilian Gish, RIP // Terence Davies // Sally Potter // Claire Denis // Todd Haynes // David Lynch // Apichatpong Weerasethakul // Kelly Reichardt // Chloe Zhao // John Smith // keep showing the glorious way….
How do we understand mortality and labour? Where does a song live in the body? How does the body of a three-year-old who sang ‘Rhinestone Cowboy’ to his mother before she left the family home, sing the same song forty-three years later? What does it mean to become a theatre of glitter, dust, sadness and hope?