I am pleased to announce that the ‘Against’ (2014) video from my ’Translucence’ project is included in the 'At the Fringe’ experimental film programme on Saturday 10th October in section 3, ‘Dance of Matter, Dance of Vision’.

This festival, based in Tranås, Sweden will feature practitioners from Sweden and other countries working with different disciplines (visual art, literature, dance and film) in a special ‘State at Home’ online event and will conduct around 70 events. The festival is now in its seventh edition and this year they are collaborating with Tranås municipality's annual culture and rainbow week.

'Syncopation' (2017) and 'Between Us' (2018) from the 'Twenty' project are included as looping video installations in 'MK Calling'. This group show, curated by Anthony Spira and Fay Blanchard features over 130 artists across five gallery spaces, in the newly extended building that reopened in March 2019. The ‘Twenty’ project (2017-18) serves as a reflection upon the artist’s long term relationship with her partner in the light of his treatment for heart failure.

The exhibition originally opened on 15th February but the gallery closed on 17th March in response to the Covid-19 crisis. The show has now been extended and will now reopen on the 11th September and run until the 1st November.

Two photographs from ‘Sermon’ (2008) from my ‘Waste Land’ project (2005-2010) have been selected by Void Collective for their online exhibition, ‘Lost in Isolation’. Featuring 37 artists, the artworks which have been made during the Covid 19 crisis, or relating to, times of isolation, highlight how art becomes even more meaningful; connecting us through these intimate and collective times of solitude and grief.

'Sermon' refers to Eliot’s appropriation of Buddha’s Fire Sermon, which warns against the fires of passions that destroy people’s lives; drawing parallels between Eliot’s troubled marriage and my own experience of parental divorce. The re-staging of imagined unfaithfulness, emotional responses and haunting reminiscences are ‘acted out’ through performed photography. These two metaphorical ‘Waste-land-scapes’ respond thematically to the text, emphasising the way in which I visualise traumatic experiences through the means of literary narratives to create an elusive form of self-portraiture.

The extracted quotations from this part of the poem, 'Her brain allows one half formed thought to pass' and 'I can connect nothing with nothing’ poignantly resonate with the rollercoaster of emotions and sense of uncertainty incurred by the coronavirus lockdown.

Parthian Books have launched ‘Home on the Move’, an anthology of poems that interrogates ideas of home, belonging and language through translation on 1st October 2019. The book is a culmination of the multilingual touring project 'Talking Transformations: Home on the Move' (2017-2019) and is edited by curators Manuela Perteghella and Ricarda Vidal.

This volume includes the various translations of the two poems by Deryn Rees-Jones and Rafal Gawin as they travelled between the UK, France and Spain and via Romania, Poland and the UK to signify the popular emigration and immigration routes, as well as poetry inspired by workshops and by the eight artist films commissioned for the project.

I produced ‘Syncopation’, informed by the poem 'Home: A Structure on Trial' by Gawin, which became an autobiographical film about my partner's experience of heart failure after he was discharged from hospital and was recovering at home. Postgraduate translation students from the University of Leicester wrote the poem, 'To you it looks like red brick walls' in response to my film, creating a new written interpretation with a revised vision of home.

I have had an article published in Vol.20, issue 2 of the Journal of Media Practice and Education, entitled 'The ‘Waste Land’ project: framing practice-based research through literary adaptation'.

This article examines how T. S Eliot’s poem, 'The Waste Land' (1922) was chosen as an explorative text to acquire an understanding of my interpretation methods for my practice-based PhD. I consider the way in which my early video experiments were informed by film adaptation theory and the contextual framework of European avant-garde films, testing out different modes of adaptation in order to reflect upon my process.

The article is available online through institutional log ins, such as OpenAthens or Shibboleth. Please get in touch if you would like to read it, as I have a limited number of free download links available.