Speaking of IMELDA (London, 2013- 2017)
I was a member of the collaborative direct action feminist performance group, Speaking of IMELDA, whose performances addressed women's reproductive justice in Ireland (North and South) to the repealing of the 8th Amendment in 2017. The group was inter-generational and multidisciplinary with perspectives in politics, activism, health, law, film and theatre fomenting the work. Our actions were widely reported appearing in publications such as New York Times, the Washington Post and the Irish Times.
Soil Depositions (London, 2011-2014)
Soil Depositions was a cultural action that re-appropriated property discarded in eviction. The project addressed the expulsion of eighty-six Irish Traveller families from Dale Farm in Essex on the 19 October 2011 as a way to consider how institutions of property within the UK, such as the planning system, enable participation. Soil Depositions was prompted by the actions of three ex-Dale Farm resident women when they donated soil from the site of their former home. The soil was subsequently deposited, framed and documented in various national and international locations. Professor Alan Read (KCL) discusses the project in Theatre and Law (Basingstoke: Palgrave McMillan, 2015). This work was exhibited at the Blavatnik Building in the Tate Modern as part of the exhibition, Dale Farm – the Eviction (June 2019).
Re-discriminating Dale Farm (Basildon, Essex, 2012)
For the UN's international Migrant Day on December 18, 2011, I undertook a project with the artist, Kelly Green and with Traveller women from Dale Farm and under Tania Bruguera's umbrella project, Immigrant Movement International. The project collected testimonies of women at Dale Farm about their eviction experiences and participants read from the Immigrant Movement International Manifesto.
The Market Estate Project (Market Estate, N6 9DZ, London, 2010)
Collaborator on an installation, Flat 19, with urban artist Elli Resvanis. The project occurred alongside the 'decanting' of the residents at the Market Estate. As a guardian on the estate, I had a unique insight into the cultural politics of artists intersecting with the diminishing property rights of the social tenants.