JOURNAL

By christinaillenapeake, Mar 5 2020 09:16PM

New creatures emerging out of a plastic primordial soup.
New creatures emerging out of a plastic primordial soup.
The last male White Rhino - How will we remember extinct species?
The last male White Rhino - How will we remember extinct species?
The rhino's last steps used to create the digital model above.
The rhino's last steps used to create the digital model above.
Displacement and erasure of indigenous communities.
Displacement and erasure of indigenous communities.
Indigenous people conserving nature through protecting their lands.
Indigenous people conserving nature through protecting their lands.
An economist's vision for the future - New models to live within our means.
An economist's vision for the future - New models to live within our means.
Case study - Dong, Denmark's largest company change to green energy.
Case study - Dong, Denmark's largest company change to green energy.
Eco-visions. Eco-economies.
Eco-visions. Eco-economies.
Fair Tax Mark - Companies paying what they are should.
Fair Tax Mark - Companies paying what they are should.
Jason deCaires Taylor - Creator of underwater museums.
Jason deCaires Taylor - Creator of underwater museums.
Transforming barren underwater spaces with nature. Inspirational!
Transforming barren underwater spaces with nature. Inspirational!
INTERPRT - Breaking new ground in environmental law against ecocide.
INTERPRT - Breaking new ground in environmental law against ecocide.
My community - Beddington Energy Refuse Facility.Visiting this June.
My community - Beddington Energy Refuse Facility.Visiting this June.
My community - Rubbish surrounding Mitcham Common conservation area.
My community - Rubbish surrounding Mitcham Common conservation area.
Maritime Starburst lichen - Environmental indicators of healthy ecosystems.
Maritime Starburst lichen - Environmental indicators of healthy ecosystems.

I have been trying to attend as many events as I can at the moment in addition to reading and constantly drawing, photographing, writing my thoughts to get a grasp of where I want my work to go which is to be ecologically engaged.


When I went to Peru the communities and the environement of the rainforest changed everything! Last month I attend a conference called 'We Make Tomorrow' held by Julie's Bicycle. At that event there was so much to imbibe because there was such a diversity of content and presenters but the person that changed everything was Jason deCaires Taylor!


I obviously need to research and learn more about artists that are interrogating these themes and I am doing that but to see work that actually transformed barren spaces underwater to directly address and propagate biodiversity changed the perameters of what I thought I could do as an artist. That is now one of my objectives, to create art that can tansform the spaces that have been decimated, to work with nature and support it as an essential comunity contributing to my quality of life to flourish. To think I maybe able to actually contribute to biodiversity, not just conserve but help to make grow and multiply like it has impacted my life and created my world, would be the ultimate accomplishment! To think that I could create work that is a solution in addition to critquing, querying, proposing, imagining a multiplicity of visions for ecological futures has just extended the horizon so much further.


As much as I am overwhelmed and quite honestly sometimes afraid for what might happen, (but I live with that always now that I have my son and danger is omnipresent) my research urges me to carve deeper into the climate change crisis and the brighter the future seems when I see the creativity and commitment being brought to it. These are hard backed men, women and children doing serious tings and I want to grow up to be just like them!



By christinaillenapeake, Jan 14 2020 01:33PM

Left to right: Obrist, Okri, Natarajan, Kiefer, Siren, Bello, du Sautoy.
Left to right: Obrist, Okri, Natarajan, Kiefer, Siren, Bello, du Sautoy.
Du Sautoy on the boundary of the obervable universe.
Du Sautoy on the boundary of the obervable universe.
Du Sautoy on the many worlds theory.
Du Sautoy on the many worlds theory.
Model of quantum physic functions during photosynthesis.
Model of quantum physic functions during photosynthesis.
'Die Lebenden und dis Toten', 2019
'Die Lebenden und dis Toten', 2019
'Raum - Zeit', 2019
'Raum - Zeit', 2019
Vainamoinen sucht die drei fehlende Buchstaben', 2018-19
Vainamoinen sucht die drei fehlende Buchstaben', 2018-19
Detail of above.
Detail of above.

It is rare I think that you have this type of event, with contributors at this level and no one disappointed. It was fascinating, as always, to see the work that people are doing but the headline for me was that we see the same motifs or concepts coming through again and again but also inherent within so many beliefs systems and that is order and chaos. Two of the professors presenting on the day described how reaching the point of chaos which in many instances is the highest point of potential, is where you find novelty and the breakthrough/s. Another professor, Alexandra Olaya shared models of quantum physics functions in photosynthesis (I hope I noted that correctly) and the headline for that was that this function was not a fight but reflected a symbiotic relationship and that functional serenity was fascinating, as my reading of that is that serenity is achieved when you have a perfect balance of chaos and order.


From the discussion of mythology, runes and the Gordian knot, what I saw was the reemergence and development of new and ancient languages of the mystical and magical. The panel spoke of the mysticism of physics especially when speaking hundreds of hypotheses that can't be proven at this point. It was also fascinating to consider what we don’t know, and may never know.


Anselm though he may never know it made me feel great and that's not because he was bloody funny with a quick smile but because when he spoke of his work, of it never being finished and his practice in general would never reach an ultimate point of realisation or accomplishment but that in itself was exciting because truly who wants to reach that point. There is nothing left to discuss or challenge yourself with at that point. How many things scare him but that means it worth doing and the freedom artists’ have to experiment and mutate philosophical concepts. Another point I resonanted with was that you can never see the entire story due to the number of layers within the work.


He did make a fascinating point about cosmologies, that they give artists’ multiple ways of interpreting the world. I think in general the point to take home from the Head of Arts at CERN to the physics and maths professor and artist present was the ecology of interdisciplinary practice from subject matter to the need for research and ideas to step out of the siloed expert fields that they stand in. There were so many scientific, cosmological, mystical and mythical concepts that converged in Anselm’s paintings and the time it takes to allow that breath of research to sink in the brain to enable any kind of synergy. That is exactly how I feel about my research. There is a gap for me between research and creation of actual work where the concepts have to be intellectually and physically absorbed to the point where when I then create a work, the content frees itself almost carelessly because the concepts have wedded themselves to practice so completely,


I love an event where you want to run from the gallery blinded by the galaxy of ideas in your head, straight into the studio. God knows how big Anselm’s studio is?! I imagine a phalanx of aircraft hangars where he needs WW2 bomber planes to fly from one end to the other. Do you dude! Do you!




By christinaillenapeake, Nov 29 2019 07:21AM

I look at Gorine and I see so many similarities in her story of the female immigrant but we diverge greatly through race, privilege and subject. The sculptures of Asian men and women interest me in what would their stories be two generations down the line and link maintained to home? Whereas Gordine focused on the form and movement of the subject finding uniques silhouettes in her travels to Asia, I am interested in the narrative of her subjects' underrepresented stories and their relationship to the natural environment.


My mother immigrated from Barbados in 1971 to the UK to marry my father, a white Englishman who grew up in Sussex but had lived in Singapore as a child and conducted business their through his car export company. My father would bring home plastic models of Malaysian dancers from work trips or my grandmother’s shadow carvings and handmade kimonos who hang for decades in the wardrobe. Gordine’s actions to mitigate her Jewish ancestry by changing her name but accentuating her exoticism through dress and manner whose actions I could identify with being of mixed heritage the exoticism was inherent with your physical looks but there was no capacity to mitigate one’s skin colour. The Icon collection in the museum fascinated me as again the similarity with the Caribbean and the integration of Christianity within society which reflects a deep cultural impact to the individual and their identity. My mother would note that connection, not through religious artifact but only through practicing christianity in the Barbados as she thought the British people didn’t understand worship as they expressed no joy in it. The Russian Icons are a sumptuous illustration of the divine which infer a supranatural family in the holy trinity but this is also the divine aspect of nature itself, therefore when looking at them again I found myself looking out the window at nature itself.


This house is a magnet for light a necessity for the artist but what I felt was also the embrace of nature through every window, looking directly into Richmond Park. When I designed and built my studio which is a tiny thing I added as much window space as possible and in the garden where it is situated has Jasmine tapping on the door every summer. I looked into Richmond Park and members of the public walking through it and the high walled gardens that reminded of the book 'A Secret Garden' that I read as a child and it occured to me that there is the opportunity here for contained experimentation within this unique museum environment, incorporating internal and external spaces. There are predictions that with the onset of climate change, nature is already evolving and creating new forms within itself, incorporating waste for example, into new survival strategies, so what could these new strategies look like if we take waste materials, the forms of the body and face as Gordine typified and nature? Gordine assilmilated into a new culture and created a new modernity within it so what could I create if given the opportunity? Incorporating my mixed heritage in querying the translocality and contemporaneity of climate change affecting Britain and Barbados (which is listed as one of the top 20 countries at critical threat from rising sea levels) and the artist's response.


To work with a museum, which growing up were the places that held the cultural artefacts of the communities that you grew up with in London, from Africa, South America to Asia, essentially the ethnic minorities presented through ethnographic and anthropological representation but rarely as the one creating, telling or presenting these narratives within the institutions although this is definitely starrting to change as I remember Frank Bowling and Kara Walker at the Tate Briatin and Modern or Elvira Dyangani Ose, Director of The Showroom gallery. To secure a residency in a museum like this, in the home of one of Britain's celebrated female sculptors would be the realisation of an aspiration that I have held for years, that I never though could be realised but I was worked consistently towards through design and delivering projects and collaborating with charities and cultural orgnisations evolving my practice with every challenge.


The VLOG page has 6 videos from the Student Climate Strike and Extinction Revolution protests held this year, footage from the coral reefs in Paynes Bay, Barbados in January, film of the Veridor green landfill incinerator seen from my home, plus experimenting with film journal in 'CAHJ & COLLECTED #12 and #13' for the protogonist called 'The Sacred Ecologist' holding what could be one day 'The last piece of the Amazon' reflecting a visit to Dorich House, creative practice, mental health and the mercurial nature of the future to come, that would inform the narrative for the next phase of practice work.


Gordine's studio
Gordine's studio
Gordine's studio
Gordine's studio
The Chinese Philosopher, 1925-6
The Chinese Philosopher, 1925-6
Work inspired through travels in Asia.
Work inspired through travels in Asia.
Russian Icon collection
Russian Icon collection
Russian Icon collection
Russian Icon collection
Russian Icon collection
Russian Icon collection
Natures new strategies for using waste to its advantage - Happy Meal toy
Natures new strategies for using waste to its advantage - Happy Meal toy
Discarded pushchair as new foundation for marine life.
Discarded pushchair as new foundation for marine life.
The last piece of the Amazon.
The last piece of the Amazon.

By christinaillenapeake, Sep 23 2019 09:38AM

Walking through Westminster on Friday I was amazed by not only the passion but the humour of the politicial voice being excercised by the children and young people in attendance. Plus the amount of adults that attended to support the students protesting. Some of the slogans I thought had to have had a helping hand from a parent or some kind of adult but either way to see young people and so many children excercising their right to peaceful process was remarkable.


I didn't bring my son with me as I thought when he can understand whats going on I would want for him to choose to excercise his political agency rather than me making the decision for him, however, no judgement for those that did bring the little ones. I went as I still wanted to support their protest and it was an inspirational day.


One of things that did concern me though and I thought the same when I checked out the Extinct Revolution protests in London earlier this year, was that there was little to no presentation of indigenous people or alternative narratives from First Nations, people of colour and so on. They are so key to the narrative but it's like their story gets annexed or not included at all when it comes to the climate change narrative. However I was astonished by the coordination of the multiple strikes aroundthe world but I still wonder how many children, students, young people were represented from this communites in those strikes or general in relation to the indigneous communities in those countries?


I spoke to some women who were respresenting Survival International and they had noted the same. They mentioned another organisation called 'Wretched of the Earth' that also present alternative narratives but I couldn't find them as the day progressed. We discussed in general how many times the story around climate change could be read as another neo-colonial action whereby the West through foreign policy and environmental movements were dictating to other countries and their people such as Brazil how to act, yet the indigenous people at the heart of this had their voices supressed and/or were rarely invited to contribute.


This is not the first time that I have heard this type of criticism leveled at environmental movements riding high on the righteous indignation which understandable when you take a moment to absorb what is happening but argueably dictating what should happen rather than asking those living in these environments that are directly effected for their input. There is also the fact that Britain has had its industrial revolution. One where with little regulation we as a nation had pumped God knows how many tonnes of pollution, over what 150 years, into the world's seas, atmosphere and land, extracted obscene amounts of resources through colonial expansion and now we have come out of that we then seek to dictate others what they are to do. There is a hypocrisy and failure to take accountability for what we have contributed to for the last few centuries to this climate change crisis. Our colonial history has contributed to the environmental narrative as well as all the other European coutries as we explored and colonised the world.


Everyone is contributing to this and so while I applaud the young for protesting for what they believe in, we all have a hand in that and many indigenous communities have a long history of living sustainably with their environment. There is so much knowledge in these communities as well as nature that we have yet to learn.


I think this is defintiely where my research and practice is gong next, to find the myriad of stories that aren't making the headline but are at the heart of the struggle for survival.

By christinaillenapeake, Sep 19 2019 01:32PM

'COSMONAUT' exhibition poster
'COSMONAUT' exhibition poster
Deptford Does Art Gallery
Deptford Does Art Gallery
Deptford Does Art Gallery
Deptford Does Art Gallery
Deptford Does Art Gallery
Deptford Does Art Gallery
Deptford Does Art Gallery - WATW sculptures
Deptford Does Art Gallery - WATW sculptures
'Dream Home', 2019
'Dream Home', 2019
'Call of the Wild', 2019
'Call of the Wild', 2019
'Who bound GG (Gorgeous Girl)?', 2019
'Who bound GG (Gorgeous Girl)?', 2019
'Gimme the Keys Pete... Slooowly!', 2019
'Gimme the Keys Pete... Slooowly!', 2019
'Moloka', 2019
'Moloka', 2019
'Amazonas VIII', 2019
'Amazonas VIII', 2019
'Amazonas VII', 2019
'Amazonas VII', 2019
'Plastic Fantastic', 2019
'Plastic Fantastic', 2019
'Rainforest I', 2019
'Rainforest I', 2019
'The Malarai in the Time of Man', 2019
'The Malarai in the Time of Man', 2019
'See it. Kill it. II', 2019
'See it. Kill it. II', 2019
'Banana Tree', 2019
'Banana Tree', 2019
'Raging Gods', 2019
'Raging Gods', 2019

This was my first solo show and I don't think I have ever been so anxious to show work in my life. You never really hear about childcare or considertion of its provision for the artist in the creative industries but without my family for support I don't know how I would of done it plus the support of friends, again, whose support and encouragement was infectious so didn't completely crap it when the private view came along.


To see all the work up that had only previous occupied the studio and my laptop brought the biggest smile to my face. I was so proud of myself and the gallery was incredibly supportive. A couple who intensively invest and care about the arts community in their area. They have lots of amazing pieces from fashion to jewellery to buy so if you find yourself in Deptford check them out. Also there are some amazing African fabric shops that I have to go back and visit.


There are plans for the sculptures to shown at WATW so that the women can see them and I hope thats the case as they really were inspirational although I have to admit that it was one of the hardest projects I have ever taken on.


Wierd that I worked close to makng myself ill but now I want to plan a second one but first have to find the projects to inform the next show. Another lesson I learned that the field work is everything and the stories are authentic because they were lived. Thats seems obvious but the memories of people and places constantly run through my head selecting each motif and colour as I create the work. I thought especially when making the sculptures. I can wait to make another set of those or paintings again.


Heres to the next adventure or quest. Next year its time to travel again and I. Can't. Wait!