Category Archives: Group Walks

Jennie Savage, Fracture Mob (2016)

Jennie Savage, Fracture Mob (2016)

“Fracture Mob invited people across the world to get lost whilst listening to a live broadcast on stress.fm, a Lisbon based artist internet radio station. The piece sought to construct a moment in which an imaginative space existed. People walked in the geography of their own, grounded reality, whilst experiencing the collective reality of the audio guide. In turn the audio guide offered a non-specific geography, which moves between sounds and landscapes.

Collaboration with stress.fm , Lisbon 2016

https://www.livingmaps.review/journal/index.php/LMR/article/view/30/0 “

Walk & Squawk, The Walking Project (2003-2006)

Walk and Squawk, The Walking Project (2003-2006)

“The Drawing Project began in Detroit in 1999 and became an interdisciplinary performance, mapping and cultural-exchange project collaboratively developed by Walk & Squawk (Hilary Ramsden and Erika Block), with U.S. and South Africa-based artists and communities during a series of residencies in Detroit and KwaZulu-Natal from 2003 through 2006. Inspired by desire lines people made across vacant lots in Detroit and across fields in South Africa we explored the paths we walk and how they are formed through culture, geography, language, economics and love. We looked at how changing our patterns of movement can alter our attitudes and perception, how taking a different path can alter our lives. We discovered how learning language alters the actual paths in our brains and how taking a car means something very different from taking a walk.” [credit]

The Walking Reading Group (2013)

Walking Reading Group Trailer from SPACE on Vimeo.

“The Walking Reading Group, running since 2013, is a project that facilitates knowledge exchange in an intimate and dynamic way through discussing texts whilst walking together. In this reading group the table is broken up by the street and the dominant voice is replaced with the sound of conversation partners talking simultaneously. Anyone can participate and the walks are free to attend. TWRG was founded by Ania Bas and Simone Mair and is run by Lydia Ashman and Ania Bas.

As a result of our residency at Art House, Jersey in 2017, we initiated an edition on Care, our ongoing long term focus, in which we are working with partners across sectors – including the arts, health, science – to explore and reveal practices of care. So far in this edition, we have collaborated with Ash Project, Whitstable Biennale, The Photographers’ Gallery, [SPACE], St Joseph’s Hospice, The Nine Elms Vauxhall Partnership, Arts Territory and Od Arts Festival.” [credit]

“Texts are provided in advance and walks begin at ___ where participants can also pick up a copy of the specially commissioned publication.

The resulting experience of walking for up to two hours, swapping conversation partners and perspectives several times, is one of intimacy created through sharing and listening, the respect for ideas and difference. Thoughts are processed quickly, the surrounding landscape becomes a blur, time is suspended and within this moment bonds between strangers are formed. …

Each walk is underpinned by a selection of texts that explore the theme of ____ from multiple points of views. All four walks start at ____ but each finishes in a different part of ____. Exact finish locations will be disclosed later.” [credit]

Deriva Mussol, Night Walks (2013)

Deriva Mussol, Night Walks (2013)

“It was back in 2013, when ACVic, the local arts center of Vic, hos- ted the project Deriva Mussol (its literal translation would be “owl drift”), led by artists Jordi Lafon and Eva Marichalar with the collaboration of the Aula de Teatre (a theater group) of the University of Vic [Barcelona, Spain]. They wanted to collectively create a theatrical proposal that would take place in the streets of Vic. Besides this desire, the only thing they knew is that they wan- ted to open the process of creation to everyone, so that everyone who wanted could participate in it. In order to do so, they invited people to go deriving at night with them through the streets of Vic to wherever the walking would take them. Even though a feeling of awkwardness may awaken to some people when hearing or reading the word “derive” (I would not say it is a really “common” word), in fact, the instructions were so simple that they could be reduced to two key- words: night, walk. Nothing else. The invitation was communicated by ACVic. Everyone was invited. By doing this, they had set up a common ground for secret encounters to happen. At least once per week, different peoples, of different ages, coming from many backgrounds and with different interests walked together without any other expectation than simply this: walking together.

There was nothing that could go wrong. The possibility of doing something wrongly did not exist. Even the common civil laws and social rules of political correctness where almost forgotten thanks to the fact of walking by night guided by curiosity, spontaneity and a playful attitude. Streets were empty; no one was watching. They did 12 derives. Some people went just once and it was okay. Some people participated in all of them and it was also okay. In any case, as Marichalar wrote, a stable group of 10 people was progressively constituted (2013, p. 29). Each deriving session was complemented by another session, called “Parlem” (“let’s talk”) dedicated to talking about the experience.

Deriva Mussol, Night Walks (2013)

All the members of the group met around a table and shared whatever they wanted to with the others; photos, videos, drawings, maps, thoughts,whatever. After the 12 sessions they had an idea for a theatrical proposal that took finally place and that was presented to the public as a street art performance. From my point of view, the fact that this performance was useful to communicate and share the project with more people is something secondary, if we compare it to the importance that it had for the group of walkers and talkers as a self-representation. In other words, it was a representation of, precisely, themselves as a group; a kind of family.” [credit]

Stuart McAdam, Lines Lost (2013-14)

“A project tracing the routes of branch lines that were cut following the Beeching Report in 1963

Stuart McAdam came to Huntly in Summer 2013 from Glasgow.

Stuart’s Lines Lost project was triggered by the infamous railway cuts which saw train tracks closed as a result of Dr Richard Beeching’s recommendations 50 years ago. Through a series of performative walks with all kinds of people along the former Portsoy to Huntly route, McAdam’s aim was to bring into focus the historic and contemporary concerns surrounding our transport legacy.

Through walking the former track again and again, people have seen him reawaken the route that has been subsumed into the landscape – like remains of ghostly traces of the line that once linked communities. Linking natural with industrial and social history of the past 50 years he interrogated the historical, cultural and contemporary resonances through a series of documented walks.

The North of Scotland was one of the areas most affected by the Beeching cuts with local stopping train routes such as Aberdeen – Inverurie, Aberdeen – Keith – Elgin, Huntly to Banff and Portsoy, Banff – Tillynaught, Fraserburgh – St Combs, Elgin – Lossiemouth, Aberdeen – Ballater and Fraserburgh, Maud – Peterhead and Aviemore – Elgin via Inverness, cut. Many of those that crossed the county have never been replaced by other forms of public transport making journeys difficult and adding hours to travel time for those not having access to private cars – passengers have to travel south to Aberdeen or north to Elgin to get connections often having long waits between buses. McAdam repeatedly walked the route from Huntly to Portsoy, experiencing it through different eyes every time.

“Physical and transparent remnants of most of the lines still exist within the landscape and I hope to reawaken them in the public consciousness”, said McAdam, who has explored journeys, boundaries and slow travel in a range of artworks.

“As we mark the 50th anniversary of the publication of the Beeching report is also fitting time to consider the impact that the cuts had on the relative development and decline of the many towns and villages that lay along the historic routes, routes that were often life lines for outlying communities.”

McAdam was at the Edinburgh Art Festival the 1st of August. For more information go to the event page.

Stuart also participated in the Room to Roam Festival” [credit]

Deirdre (Dee) Heddon and Misha Myers, The Walking Library (2012-)

“From August 17 to September 17, 2012, Deirdre Heddon and Misha Myers created and carried a Walking Library, made for the Sideways Arts Festival. Sideways, an art festival ‘in the open’ and ‘on the go’, aimed to connect ecology and culture through using the ‘slow ways’ or ‘slow paths’ of Flanders. The Walking Library was comprised of more than 90 books suggested as books ‘good to take for a walk’ and functioned as a mobile library for Sideways’ artists and public participants. In addition to carrying a curated stock, the Library offered a peripatetic reading and writing group. Drawing on the Library’s resources and the experience of reading, writing and walking one’s way across Belgium, Heddon and Myers consider how reading in situ affects the experience of the journey and the experience of walking; how journeying affects the experience of reading; how reading affects the experience of writing; and how a walk, as a space of knowledge production, is written and read.” [credit]

The Walking Library

Rozalinda Borcila, Center for Getting Ugly – Kara Holland’s Walk to the Beach (2006)

“In a city built around the logic of automobility, a small group documents several attempts to walk to Tampa’s last remaining public beach. We rely on instructions from passers-by who struggle to conform their mental map of the city to the possibilities of walking.” [credit]

From the original invite: ”

Kara Holland invites participants on a walk from the Westshore Palms neighborhood to the beach located directly west, less than 1 mile away. This public beach is one of the last few remaining in the city of Tampa. We will try to get to the beach on foot, navigating terrain that, not unlike much of the city, is hostile to walking. The walk will explore the ways in which otherwise “benign” structures (a corporate park, a mall, the highway and so forth) are aggressive to bodies not trapped in cars and effectively colonize public space. Participants will pause to mark especially hostile boundaries, using materials found on site. We will share a picnic upon arriving at the beach, or wherever we can no longer travel on foot. Recording devices for documenting the walk are welcome and encouraged (cell phone, cell phone camera, digital camera, video camera, audio recorder, etc). This walk is a collaboration with The Center For Getting Ugly as part of the “Walk, Talk, Eat, Talk Some More” project.

Date: April 15, 4:30 pm
Meeting place: Kara’s apartment, 4601 Gray St. Tampa FL, 33609
Duration: 2 hours (??)” [credit]

“Center for Getting Ugly – dedicated to the research, practice and sustained experimentation with conflict as essential political activity. the Center seeks to develop individual and collective capabilities for the production of radical politics. must embrace conflict as an essential, productive aspect of collaboration. must be perpetually dissatisfied with, and suspicious of, existing aesthetic or semantic strategies.

…

The Center for Getting Ugly is dedicated to the research, practice and sustained experimentation of social conflict, with the goal of encephalizing collective organs and social technologies for the production of radical politics. In other words, the Center operates on the premise that, given sufficient practice, we can develop collective revolutionary organs. The Center is not a group, a project or a place, but an open infrastructure. Its various subdivisions target specific practices or arenas for the production of critical deviance, with collective activity as its main underlying principle.

The Center for Getting Ugly launches invitations, provocations. it facilitates collaboration between multiple practitioners. it imagines, invents and sometimes even deploys probing devices. currently, its subdivisions are:

Can’t we all just get along? Counter-Cartographies of Playing Nice – invited or self-appointed Special Fellows conduct research on dominant modes of subjectivation in various concrete situations. though not all maps take the form of two dimensional representations, the desire is to produce interpretive works which may be used to incite, illuminate or facilitate intervention.

Walking and not Walking – develops extended skill-sharing, experimental workshops specifically focused on walking practices – and, given the ways in which mobility is structured around consumption and other forms of subjectivation, on practices of not walking: standing, stopping, pausing, staying and occasionally lying down.

A Synchronized Swimming – Different collectives are invited to design an un-resolvable conflict equation based on their own, unique working methods. These equations are passed on to another collective, who develop interpretive extensions/models for the sustension of conflict. A Synchronized Swimming then dives into the Pool: an exhibition/symposium/forum for incorporating these models into action.”

SOURCES:

Archived “Common Places” blog and Flickr stream

Dillon de Give, The Coyote Walks (2009-2017)

: Dillon de Give, The Coyote Walks (2009-2017)

: Dillon de Give, The Coyote Walks (2009-2017)

: Dillon de Give, The Coyote Walks (2009-2017)

“An annual walking project that illustrates a connection between New York City and the wild. It was originally performed to commemorate the spirit of “Hal”, a coyote who appeared in Central Park in 2006 and died shortly after being captured and re-released in the forest. The walk begins in the city and remains within sight of a coyote-like path for three days before ending in a relatively wild area. The Coyote Walk has run as an itinerancy, or walking residency since 2014.” [credit]

“It is collaborative research, a retreat (in an almost literal sense), or a mindful holiday. Prospective fellow walkers may share an interest in related subjects, such as urban planning, folk/visual/movement/social arts, biology or other natural sciences. Participants must be prepared for a strenuous walk (approx. 15 miles per day) and for sleeping outside. Please note, differently abled walkers are encouraged to be in touch.” [credit]

Additional images and writing www.coyotewalks.wordpress.com

“I grew up in the Southwest US (Santa Fe, NM— where coyotes are ever-present both as biological entities and as cultural signifiers). I witnessed this event in the media while living in New York City, and continued to think about it in the years following. I began to feel that a larger narrative was looming behind the topical debates. The incident threw the relationship of the city dweller and the natural world into relief. It wasnʼt an abstract suggestion of interconnection between the two; it was a (momentary) unmediated instance of collision– a moment of confusion for both. Hal disrupted a normal state of affairs by presenting himself as an embodiment of something external to our picture of daily life in an orderly civilization. In this he was as comedic as he was threatening. Was this a typical animal or an exceptional one? What was he thinking? And how, exactly, did he find his way into the city?

One way to try to understand this story was to guess about the geography of the journey. The most obvious geographic challenge is the channel of water that separates the island of Manhattan from the mainland of the Bronx– like a moat surrounding a castle. Adrian Benepe, the NYC Parks Commissioner at the time, publicly hypothesized that Hal crossed a small Amtrack trestle bridge over the Spuyten Duyvil Creek at the northern tip of the Manhattan. This became a prevailing theory, but not the only possible one. Other scenarios were equally possible. For example, if Hal had utilized the long Bronx River corridor as a path, he might have crossed over the Harlem River further south and east. Because there were few eyewitness accounts, no camera traps, and no DNA analysis done on Hal, the definite crossing location will remain unknown. This crossing is a big plot point of the story as presented in the media. It came to stand for the dramatic moment in which a cunning trickster privately transgressed from the natural world into the human world. Looking closely at possible routes however, it becomes clear that there were many such crossings.

The Coyote Walks are fueled by curiosity about what it would mean to cross over the line between “the city” and “nature” oneself, to literally connect the two places. The walks are guesses about how coyotes enter New York City that are made with reverse human journeys out of the city. The project began as a kind of memorial to the incident— walked around the anniversary of Hal’s death and initially called the “laH” journey, a backwards spelling of the name. The Coyote Walk is now a time to pose questions about urban life and nature, to learn from the experience of stepping away from the city, and to consider walking practices (human and animal) as imaginative acts.” [credit]

Artist writing:

Unpacking (after) a coyote walk. Walking Lab residency, 2017. Link.
Connective filaments, coyote walks on the map. Living Maps Review No. 2, 2017.
Link / Download PDF
Tracking the call of the wild from the heart of Manhattan. NYNJ Trailwalker Summer 2012. Download PDF

Speaking:

Artists and the Post Industrial Urban Wilderness, Union Docs, 2017. Link
Chance Ecologies Symposium, Queens Museum, 2016. Link
Re-inscribing the City: Unitary Urbanism Today, Anarchist Book Fair, 2011. Link

Referenced:

Urban Coyotes Spur Walks on the wild side. CUNY NYCity News Service. Audio piece by Samia Bouzid
“‘Uurga shig’ – What is it like to be a lasso?” Hermione Spriggs, Journal of Material Culture, 2016. Link
Out Walking the Dog blog, Melissa Cooper 2011-12. Link
City Reliquary event write up in Matt Levy’s Action Direction blog, 2009. Link

Hamish Fulton, A Walk Around the Block (2010)

This work utilizes equal spacing between each walker – a concept Fulton explored in “Walk dance art co” created by Christine Quoiraud & Hamish Fulton, at Chamarande in 2002 (with 23 other artists).

“At the corner of Bogie Street and Church Street, we get our instructions for today’s choreographed walk. For the next two hours, about 30 of us will walk repeatedly around the same block. We will walk in single file, maintaining a two-metre distance from the person in front. We will not talk.

So the focus of my attention for the next two hours are the heels of Allan Watson, course leader in sculpture at Gray’s School of Art. He’s taller than me, and there are moments when I have to jog to keep two metres between us. Passers-by stop to stare or snigger at this kenspeckle procession. By the fifth circuit, my calf muscles are screaming.

But by the tenth, something strange has happened. My legs don’t hurt anymore. My mind has relaxed. Time feels as if it is liquefying. Has it been ten laps, or 50? It doesn’t matter. I have no demands on my time, nothing is required of me but simply to walk. I wonder, briefly, if this is what it’s like to be Hamish Fulton.

Fulton is the artist who walks. For 40 years, he has made works of art exclusively relating to his walks. He has walked for thousands of miles in five continents. He has walked without sleep, got frostbite, climbed to 8,000m (26,246ft) without oxygen. He has got lost, been caught in storms, fallen down a crevasse (his rucksack wedged, allowing him to climb back out).

More recently, he has begun to choreograph walks involving groups of people, the idea of repetition inspired by the “Marathon Monks” of Mount Hiei in Japan, whose spiritual discipline involves running 40km (25 miles) a day on a repetitive circuit of the mountain. Focusing on the feet ahead of you becomes a secular meditation, a stilling of the mind. “It is a vehicle for a change of mind, a shift in where the mind’s located,” he says, carefully. “I think our minds go round and round and round in the same furrows, and possibly, when you do a walk like this, you go to another part of your mind. It sets in motion a variety of perceptions.

Fulton is in Huntly at the invitation of Deveron Arts, which invites world-class artists to run socially engaged projects in the town. The next day, some of the same walkers joined him on the first day of a 21-day walk in the Cairngorms. Over half a pint of lager in the Huntly Hotel, Fulton reflects that, of all the obstacles he has had to overcome in a lifetime of walking, he has never before been marooned by a cloud of volcanic ash (he eventually arrived by train after his flight to Scotland was cancelled). “It’s incredible, isn’t it? I know it’s costing so much loss of income for lots of people, so I’m sorry for that, but there is something… inspiring about it.

“We see the world in terms of us being able to build everything and make everything. But there are these other things, like volcanos, that we didn’t build. In these times, it’s pretty strange there is this other force, because we’re so used to pushing buttons and Googling data about something.”

Fulton was a contemporary of Richard Long and Gilbert & George at Central St Martins College of Art in the 1960s. He grew up in Newcastle, and his formative experiences of walking were on family holidays to Arran. He was profoundly influenced by a visit to the United States in 1969, when he walked at the site of the Battle of Little Bighorn in Montana and read the work of Native American Luther Standing Bear, who wrote in the 1930s about the Sioux relationship with the Earth. In terms of art, it was an era of exploding potential: art happened outside museums; art was experience; art could be a walk.

The ideas which crystallised at that time have remained consistently central to Fulton’s work. Unlike Richard Long or an artist such as Andy Goldsworthy, he makes no work in the landscape and takes nothing away. The work he makes afterwards – often using photography and graphic text – reflects the walk but cannot reproduce it. The walk and the work are separate creative acts. His work is evocative, but minimalist; Japanese haiku poetry is a key influence. A walk in Wyoming’s Wind River range became just two words: CLOUDS STONES. A road walk across Spain and Portugal is WARM DEAD BIRD. Seven days in the Pyrenees is simply RAIN.

By the time you read this, Fulton will have been in the Cairngorms for four days, carrying his tent, food and fuel. He has no plan, other than to arrive at Glenmore Lodge exactly 21 days after he set out. He will not film or webcast his trip. What happens in the mountains is a mystery, though prosaic details do slip out: one of the most important tools for a serial walker is his nail-clippers. Short toenails are essential for comfort.

“The Cairngorms are like a person, I’m very fond of them. And, of course, anywhere like that is always threatened. So much of the world is either factory, agriculture, roads or housing, as time goes by these spaces are more and more unusual.

“I make the plan up as the days go by, which is extremely luxurious when everything in life has to be so controlled and planned. And then you have loss of control – someone sends you an e-mail, and you have to reply immediately, and then you realise that they sent their e-mail late. All this absurd behaviour that we just slip into.” Stepping into the unknown is a key component. “That’s the difference between making a geometric painting, where you’re fulfilling the plan, and something like this where you’re casting off, and you genuinely don’t know what the outcome can be. It could be a fall, or a wonderful sunrise; you don’t know.”

Fulton is not shy of being political. He is concerned about climate change, but speaks of the need for a profound shift in our relationship with the Earth, rather than simply incorporating a “green economy” into a money-driven system.

Last year, he organised a protest – a walk, of course – for Tibetan freedom, attended by Palden Gyatso, a Tibetan monk imprisoned by the Chinese for 33 years. A recent wall painting bears the words: “GOOGLE PALDEN GYATSO”. Those who do will find a story of torture and endurance. But in China, the link is blocked.

Last May, at the age of 62, Fulton reached the summit of Everest. An artist’s book about his journey will be published this summer. After a lifetime of walking, he was on top of the world.

“It is doing something which is unbelievable. We want a lot of things we want to be unbelievable but they’re not really. In this case, this completely fulfils the objective of doing something that feels unbelievable. The reality doesn’t hit you until five days later.” With that behind him, a forecast of snow in the Cairngorms is hardly a concern. The walking philosopher just shrugs, smiles and heads off into the unknown, one step at a time.” [credit]

Inua Ellams, The Midnight Run (2005-)

[credit]

The Midnight Run is a registered social enterprise. Like traditional businesses we aim to make a profit but what sets us apart is that we aim to – reinvest or donate those profits towards creating positive social change.

Inspiration.

The Midnight Run is a walking, night-time, arts-filled, cultural journey through a city and a typical Midnight ‘Runner’ has a healthy sense of adventure and seeks experiences beyond the mainstream. It is partially influenced by The Situationists – a political and artistic movement between 1957 & 1972 – started in France. Founders of the movement were tired of the commercialism of art and consumerism and wandered city streets in typical post-war bohemian fashion seeking REAL experiences.

Accordingly, The Midnight Run seeks to negate the frenzy and hysteria of mass media, pop culture, hype and reality T.V. for actual reality, for the simplicity and intimacy of walking and talking. Our idea is to reclaim the streets of a city, to dispel the idea of ‘danger after dark’ instead to ‘discover after dark’. It is to grow urban communities, situate meetings of strangers, for relationships to blossom, to inhabit the confines of glass, concrete, steel and structure as a child does a maze: with natural play and wonderment.

Why artists?

“During those early Midnight Runs, I’d run writing workshops and poetry exercise specific to locations we visited. After, I’d ask participants to share their writing and I noticed how it created new spaces for communication and conversation. Essentially, I stumbled across a simple way to deepen group dynamics and our appreciation and understanding of each other.”

“Over time I invited artists/activists of various disciplines to run workshops thereby widening the scope of this interaction. Artists/activists are often plugged into fascinating networks and know great spaces worth visiting for playful or aesthetic reasons. Searching for outdoors spaces to compliment their art forms made planning Midnight Run routes vastly more interesting… the artists work on several levels.” — Inua Ellams, Founder

But WHY JOIN A MIDNIGHT RUN?

50% of the world’s population live in urban environments. Despite growing population density we face issues of loneliness, depression and economic polarisation… because of global immigration and gentrification, many cities are rapidly losing their local, historical and communal identities in a land-grab for commercial space. These new paradigms favour younger, faster, richer members of societies, paradigms that are increasingly hostile to the youth and older members of societies.

The Midnight Run experience counters these issues by slowing urban life to talking, playing and creating within various urban spaces. Because the event is for one night only with strangers, participants are afforded anonymity and can attend without any danger of judgement or consequence. By inviting artists of diverse practices, we encourage participants to step out of comfort zones and exercise their creative muscle. By inviting local artists who inform the route, we ensure what is experienced on the night is specific and true to the locality, the inhabitants and their environment.

The ground-breaking idea behind the Midnight Run is a return to simplicity, to entertain without entertainment, to trust in community and conversation, to rediscover our essential creative selves.

INUA ELLAMS.

Born in Nigeria in 1984, Inua Ellams is an internationally touring poet, playwright, performer, graphic artist & designer. He has published three pamphlets of poetry including ‘Candy Coated Unicorns and Converse All Stars’ and ‘The Wire Headed-Heathen’. His first play ‘The 14th Tale’ was awarded a Fringe First at the Edinburgh International Theatre Festival and his third, ‘Black T-Shirt Collection’ ran at England’s National Theatre. In graphic art & design (online and in print) he tries to mix the old with the new, juxtaposing texture and pigment with flat shades of colour and vector images. He lives and works from London, where he founded The Midnight Run.

Inua hails from the Hausa tribe in Northern Nigeria, a people synonymous with a nomadic tradition. The Midnight Run came from this tradition, his search for a community to belong to, the transience and transformation of travel, and a belief in the bridge-building ability of arts and artistic interaction.

OUR BEGINNINGS.

The Midnight Run was found in 2005 by award winning poet and playwright Inua Ellams. In 2011 The Midnight Run embarked on a collaborative partnership with CCT-SeeCity, founded by Elena Mazzoni Wagner in Prato, Italy. This marked the beginning an expansion across Europe. To date Midnight Run events have commissioned in Manchester, London, Leeds, Milan, Firenze, Barcelona, Madrid & Auckland.

WHO WE WORK WITH.

Midnight Run events speak to themes of enhancing group communication, making different art forms accessible, supporting local artists and exploring cultural dynamics within urban environments. Events are typically commissioned by arts organisations, cultural festivals, community groups and corporate organisations. Organisations worked with include Southbank Centre, Contact Theatre, PUMA, Tate Modern, The Royal Society of Arts, Bush Theatre, Lomography, Create Festival + many more.