OD Home . Drawings . Paintings . Digital . Prototypes

Neptune's Laundrette will open on Thursday 26th November 2023. Surf on down to Neptune’s Laundrette for all your laundry needs. (now closed) Neptune’s Laundrette is a subsidiary enterprise of Sandman Mattresses

Produce The garden is perfect for growing, fermenting and permaculture. There are some raised beds, an abundance of apples and a lot of potential for more. Over the past three years we've been working on a community apple project to make craft apple juice, cider and hosting an annual wassail event. Home House & Garden Studio Space Produce Skills & Activities Let’s Work Together Get in touch so we can start working together.

Single Yellow Lines 2016 - present Single Yellow Lines is an interdisciplinary project investigating the characteristics of singular painted gestures. Can single painted gestures tell us anything about individual moments of creativity? This project invites people to paint single lines - both controlled and expressive - in artistic, public and experimental contexts. Single Yellow Lines is exploring and recording moments of painterly action in a series of creative environments. Around 500 people have been invited to paint single yellow lines; as part of an art activity at Rare Dementia Support Groups, in one-on-one conversations with artists, scientists, people with dementia and carers, and at public talks and events. The project has been further adapted as part of the “Am I the right way up?” Study investigating balance, movement and perceived verticality for people with Posterior Cortical Atrophy - an atypical form of Alzheimer’s disease which predominantly affects visual and spatial perception. Further artistic experiments using virtual reality and data-as-sound are currently being explored. The project aims to highlight the individuality and complexity contained in a single gesture, whilst also developing innovative techniques and situations for recording, analysing, interpreting and storing artistic and scientific data. This project has been funded by the Created Out of Mind residency at Wellcome Collection, London and UCL. The project will be touring throughout 2019, funded by a Wellcome Public Engagement grant. For further information, exhibitions and screenings, please contact us Touring information can be found here Please click here for lines painted in Virtual Reality using Google Tiltbrush Back

Studio & Accomodation The studio was added by the previous owner, an artist whose family lived on the plot for many years. There are two main walls (8mX3m and 5mX3m), storage and access to a basic range of tables, materials, tools and equipment. The studio also has heaters, a sink, furniture, fridge and freezer. The house is fully furnished and very comfortable, with access to all the usual amenities (bedrooms, bathroom, office, study and lounge) Home House & Garden Studio Space Produce Skills & Activities Let’s Work Together Get in touch so we can start working together.

The Swynnerton Plan, 2015-present This project has included preliminary attempts at paintings based on redacted documents, growing tea and coffee plants from seeds and public distribution of printed information. The Swynnerton Plan of 1954 refers to British colonial agricultural policy in Kenya implemented during the Mau Mau Uprising. The plan aimed to intensify agricultural production through cash crops such as tea and coffee; removing indigenous populations from ancestral lands, redistributing property and displacing hundreds of families. This period of colonialism includes some of the worst atrocities and human rights abuses committed by the British Empire and thousands of documents from this time have been destroyed, hidden or redacted so the truth of these actions (among many others) are still not widely known, acknowledged or included in education about British history. Further links below: Painting studies (pdf) Long Read SMALLHOLDER AGRICULTURE IN COLONIAL KENYA: THE OFFICIAL MIND AND THE SWYNNERTON PLAN (Anne Thurston) Plantation Struggles in Kenya: Trade Unionism on the Land 1947-63 (David Nicholas Hyde - doctoral thesis) Peasant Response to Agricultural Innovations : Land Consolidation, Agrarian Diversification and Technical Change. The Case of Bungoma District in Western Kenya, 1954-1960. (UCLA International Studies) Short Read The Sywnnerton Plan (Wikipedia) Mau Mau Uprising (Wikipedia) Kenya Colony (Wikipedia) East Africa Protectorate (Wikipedia) Analysis of Western European colonialism and colonization (Wikipedia) Mau Mau case: UK government accepts abuse took place (BBC) Mau Mau case: UK government cannot be held liable (BBC) British Mau Mau abuse papers revealed (BBC) Kenyan Mau Mau uprising documents released (BBC) Britain destroyed records of colonial crimes (Guardian) Put our colonial history on the curriculum – then we’ll understand who we really are (Guardian) Should the history of the British Empire be taught in schools? (BBC) Ethics and empire: an open letter from Oxford scholars (The Conversation) Why we’re fighting to get colonialism taught in British schools (Dazed) Fill In The Blanks (Twitter) Previous Project Painting Homepage

LET US DRAW YOUR FACEBOOK PROFILE PICTURE FOR FREE!!!!! 2007 Back

SEE THE FUTURE, CLEARLY Photography by Corey Bartle-Sanderson IMAGINE THE FUTURE TAKE OUR TEST TODAY MAKE A SPECTACLE OF YOURSELF Article - Post Art Clarity Open from 6:30pm, Thursday 20th June 2024 FRI to SAT 12:00-18:00 and Thursday by APPOINTMENT NOW CLOSED Chemist Gallery 57 Loampit Hill, London SE13 7SZ

About Blog Events Team Partners Protocal Minutes Search Results More Ethical questions for artistic engagement and research with people living with dementia How is consent gained (& ongoing consent)? Does consideration of capacity and consent exclude people from participation? Does the project encompass differences in emotional range (not one size to fit all)? What is the comparative value to the participant to the practitioner? What happens (to the project, people, work, data etc) after the activities end? Process vs product (for whose benefit)? How do audiences change as the project progresses? Is it problematic for ‘dementia’ to act as an inspiration for artistic work / research? To what extent does the project interact with the person vs the illness? What considerations are there in place in terms of carer involvement? Does the extent of engagement offered suit the form and aims of the project? Are the activities culturally and socially inclusive? If work is by nature exploratory, how is this (uncertainty) communicated? How can the value of uncertainty in the process be aligned with clear, structured pre-emptive protocols? What is the justification for appropriation (in art and research)? Is criticality of the methods used embedded in the project and are there ways to adapt and change? Can the benefits of criticality outweigh the benefits of positive engagement? What is meant by positive engagement? i.e. what sort of experiences are to be encouraged?

Dave & Amber, 2022 (WIP) Cuddly Toys, doing things Other Projects Homepage Next Project

Bollards I, 2016 Four cardboard bollards were placed on a road at 4am for 30 minutes. 1 early morning delivery driver reversed back down the road. Previous Project Next Project

About Blog Events Team Partners Protocal Minutes Search Results More Field Notes Explain the purpose of the project right at the beginning (more important than the background) Does online / social media (in relation to a public engagement tour) present challenges for consent in the long run? i.e. once it’s out there, it’s out there. It’s important to listen more and ask people to expand when they speak or ask questions. Explain the development of working methods and situate the project in the context of research. Find ways for people to participate early on and throughout (eg, a show of hands) Always check sound levels Be clear about what we want from each audience we work with and why. Carers have a strong interest and stake in how loved ones are represented, it's important to listen to concerns. Ask for both positive and negative feedback – criticality is important. Why is it important for people to get involved (who don’t necessarily have personal ties to dementia)? Do artistic environments create better spaces for opening up? The levels of insight from the carer and the PLWD are different. History taking and taking time for conversation are the most important part of an assessment. Having continuity in appointments with clinicians can act as an important form of support. The MMSE is talked about a lot and I’ve never heard anything positive said about it. Aspects of this project may be inappropriate for people living with dementias. vs Aspects of this project may help communicate the experience of dementias to people who don’t live with them. It is upsetting to (perceive yourself) not to be able to do something. It is incredibly rewarding to overcome that feeling Helping each other out and listening is an important part of that process. People may participate, but not be able to understand consenting process – these people will be excluded from the presentational side of the project (information sealed / closed off). Reading out scripted information is not good – it’s important to be personable. Taking time to get to know each other is really important (parachuting in is ineffective and uncomfortable). What do we mean when we say we are aiming for ‘new forms of assessment’? Researcher notes the challenge of being personable vs getting results when testing (part of professional development?)