It is a pleasure to be able to announce the full list of contributors to NOTHING TO SAY, chosen from over 100 submissions of exceptional quality, and taking their place alongside Paul Askew, Emily Harrison and Sian S Rathore.
“Can’t Speak” (above) by Eleanor Bennett
Andy Harrod – tearing at thoughts
Jared Joseph – Mammal
Kiran Millwood Hargrave – Wide-shining
Kiran Millwood Hargrave’s collection is a series of retold myths, told in stylistically very traditional verse. But with an eye for modern human sexual politics that is scalpel sharp. Andy Harrod’s work is not so much fragmented as a series of visual and verbal vignettes, pieces of lives that build like layers of lacquer applied with endless, meticulous care to produce a richness through simplicity I’ve never seen elsewhere except in the finest Japanese art. Jared Joseph has created a cross-cut canvas that I can only describe as a cubist masterpiece – taking the simplest of concepts and verbally slicing them so they are seen simultaneously from every angle in a true technical tour de force.
Humphrey Astley – Boyfriend/The Scrapbook
Andrea Coates – Three Dreams
Howie Good – Palette
Penny Goring – Ornamental Vagina
Anna Hobson – All You Can Eat
Dan Holloway – the impossibility of memory
P A Levy – LONDON LOVE SONG
Errol McGlashan – London Lonely
Nikul Patel – The Bifurcated Cover of Man
Anna Percy – For Ruth Betty Blue and every fucked up woman i ever knew
AM Ringwalt – the eleventh commandment omitted, ecstasy
I expected more blankness, more transgression (there is very little transgression – I received a lot and whilst it was almost universally well done, it felt intangibly tired, an idea that was nearing the end of its flush of vigour). What I have ended up with is a banquet of ripe figs oozing their deliciously coloured richness. Formally, there is a lot of variation – from the sprawling filthy technicolour magnificence of Penny Goring’s Ornamental Vagina to the almost painful concision of Nikul Patel’s The Bifurcated Cover of Man; from the lyrical torrent of Errol McGlashan’s London Lonely (a piece that has been performed to massive acclaim at slams across London and thrives in that context) to the compartmentalised tableaux of LONDON LOVE SONG. But there is a remarkable coherence to the pieces selected, and that coherence is built around the richness and honesty of the portrayal of every angle of life. It is a very dark collection, a highly political collection in many ways, but surprisingly a remarkably joyous one.
And as a one-off exhibition piece for the events in London and Oxford
C R Bliss – Medieval Play
More details to come in the following weeks.