https://thatlooksqueer.com That Looks Queer Fri, 24 Sep 2021 10:04:58 +0000 https://thatlooksqueer.com en https://thatlooksqueer.com/Utopia-Planitia Wed, 25 Nov 2020 14:38:36 +0000 That Looks Queer https://thatlooksqueer.com/Utopia-Planitia <img width="946" height="426" width_o="946" height_o="426" data-src="https://freight.cargo.site/t/original/i/519d3021d213d30be74029cc6c7c46b47c4193570876d5963c83870204844f91/Utopia_Planitia_logo_web_RGB.png" data-mid="94653903" border="0" src="https://freight.cargo.site/w/946/i/519d3021d213d30be74029cc6c7c46b47c4193570876d5963c83870204844f91/Utopia_Planitia_logo_web_RGB.png" /> The future is Queer! &nbsp;In a far off place in a time beyond beyond That Looks Queer, Flaw Collective and David Reynolds set off on a journey to the stars. &nbsp;Who knows where we will end up. &nbsp;Let’s enjoy the ride!&nbsp; https://thatlooksqueer.com/About-Me Thu, 08 Oct 2020 15:16:32 +0000 That Looks Queer https://thatlooksqueer.com/About-Me “Steve is a true innovator and a person who really values the work, contributions and ideas of others. They create space to support the work of fellow artists while being dedicated and hard-working in their own practice. It’s always a pleasure to hear what they are working on and to have them at events where they listen, care and put those around them at ease.” Orianna Franceschi&nbsp; Programme and Engagement Manager, Sheffield Creative Guild “That Looks Queer exists as a platform to uplift and support Queer narratives and the work of LGBTQ+ artists. They were one of the first platforms to write about my work, further instating and supporting queer narratives in contemporary art practice. Zwischen exists as the intersection ‘between’ ideas of the contemporary art practice and the Bauhaus movement. A way of bridging the two together through a Queer Lens while supporting artists.” Connor Shields 2018 Yorkshire Graduate Award artist, sculptor and collaborator https://thatlooksqueer.com/Zwischen Fri, 27 Nov 2020 12:49:10 +0000 That Looks Queer https://thatlooksqueer.com/Zwischen <img width="1177" height="199" width_o="1177" height_o="199" data-src="https://freight.cargo.site/t/original/i/696d0552f7997282cb3d3828d6a8c2023110c48fec14566983edf656e8283739/Zwischen_logo_web_RGB.png" data-mid="94653817" border="0" src="https://freight.cargo.site/w/1000/i/696d0552f7997282cb3d3828d6a8c2023110c48fec14566983edf656e8283739/Zwischen_logo_web_RGB.png" /> Join me as we journey into an exploration of art history and modern practice. &nbsp; Zwischen is a reimagining of the Bauhaus workbook for the 21st century. Exploring the fundamentals of creative practice with contemporary practitioners. &nbsp; We explore the influences of today and the links to the inter war period of a country yearning for a new cultural and artistic identity, smashing the divisions between craft and art. Safe spaces do not have to be four walls a ceiling and a floor. &nbsp;One person reaching out to another to show that they are seen, heard and valued is all it takes. &nbsp;Zwischen seeks to provide that unconventional safe space for critique and interpretation of art. &nbsp;No judgement and completely intersectional. &nbsp;Free of the capitalist colonial and patriarchal conventions of old. &nbsp; https://thatlooksqueer.com/Shop Fri, 16 Jul 2021 10:21:56 +0000 That Looks Queer https://thatlooksqueer.com/Shop This collection has been made in collaboration with Printed By us,&nbsp;a nonprofit owned by Cathedral Archer Project “Homelessness is a complex issue and everybody's story is different.We believe there is hope and a way forward for every person. We also believe that creativity, enterprise and the people of every local community, all have their part to play.&nbsp; We want to give opportunities for vulnerable people to learn new skills, build confidence and move forward towards fulfilling lives. Printed By us has a positive impact on the health and wellbeing for those involved, and is directed and run by people who have overcome challenging circumstances themselves.” That Looks Queer T Size Guide <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/817aafc8d8289181f234eb060d969d237656c1b84d52996ffab9e0704157f98f/T-Shirt-.png" data-mid="119757131" border="0" src="https://freight.cargo.site/w/1000/i/817aafc8d8289181f234eb060d969d237656c1b84d52996ffab9e0704157f98f/T-Shirt-.png" /> &nbsp; That Looks Queer Tote <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/dc38da02f14f25d185e4a5fbeecf3360d3b06e9276bcbe6abb332c00fd27b9a1/Tote-bag.png" data-mid="119757135" border="0" src="https://freight.cargo.site/w/1000/i/dc38da02f14f25d185e4a5fbeecf3360d3b06e9276bcbe6abb332c00fd27b9a1/Tote-bag.png" /> https://thatlooksqueer.com/Size-guide Fri, 24 Sep 2021 10:04:58 +0000 That Looks Queer https://thatlooksqueer.com/Size-guide Size Guide <img width="538" height="582" width_o="538" height_o="582" data-src="https://freight.cargo.site/t/original/i/127c1bead1a9196e56ac551f562232574886f418d460ce66ea4673c25a457a24/SA01-Size-Guide.jpg" data-mid="119758063" border="0" src="https://freight.cargo.site/w/538/i/127c1bead1a9196e56ac551f562232574886f418d460ce66ea4673c25a457a24/SA01-Size-Guide.jpg" /> Our garments are Fairwear Foundation Approved, made in a wind-powered factory. They are made from a mix of organic cotton fibres &amp; locally recycled plastic bottles. more information can be found at printedbyus.org/organic-clothing https://thatlooksqueer.com/A-totem-timeline Thu, 08 Oct 2020 15:16:32 +0000 That Looks Queer https://thatlooksqueer.com/A-totem-timeline A totem timeline Auratic replication <img width="1427" height="1477" width_o="1427" height_o="1477" data-src="https://freight.cargo.site/t/original/i/f5906c27cef0ed73c22c678ba43e370193503482e94780590e6962da2a498ce8/These-Here-Within-for-website.png" data-mid="95177705" border="0" src="https://freight.cargo.site/w/1000/i/f5906c27cef0ed73c22c678ba43e370193503482e94780590e6962da2a498ce8/These-Here-Within-for-website.png" /> Art has a duty to be accessible. Sharing culture, experience and heritage through objects performance or sound is the stuff that makes us human. In creating art we seek to capture thought and place. A means of evoking something that otherwise could not have been realised. Walter Benjamin’s essay The work of art in the age of mechanical reproduction considers the issues of the auratic, a property artworks possess that by their repetition is lost. “Even the most perfect repetition of a work of art is lacking in one element; it’s presence in time and space, it’s unique place where it happens to be.” In this new age of reproduction, filtered images of instant narcissism, can we attain an absolute form? Is this lost or celebrated in its duplication? Firstly, somewhat of a personal aside after travelling to Leeds for Yorkshire sculpture international if anyone is going to create a purity of form it sure as shit isn’t Damien Hirst! He cannot hope to renege on his image of celebrity. The soft inauthentic wipe down surfaces of his work. Both Hymn and Anatomy of an Angel exude the very essence of the bullshit bourgeois need to shock with one hand and endear with the other. Carrot and stick sculpture for the masses made by one man and his unseen choir. But perhaps form does not need to be true in order to have merit. The elitism of the precious icon hidden away in a gilded box. The glass cases and velvet ropes. We must now attribute value in this new world where the data surrounding an object is as if not more important than its history. A strange weave of time and space at Site Gallery collates a series of pieces in an attempt to explore aura in the post digital world. Video, sculpture line and fabric are presented in delicious juxtaposition. These Here Withins 02 Florian Roithmayr’s These Here Withins 02 with its abstract brutalist dimensionality dominates the space, but through the pocked cavities the strained anatomical beauty of Edouard Lanteri’s sculpture can be viewed. Oliver Laric’s works display the beauty and beast of repetition, 3D prints of religious iconography in Lincoln Scans 3D scans of artefacts from Lincoln cathedral made freely available to rework and 3D print against a display of rotoscoping and the immediacy of animation in Versions. In sharing the data with the world is the craft of the stonemason lost to time or in a heightened state of appreciation? Has the aura been lost? It is easy to dwell in the absolutes of our world. Binary constructs help us relax into our lives. The most enticing questions have no answer. When we consider our own place within the works the question of aura becomes more complex. Placing ourselves into the mind of the artist and the hidden worlds of creation yet to be imagined. Perhaps this is why Birdsong by Margarita Gluzberg and Falling into space by Diana Taylor envision the best means of answering the unanswerable. Interpolated threads and abstract forms in an otherwise flat surface. A view otherwise unseen. Perhaps we do not need truth. It is in the interstices of the sincere and facsimile that we find what is pure. https://thatlooksqueer.com/Another-summer-of-love-Nostalgia-Ecstasy-Brilliance-Oli-Frape Thu, 08 Oct 2020 15:16:32 +0000 That Looks Queer https://thatlooksqueer.com/Another-summer-of-love-Nostalgia-Ecstasy-Brilliance-Oli-Frape Another summer of love: Nostalgia. Ecstasy. Brilliance. Oli Frape <img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/207ee041ed7c1a9630a64eecd43b3f5864e55f065b97b69d1f98843073ce96ad/another-summer-of-love.jpg" data-mid="85024731" border="0" src="https://freight.cargo.site/w/1000/i/207ee041ed7c1a9630a64eecd43b3f5864e55f065b97b69d1f98843073ce96ad/another-summer-of-love.jpg" /> We are all in a temporal concertina. As we traverse the "new normal" squeezed between working from home screen fatigues and get back to work commuter curmudgeons we've forgotten one very important escape mechanism. Summer. True, the UK tends not to have much of one but when we do it tends to be glorious, unbridled joy. Beer gardens. Barbecues. A few friends round for chilled out reminiscences into the long hot nights. Dancing your socks off sweatily in a club as all become one. But more than that Summers hark back to a collective sense memory. A place in time of comfort and expectant willful pleasure. Ice lollies on the beach and paddling pools. A time that may never have existed but in our minds. Nostalgia is enough for now, as we have to remain hopeful that these things shall soon return. It is this sense of abandonment and sensory overload that jumps out at you upon seeing the works of Oli Frape at Artcade Gallery. Artcade is a new space within the Forum arcade. Monthly residencies for exhibition, working and sale of art. The space is a partnership between Sidney and Matilda and The University of Sheffield. I had a word with Oli about the work and the space. Have you reflected on that time in this collection while we are in lockdown as a sense of nostalgia? “Yes, very much so. It’s probably not at all surprising that internally I’d be thinking about escaping into the past whilst living amidst a global pandemic. I’d imagine that many people have felt similarly over this last 6 months - wistfully daydreaming of simpler times from our various pasts (for those of us privileged enough to have such good memories) I’m also self-aware enough to notice that I’m craving the collective feels of dancing in sweaty festival tents with strangers in spite of the fact that this is an experience I really only seek out infrequently at best in my normal life. (But those memories are great ones) But honestly I’ve been becoming more nostalgic over the last few years. My wife and I have been through a number of significant life events since we relocated to Sheffield from London and I think that alongside what feels like a prolonged period of social/ political unrest has certainly seen me spending time fantasising about times past - both those I’ve lived and those that happened before I was even born as some kind of escape from the present challenges. The late 80s/ early 90s rave culture (which I was just a touch too young to fully participate in) and the first summer of love (which was long before I was born) have always been described to me as being about unity, and community and love and about people creating their own small revolutions against a society that wasn’t serving them - that sounds pretty good to me right now.”  Another thing I’d like to pick up on is if the effects of lockdown have influenced your use of colour or changed the way you make your art.&nbsp; Have you experimented with new medium? Will you be taking lessons learned from this time forward into your existing practice? “The most significant impact that the lock-down had on this collection of works was really, simply, the window of opportunity to immerse myself. My commercial lettering practice usually takes precedence and my self-initiated works are created in small gaps between projects (if at all) Lockdown created that time vacuum where there really wasn’t anything else I was supposed to be doing, and so I focussed fully on this collection. The approach to the lettering had been in the works for a while, but the colours have been a voyage of discovery. It’s fair to say that I usually have to dial down certain ideas and aspects of my work when it’s for a big brand/ client and so I've tried to really embrace the freedom I have with these new paintings knowing that I could actually do whatever the fuck I wanted. Little about the medium has been experimental - in fact it’s been the opposite. I’ve used materials and techniques that I’m confident with to allow my focus to be all and only about developing the form. I’m not sure yet how this work fits into my commercial practice, although I have used a similar approach for a couple of client jobs over the last 12 months or so. I’m actually quite intrigued to see what will happen next in this respect, both in terms of how this might overlap with commercial projects but also in what new opportunities might arise.”  And finally how did you find out about Art Cade and why did it appeal to you as a place to exhibit? “Artcade is a really exciting project and I’m really pleased to be opening this season of exhibitions. I met Al from Sidney and Matilda not long after he opened the original gallery space in Sheffield and we quickly realised we had arrived in Sheffield from similar past experiences (we both worked in studios in Hackney Wick before we left London) Credit must go to Al for suggesting this opportunity to me and having the vision to see that it might yield some interesting results. In terms of the venue itself, the space is great and it makes real sense to me to have something like this in that particular location. I was a student here in Sheffield many moons ago and spent plenty of time in the Forum so it’s like coming full circle in some ways. It also inspires yet more nostalgia…;)” Another Summer of Love Is on until 26th of September at Artcade Gallery and is open every Saturday 10am-6pm or by appointment artcadegalery@gmail.com. fghxfgjxfgj xfxfhgj https://thatlooksqueer.com/A-Fallow-Time-Strength-in-Isolation Thu, 08 Oct 2020 15:16:33 +0000 That Looks Queer https://thatlooksqueer.com/A-Fallow-Time-Strength-in-Isolation A Fallow Time: Strength in Isolation &nbsp; <img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/48624e283f4500f639aae901af709983f740e4d646592f7580a86eb81e5a306f/dc57c138-f1e3-473f-9c33-19721eeadb37.jpg" data-mid="85101768" border="0" src="https://freight.cargo.site/w/1000/i/48624e283f4500f639aae901af709983f740e4d646592f7580a86eb81e5a306f/dc57c138-f1e3-473f-9c33-19721eeadb37.jpg" /> That which is unseen is forcing us to remain vigilant and contained. Some are dutifully following regulations, others selfishly panic buying. The vulnerable such as those with underlying health conditions, the elderly or those with disabilities such as myself are justifiably anxious and scared. While the world reacts to the effects of Covid 19, we should not be forced to use the time for creativity but a reframe the space isolation inhabits. Strength is often portrayed as a physical triumph over adversity, challenging a commonly held convention and testing ourselves to the limit. But what happens when we break? How do we heal and centre? In Phoebe Davies work Points of Rupture rehabilitation and strengthening over time are depicted in three distinct motifs. Immersive soundscape, visual cues relating to sport drills and documentary film chart the journey of her own recovery and the collective narratives of empowerment and restoration. Strip lights are illuminated in sync with the sound of effort and breath as the vastness of the space resonates to the beat of Phoebe’s therapeutic exertion. The effect is one of being drawn into a trance, sharing in a collective space of healing. The syncopated rhythms of the basketball hitting the floor echoed in the motifs on the floor of the space. A sport hall disjointed. A jarring aide memoir to a place now out of reach. Yearning to return. Speaking to Phoebe about her process references are made to her upbringing and times on the farm, areas of land would be left to go fallow in order for the nutrients to return to the soil. This process of informed desolation is something I asked about in light of the current climate as a way to redefine the isolation we are feeling. Therapy has been my saviour. Without it I couldn’t have worked my way through the trauma I experienced when I was younger or have found the tools to process the anxiety I occasionally face. This time of isolation is difficult but it is through finding ways to remain creative and engaging with fellow creative people that I was able to claw my way out of a dark place. One such time was when I felt completely useless. I thought I had found my voice with art criticism but my disability had gotten the better of me. Weak, delirious and feeling completely alone Connor Shields happened to message me about a blog piece I’d written about Phlegm’s Mausoleum of the Giants. All the voices in my head telling me I was useless fell silent for a moment. After negotiating a visit to his exhibition at Yorkshire sculpture park and another piece of writing later we remain colleagues. &nbsp;&nbsp; <img src="https://thatlooksqueerhome.files.wordpress.com/2020/04/img_1326.jpg" width="3024" height="3184" style="width: 740.40625px; height: 779.5811838624338px;"> Without solitude none of this would have happened. It is out of these unexpected connections that support networks blossom. I spoke to Connor about how to maintain networks and how they can begin from the most unexpected places. “I came across Steven’s blog after we matched on Tinder and there was a link in their profile. I reached out to them after reading their article on Phlegm in Sheffield. Steven wrote about their industrial upbringing and a sense of place, similar to themes in my own practice. They write through the perspective of a queer person and I was keen to work with them, considering these simialrities in our backgorunds. Tinder isn’t the place you would expect to come into contact with someone in such a way, but it definitely opened my eyes to the fact that you can create connections in even the most unexpected places. Through discussing the work when they came to visit my show, they unearthed ideas that I hadn’t perhaps considered previously. This critical conversation is something that is crucial for the progression of practice. In my everyday life I don’t usually find myself in too many moments of solitude, particularly to the degree it is at right now due to the current state that the world is in. I rarely give myself time off, and when I do I always find that my brain is still in ‘work mode’ and I am thinking of the next thing coming up. I am realising that sometimes solitude is important, particularly for mental wellbeing. It’s important to take a break and reflect. I think it is potentially what the world needs right now - a rest. I do wonder though, while people are taking this time to heal and focus on themselves, will things go back to how they were when this pandemic is behind us? Or will the world learn from this?” It is difficult to be kind to yourself. It takes practice and the right people around you to bring you out of the darkness. For a long time I felt a safe space needed to be four walls a ceiling and a floor but over time it soon became apparent that the people you encounter and the bonds you forge are just as supportive. https://thatlooksqueer.com/Something-more-than-Sexual-Gender-and-Pop-Art Thu, 08 Oct 2020 15:16:33 +0000 That Looks Queer https://thatlooksqueer.com/Something-more-than-Sexual-Gender-and-Pop-Art Something more than Sexual: &nbsp; Gender and Pop Art <img width="1500" height="1870" width_o="1500" height_o="1870" data-src="https://freight.cargo.site/t/original/i/5a3adad8da265a02702cb9478ddf033b81afe3f580d77971e83b28b504191fca/Marilyn-pursued-by-death.jpg" data-mid="95057806" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5a3adad8da265a02702cb9478ddf033b81afe3f580d77971e83b28b504191fca/Marilyn-pursued-by-death.jpg" /> <img width="1681" height="1920" width_o="1681" height_o="1920" data-src="https://freight.cargo.site/t/original/i/73ff45de647e667965f57cc69ab2f561eb5758f510716abdabf3ceadea26e17a/8BD675D3-3C56-4F66-8B7D-4B9EC885BF74.jpeg" data-mid="95060165" border="0" src="https://freight.cargo.site/w/1000/i/73ff45de647e667965f57cc69ab2f561eb5758f510716abdabf3ceadea26e17a/8BD675D3-3C56-4F66-8B7D-4B9EC885BF74.jpeg" /> Sex sells, that’s the problem. Image is everything. The media feeds us these conceits – the boy next door and the housewife at the kitchen table. You watch. You buy. You lick your lips. In this world of commercialism, pop art pitches itself. But questions arise when we look to these ascribed roles of gender. Sheffield has recently had a pop at celebration with It Moves Forward, a retrospective of the works of Richard Hamilton until 26 October 2019 at Graves Gallery, as well as the work of Sir Peter Blake recently at Kommune. In pop art the role of women is often glamorous, sexualised and powerful, but do we risk creating an unattainable distortion? Does the move to create an image of beauty alienate it from the truth? I’m going to talk about Marilyn Monroe. Visually arresting as she was, her image became one repeated by pop artists, exuding glamour and delicious camp. Through my eyes, this motif is one of playful adoration. She’s portrayed as a woman of unashamed femininity. Does this bely a harsh reality of the viewer being a voyeur? Each of us are afford a view from any angle we want. In Richard Hamilton’s ‘My Marilyn’ we see the self-censorship and consideration she had regarding her image. The paparazzi are her constant companion, and her vulnerability is displayed as a statement. These are a series of non-consenting images. I felt uncomfortable, as if witnessing a violation. Another of Hamilton’s images that instilled the feeling of unease while walking around the Graves was ‘Picasso’s Meninas’, a study after Picasso’s ‘Las Meninas’ which was itself inspired by Velázquez. We see how the female form was venerated – the relationship between artist and muse is one that is fraught with danger. I make no apologies for my dislike of Picasso’s habit of luring young women to his studio to create his work. He influenced them to engage in sexual affairs under the guise of inspiration. This is made no more prevalent than in 1932’s ‘Le Rêve’, a painting which shows the artist’s penis resting on his model’s face. I’m no prude, but the question of consent and the assertion of male dominance is never far from view. Hamilton’s works regularly reference cubism and dadaism. Among the earlier works in the Graves exhibition are ‘Just what is it that makes today’s homes so different, so appealing?’ and ‘Interior’.&nbsp; Sketches for these paintings are also displayed, showing their formation and Hamilton’s early workings in a nod to Duchamp. In the former we see male and female figures surrounded by scenes of domestic bliss, in the latter, a solitary woman surrounded by the trappings of the modern home. Like the pages of a catalogue, the image anaesthetises the viewer to the media objectification of body image. Man with his chiselled physique standing proud, woman luxuriating on the sofa. All eyes on them. But this can’t be the only fight women have in the world of pop art. It is to Rosalind Drexler that we turn for a contemporaneous commentary on male power and the oppression of women. In Hamilton’s work, we see woman as either an object of desire or an accessory. With Drexler, the women are enraged. Drawn to a place of desperation. Born and raised in The Bronx during the years of Great Depression, her works resonate with an unquiet pace. Motion is caught in an instantaneous intake of breath before the main event. Stress. Anxiety. Life. Death. And yes, Drexler created a Marilyn, but this one speaks to the very thing we are still obsessed with today: invasion of privacy and the celebrity as a universal commodity. In 1963’s ‘Marilyn Pursued by Death’, the paparazzi are seen for the harm they cause and, ultimately, the pain they inflicted on Monroe. A voracious predator lusting after its latest victim is seen lurking in the shadowy darkness. Marilyn flees from the edge of the scene in terror. The energy of the piece shouts at you through the frame. In much the same way as Hamilton’s ‘My Marilyn’, we feel a sense of violation. But unlike Hamilton’s Marilyn, the focus is shifted towards the cause of the hurt. We know the villain behind the flash. And so to Peter Blake. Through his Marilyn, we see the creation of a new religious idol. The painting ‘Marilyn Monroe, Black’ is adorned with diamonds and ensconced in the colour of the gods, with a clear separation of us from the holy of holies. To look upon it is to worship at the new altar to beauty, celebrity and fame. But in this image we see the nature of that celebrity as symbiosis. An uneasy peace. The dark black of the piece, rather than heightening the tension of Drexler’s Marilyn, gives us a sense of the beyond.&nbsp; A collective space of reflection. A meditative state in which to view our icon. Our interpretation of these artworks through the lens of a more enlightened and balanced view of gender, sexual liberation and consent must be met with an understanding of the circumstances around their creation. Often a retrospective merely displays the work and adds no new narrative.&nbsp; Here, sadly, is where the exhibitions at both Graves and Kommune have failed. It is incumbent on us to challenge ideals, recognise the practices that cause misogyny and bring about discussion. https://thatlooksqueer.com/A-Body-on-the-Ground-an-interview-with-Kedisha-Coakley Thu, 29 Apr 2021 13:48:33 +0000 That Looks Queer https://thatlooksqueer.com/A-Body-on-the-Ground-an-interview-with-Kedisha-Coakley A Body on the Ground: an interview with Kedisha Coakley <img width="1622" height="1157" width_o="1622" height_o="1157" data-src="https://freight.cargo.site/t/original/i/ca98ebad77b86975c32b92d7250c8b618d08e78a94430c4314c2141d02962cc9/Website-image-1.png" data-mid="106846333" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/ca98ebad77b86975c32b92d7250c8b618d08e78a94430c4314c2141d02962cc9/Website-image-1.png" /> Here is an extract from a piece for Corridor8 supported by Yorkshire Sculpture Park. &nbsp; [SA] You stated that you wanted to ‘challenge colonial constructs’ in your work at Yorkshire Sculpture Park (YSP) and that you feel it is a safe space to allow interpretation within the surroundings without interference. Do you prefer this to the ‘white cube’ gallery? [KC] I wouldn’t say I have a preference. As yet, I’m not far enough into my career to say I’ve had enough experiences in gallery spaces. I think it’s more about what those white walls represent and who can control going into those spaces. I do enjoy the aspect of allowing work to sit in a space where there are no constructs. The pieces are set into the environment and left to find their own narrative: I think there’s real freedom and real joy in that. Even before I was studying, YSP was the first place I visited when I came to Sheffield. The sense of calm and the sense of connection is something I’d never felt before. I’d visited galleries from when I was very young, but there was something else at play. Kedisha Coakley self-titled exhibition will take place at Yorkshire Sculpture Park from 31 July to 31 October 2021. The full article can be viewed on the Corridor8 website. https://corridor8.co.uk/article/a-body-on-the-ground-an-interview-with-kedisha-coakley/&nbsp;