Making Roots

For a while, a few years now I have had the privilege of being able to visit some of the places where my ancestors came from, and where my parents grew up. As a white English woman I was perhaps late in life to identify as a second generation migrant, after all, three of my grandparents lived in England. Yet when I submitted a script of a play I’d written about my family (a very different play) in 2009 to the writers’ department of Soho Theatre, the feedback I received was to make more of my cultural background, and to connect with the diaspora of my people. This was not what I had expected, however I realised that a few lines had been misinterpreted as indicating my perceived Jewishness. It was an eye-opener that served to illuminate further to me how unusual my background was, and also to be aware of how I may be read so that I could then be more in control of that.

I had lots of research to do on the places and people I actually come from, and various pieces of the story emerged at different times. Some were already known to me. In 2008 I can’t remember why I decided to start reading the memoirs of my maternal grandfather (known as Gramp), and as well to type some of them up so that we would have a digital copy. The copy we already had was faintly typed on very thin, yellowing East German paper. We’d had it for years, since my childhood and for some reason as I approached my 31st birthday I gained an interest in the papers. Gramp was still alive and nearing his 97th.  Then suddenly a few months later, out of the blue he died, and we travelled to Berlin for his funeral. It amazed me that he’d died just as I was getting interested in his story – which was long and I had only tackled a small part of it. Well, he had been very frail for years, in fact I had visited him 10 years before in 1998, sent by my Mother to be her ambassador as she was too unwell to visit him. On that occasion it took him a while to determine who I was. Hearing my voice he asked in his American accent, “Are you from London?”

His memoirs cover most of his life, from birth including what he knew of his ancestors, up until his early 70s when with long hours alone he wrote them. There were passages which did not really interest me, but then it was like striking gold when a cluster of paragraphs stood out describing childhood scenes on a farm, or being on the run from conservative agencies during the McCarthy era. It was fascinating social history and information about some of the forces that even shaped my life. Unfortunately my pursuit of the long typing needed faltered and I only recorded a few sections that year, but nevertheless I knew the material was waiting and my appetite had been whet.

Pictures of Moletai in May 2018

Last year my partner Steve and I visited Lithuania, and spent time in the town which had been a village, where one of my great grandmothers came from. Moletai (pronounced Molyati) had been about 85% Jewish in those days, including this branch of my family at the turn of the last century. We have no family or connections there now, as my family left in 1911. The fear of pogroms was very real, and Jews who did stay were rounded up the following year by the Soviets. Some were later freed, but in years to come the situation worsened, culminating in the Nazis finishing off all Jews in the area in 1941. I had not known all this prior to visiting, however the town is blessed with a cultural centre and local history books tell the people’s story.


Rivkah Notlevich in Lithuania, 1908

There were old photographs which reminded me of the style of photograph we have of Rivkah, my great grandmother. There was also a letter printed, by a man bearing Rivkah’s same surname, albeit with one letter different. She was née Rivkah Notlevich, and he was Yudel Nutlevich; and I thought having seen all the graves inscribed with Hebrew, that there may easily have been inconsistencies in translation, also from Russian/Lithuanian. Yudel wrote shortly before he was to be shot in 1941, and entrusted the letter addressed to his family with a Christian neighbour. To say it moved me is an understatement. It described how everyone they knew had been murdered, he himself had hidden for 16 weeks in a pit before being found.

“This is my last letter, one of farewell, I am writing to you from prison, condemned to death. Barbaric murderers have condemned me, a victim who is innocent of any crime. Thousands and thousands of people have perished. The blood of those slain will not be silenced. It hurts to leave this wonderful world… you won’t know where our bodies will end up.”

Imagining him as a distant relative I suddenly felt connected with a deep lost strand of my history, and for the first time in my life felt some Jewish identity, or rather it weighed on me what that could be like. Rivkah herself was not interested in religion, instead politics drew her and she became a committed socialist from an early age, whilst in Lithuania. Judaism was not passed on by her as she married out and only had sons.


Jewish cemetery at Moletai

There were many memorials to the thousands of Jews killed and I learnt just how large an area they had been eradicated from, throughout many parts of Eastern Europe. I have always felt critical of Israel’s anti-Palestinian policy and still do, but a change occured in how I felt like approaching the subject. I was overcome with compassion as I understood to what extent Jews had lost their lives and homes in several countries, and it would have been very difficult for them to feel safe.

Rivkah’s family eventually settled in Johannesburg, South Africa which I have not been able to visit yet. It is high on my list as there are many places there I would like to go to as that’s where my Dad was born, and his Father’s family had had a presence there for almost 200 years. A missionary called Jabez set out to preach Methodism, and a mission named after him – Old Bunting, later Buntingville – was established in 1830 on the Eastern Cape of South Africa. This character was known to me by a plaque unveiling I attended as a child, in a square in Angel, London where he’d lived, as well as a severe if smiling portrait of him at my grandparents’ and later my parents’ house. A further detail was revealed when during an English A Level class his name appeared in the introduction to Emily Brontë’s Wuthering Heights! A strict and unkind priest was based on him.

As if to redeem the family from this authoritarian presence, some generations later when the family had already become more liberal, his great grandson called Sidney went a few steps further, and became a radical black rights activist and politician in South Africa during the 1920s. He succeeded in shifting the South African Communist Party’s policy and focus to being led by black South Africans (it had been all white and not keen to embrace the native population), however this was an extremely tough battle which ultimately cost him his career; life even. It is a sad story yet Allison Drew’s ‘Between Empire and Revolution‘  beautifully shines a light on all aspects of his life and tells the whole story in detail. This book had been in my possession since my Dad gifted me it when it was published, though I only read all of it last year when my trip to Lithuania ignited my interest in any information about Rivkah – who became Rebecca. The only documents about her relate to her husband, Sidney and there were a few sections that were pertinent in the book, as well as in Sidney’s ‘Letters to Rebecca‘, which also includes one letter by her. Theirs was a most extraordinary and inspiring tale, and I feel enormous pride when I think of Sidney and Rivkah.

The Roots play follows the stories of Rivkah and Sidney from my Father’s family, and of John and Mary who were my maternal grandparents. All the sources of writing were fascinating, it is just unfortunate that neither woman left writing in her own right. That is only partly because of the time they were in; with Sidney and Rivkah it is true that women at that time and place were not in such prominent positions yet. For John and Mary however in the socialist world a generation later, she had just as many if not more opportunities than him, career-wise. It was rather that he lived longer and was more alone in those years so had time to record his memories. I think he also had more reason to, since his journey was more dramatic, living in exile from the age of 37. Without his words, his descendents would not have knowledge of their ancestral past, since the cold war climate had separated us long ago from his living family in America.

Mary was an artist and fashion designer when she moved back to London, and left many embroideries, tapestries, drawings, clothes and jewellery. Reading between the lines and sometimes directly from Gramp’s memoirs, as well as what I remember of her, I identify a great deal with Mary’s vitality, creativity and strong spirit of independence. She was also a socialist feminist! It therefore seems odd perhaps that she doesn’t have her own voice in the play, unlike Rivkah whom I had penned a monologue for shortly after my visit to Lithuania. Writing the play was partly piecing together sections of text I’d written and collated over several years in fact, and rereading all the letters. There may be unfinished business, but in a way, my own voice may be closest to Mary’s which may account for the absence.

Coincidentally both families partly moved to London in 1963, to the same unique part of Highgate – Holly Lodge Estate. It is through this connection that my parents met, and I believe that the stories contained in the play may partly explain their attraction; on some level recognising shared and unusual family pasts of extreme left dimensions and political persecution. It is also true that both my parents, coming from these activist origins, did not feel drawn to continue such a path. Growing up in families where politics may have been more important than family, and where you’re on the losing side even if righteous, may sometimes be a strong antidote to choosing that oneself.

Presenting the play with my usual life drawing formula was a stretch with subject matter not remotely relating. I used some costumes but also opted for nudity quite a lot. It is my natural medium, however a few audience members rejected the approach as inappropriate. Others appreciated the art interpretation, and perhaps that my own passion for nude liberation is in some way borne of this earlier family idealism. The life drawing did also fit well with much of the text being audio based; static tableaux could be drawn whilst the audience listened.

I performed most of the show solo, and as well for a few scenes invited friends and audience members to join in whether nude or not to create group tableaux. It was very helpful to have a man posing to represent my Grandfather, whilst at other times scenes were illustrated by enactments of famous paintings from the time. We recreated ‘American Gothic‘, and I posed alongside works by Chagall and Popova.

During the first scene, about Rivka’s life in Moletai, I played a video I had made there of myself performing a menstrual ritual in one of the nearby lakes. Pouring my own blood into the water of my once Motherland was a way to connect with a place now lost to us. This practice has been part of my work for a few years, such as a time I was on the trail of a Grandmother not included in this show, when she lived in Tanzania.

Finding the voices for the male characters didn’t come straight off. I was fairly quick to pick up on Dad making an excellent Sidney, but the American voice was harder. I searched and people answered, but I wanted personal connection, feeling a little precious of my project. There were a couple of guys who nearly did it, then didn’t, and as time was running out I wasn’t sure what to do. At short notice I asked my brother, and to my very pleasant relief he came good and we discovered a previously unknown (to me) talent! Recordings were crafted and I selected music to add in the mix. Steve kindly created these with great care and fine tuning. I fell in love with those recordings! Like a movie soundtrack or a radio play I wanted to keep listening to. Which was lucky as I had to rehearse fast and the lines weren’t coming quick enough.

I had overstretched myself and foolishly gotten Steve booked for another gig the same evening as my first performance. So I was on my own and this was a very technical show – projector, sound and visuals to coordinate with live action cues. I was a bit stuck but luckily my friend Anastasia agreed to help. She was at first unkeen, being unfamiliar with these things, but I was desperate and the main thing was having a mate there. On the night it was a bit chaotic, but we did it and had an amazing audience. The show was part of a festival of events and an exhibition called ‘We Grow into the Forest‘, as curated and organised by my friend Judit.

For the second performance at Telegraph Hill Festival, it was a smoother flow and it was great to have the opportunity to see that version of the play grow through the duration. I think there is much I would like to add to it, from the voices already included but also more about the women, and other characters and narratives that didn’t make this cut.

Why Roots now?

Judit asked me about a year ago to make a life model based performance and workshop for this event. I had suggested myself as the model since it was unknown if there would be funding, and besides I have a few images of myself with trees, or nude in natural surroundings, which related to the theme of trees and nature that ‘We Grow into the Forest’ was about.

When we returned from Lithuania in late May last year, Mum was in hospital and died ten days later. This shook my world, our family’s world, and grief is a long unfolding. While this is still so raw, and in fact she has been the subject of much of my art over the years, it felt easier to go back further into the past this time and untangle some of the knots. I mean, on the one hand Mum has been very much on my mind and with me these last months, but on the other I am not ready to make her the subject directly again.

I have learnt a lot from this gathering of information and still there is much more to do.

Here is an audio version of the Roots play.

The Sant’Erasmo Blood Ritual

Unplanned and spontaneously born of some organisational fuck up on the part of It’s Liquid, this bloodening on a remote shore of a Venetian island salvaged a tricky episode. Truly I am grateful to It’s Liquid on several levels. They invited me to perform two different performances in Venice last week, and the invitation had come through back in May, shortly after my last show for them. It gave me a reason to hone Girl in Suitcase, particularly for a travel and international version, and as well to create a brand new show, which I entitled Blood>>>Orange.

Whereas my April visit to Venice had been straight forward and smoothly run, it seemed that It’s Liquid had bitten off a bit more than they could chew on this occasion. It wasn’t personal, but they did not handle it well. They showed the utmost disrespect to many of the performing artists. I will record this separately concerning Girl in Suitcase on that site, but as for Blood>>>Orange, it seemed only I was involved in the debacle. I had been booked to perform in the Hilton Molino Stucky Skyline rooftop bar, on Saturday 6th August as part of the Colors of the Sky series, for the Funky Orange evening.

The It’s Liquid performance art contribution to these Hilton events had been meanwhile suspended unbeknowst to us, and they never thought to inform me. I had already picked up that the organisation on this visit left a lot to be desired and certainly sensed something was up, but with no official information, I continued to prepare for the Saturday gig as planned. My partner Steve and I took the considerable gear over to Giudecca island, to the hotel only to find they weren’t expecting us. The hotel staff were really accommodating and friendly however, and possibly would have let me perform, but it wasn’t the point in fact. I sensed that my somewhat edgy performance would not fit so well here, between the more mainstream singer and DJ and the very well dressed guests; I mean I would have been happy to present there, but without a properly prepared introduction (from It’s Liquid) I preferred not to.

There was a fantastic view from the roof at sunset (we arrived around 9pm), but we would have to wait till 10:30pm to perform, and that would in fact be during either the singer or the DJ’s slots. We felt out of place and hungry. We wouldn’t have been paid for performing and couldn’t afford the food there, so decided to find a more reasonably priced meal by the water’s edge further along the island. We left the option of returning to perform open, but took all our kit with us. I knew in my heart that we didn’t want to go back. We wanted to move on from this mess, and get back to our holiday. It did take me a while to debrief, as preparing for a performance is more than the practical and physical considerations. I become psyched up for quite a while before, in this case a few months even. If the intended outlet doesn’t happen I am thrown into a limbo of confusion. I am not ready to return to the everyday; I need the hyper-reality of performing to take place somehow.

Steve and I knew what we would do, and the weather was kind. I had brought blood supplies for the Blood>>>Orange show, and didn’t want to return to London until my jars were empty. Sunday 7th August was our last full day in Venice, with nothing planned except now completing the mission. Throughout the preceding week (and indeed earlier trips in the year) we had visited several of the smaller surrounding islands, at least all those that are available by vaporetto. We had discovered the best spots for solitude and natural beauty, and the island of Sant’Erasmo suggested itself to us clearly. There is a crowded beach in high season on a hot Sunday, but we knew to walk further round where far fewer folk venture. There we had the space and landscape we wanted, to be unwatched and left alone.

We waded through muddy marshes and long prickly grasses till we found our perfect spot. The blood in my bag was from my last two menstrual cycles, kept in the fridge for such occasions! The ritual side of it is pouring the blood on my naked body. I make particular movements which invest greater energy in the proceeding, and focus me. There is an embracing of my cyclical, female nature; as well a letting go of recent events and processes, and a rinsing cleansing action in the water to refresh myself. I am completing a cycle; more than a monthly one, a wider episode in time too. I am connecting with (Mother) nature, and the elements – Earth, which I stand on first and drops of my blood fall to; Air, which I move through, the gentle breeze sometimes sending the stream of blood away from my skin; Water, which I walk into and submerge myself in and splash on myself to wash; and Fire, represented by the Blood itself that was created and expelled by my body and signifies my fertility and creativity.

Steve filmed me and as well added some music afterwards. The track is The Host of Seraphim by Dead Can Dance, and was part of the setlist for Blood>>>Orange, indeed the scene in which the bloodening takes place. I have used the track in the Goddess version of Girl in Suitcase (last year), so it is already established in my performance psyche!

After the disappointment of the previous day(s), this outing on Sant’Erasmo felt really special, loaded with impetus to reclaim something that I had been denied. An intention to celebrate that moment with myself and Steve, in that place and time. It felt joyful and liberating as well as sensual. We had considered a further performative action, also connected with the undelivered performance, but after my blood ritual I felt no further need to make that, for now.

Here is the film!

With thanks to Steve.

Return to the Womb of Winter Hibernation before Rising for Justice

I was grateful for a good year, and ready for a rest. The rest came early when complications arose with the final event so it was cancelled. During the two weeks preceding my holiday in Spain I raised my voice to artists drawing me on two separate occasions. The holiday was well overdue! It was the continual objectliness of the role of life model, being referred to not as a person, but as their (the artists’) object, so that they could get their picture how they wanted it. I cannot remain passive, and at this point in the term, my level of politeness was challenged also. The part of me that has missed making theatre rose up spying an opportunity for a natural drama. My voice shifted to histrionic tones, without quite shouting I did project! I let them know I am much more than an object and they ought to honour my presence, for without me, they would not have a model. They may have many other models, but right here and now, they have me, with the shape and form that I am. If I need to alter the pose because I have damaged my shoulder in the position it was in (whilst doing the pose), then that is what I will do. No questions. And if I know which poses my body can make on a Monday evening at the end of a term when I have been modelling almost every day, and I am a professional model and have been for 7 years, then I know. Not them, however long they have been drawing for, does not make them master of my body ever. They may have trained in the ’50s or ’60s when the model really was often regarded as little more than an object – and when I say model, you can place ‘woman’ in that sentence in most contexts, especially for the type of antiquated artist I refer to – but we are now in the 21st Century. Get with it. Or get lost I say, because I will not tolerate this.

I returned to Barcelona where I had lived briefly 10 years ago, only this time my home was 5 minutes from the sea. Each morning I walked to the beach, and most days the sun shone very bright, the sky brilliantly blue even if the temperature fairly cool. I did not have internet and barely used my phone. I noticed the quality of my sleep improve, as well as my breathing. I kept a journal – hand written – meticulously. I unpicked thoughts over and over, and lingered on memories of my old self bumbling around the city a decade ago in a cloud of hashish smoke. Nice to feel the changes. It felt like a pilgrimage as I revisited favourite spots, and remembered the particular state of play in 2003. My sister visiting me, spending time with my classmates which helped to prep her for the audition to drama school. She got in, and we spent a year living together while we studied at the same college, reconnecting since I had left home. The massive anti-war demonstration which was the biggest of its kind around the world, must have been all the more satisfying for the leaders who ignored it to feel their supreme power. I had gone with my flatmates all day in the packed streets of the centre, then watched the next day as scenes from every city everywhere doing the same thing were shown on television. You can raise a massive outcry like that and know that you are all doing it, feeling it, but you cannot sway the powers that be, the way things are. Stupid white men Bush, Blair and Aznar were the butt of our jokes but who had the last laugh? Well war one place or another continues. To rise above that we have some way to go.

This holiday felt like the greatest gift, and it came via a friend who offered me a room in her tranquil apartment. I knew I never wanted to return to the way Spirited Bodies had been, but at some point I would take the best of what it had been and develop that. It felt like SB had drifted too far from its core. I had let other people’s wishes take over, and now I was pulling my baby back. I longed to reignite my creativity apart from this direction too, so that drive will be honoured from now on.

I came in touch with a female shaman (shamanka) at the beginning of 2014 and with her transcendental insight she had strong advice for me (she gave me a good telling off!) Not to let others take over ever again. Keep nursing this child of mine as it is a calling and to be given the utmost care. I didn’t skip school, waste my youth in mindless chemical abuse, sell my body and give up all pretensions of wanting a ‘normal’ life, mortgage, academic success and 2.4 children to let people who had some of these things take over. Moreover my grand parents and great grand parents did not give up promising careers in the West to live and work underground in the impoverished East or start the South African communist party, in order that their bloodline would give up the fight for justice. Because when you have made big decisions about your future that mark you forever like an alien, you have the power to change things, but only if you use it. It is a unique and divine power and it comes from the passion of youth. You never knew as well as you did when you were 16, 18 pounding the beats on the dancefloor what was wrong with the world, and also what felt right.

It would be vital for me to nurture my own sacred masculine who had gotten lost amidst my celebration of the feminine. That would help me to avoid leaning on others or being led by them. The shamanka pointed out my inappropriate openness left me vulnerable to others hoping to make money, further a career or even meet women through SB, which ultimately was at my expense, undermining my efforts. The good news is, I feel in such a place now, that there is no turning back; I exhausted other pathways. I am left figuring out the direction for myself and have faith in the perfect unfolding of this beautiful phenomenon, with a bit more experience behind me. In the beginning there were so many questions that I was grappling with – whether to have men model with women, whether to make events more theatrical, whether to organise every element of an event myself or combine with organisations of artists, whether to target ‘vulnerable’ women or to create a financially viable operation aimed at wealthier women, whether to stay attuned to the shamanistic 5 Rhythms community or go more political with the women at Southbank, whether to include professional models or create a franchise. I know a lot more now where my heart wants to go with this, and experience has taught me much about what keeps the essence pure.

I aim to bring Spirited Bodies to the Southbank Centre on Sunday March 9th as part of Women of the World festival, late in the afternoon. This will be more of an installation rather than last year’s presentation. It will be a women only space, where women who have modelled with us before will lead the way, before newcomers are welcome to give modelling a try as well. I will invite the experienced women to read out testimonies from women who may prefer not to tell their own story or cannot be there, though live accounts of the transformational experience of life modelling are also welcome. As a healing space for women, it will be totally cool to simply be present, sit on a cushion and listen. Naturally I would love lots of women to come and draw as well as model, but you are also welcome to just be there. Please get in touch if you think you would like to take part; for the most part a day ticket to the festival will be necessary (£12), but if you have modelled with us before I would like to offer free entry to our session at least.

Apart from this my energies are going into a one woman show I am creating, ‘Girl in Suitcase’, which will first be aired in late March (28th) in South East London as part of the Telegraph Hill Festival. It is a follow on from the two woman show I put on in Edinburgh 2011, though now I have decided to simplify matters and concentrate on one performer – myself. Well one performer plus one or more live musicians accompanying me. I will likely start a new website for the show which may provide a new outlet for my more personal ramblings, allowing Spirited Bodies to be entirely for itself and the participants’ stories.

Bringing me right out of the womb will be One Billion Rising for Justice on Valentines’ Day (V or Vagina Day), Friday 14th February. I am simply going to link to Facebook as all the blurb is there – https://www.facebook.com/events/1445985895616396/. Basically Eve Ensler, creator of ‘The Vagina Monologues’ and a healing city for women in the rape capital of the world, Democratic Republic of Congo – leads a host of prominent feminists from MP Stella Creasy, QC Helena Kennedy, actress Thandie Newton, performance artist Skin and many others in campaigning to end all violence against all women everywhere (one billion women in the world it is estimated will be raped or beaten in their lifetimes). Between 12 and 2pm in London, Trafalgar Square there will be speeches, performances and dancing. But wherever you may be in the world, there may be an event near you, or you can start your own. A ‘One Billion Rising’ panel discussion at the start of January got my feminist senses buzzing again, and most of the room dancing by the end; it was electrifying. Hosted by Jude Kelly of Southbank Centre and much of the WOW team, it really helps get the momentum going for V Day. Returning to the idea of balance however, The Southbank this weekend is holding a festival to honour men, Being a Man.

That’s all for now, look forward to crossing paths in the upcoming Year of the Horse.

a Barcelona beach in December

a Barcelona beach in December

sleeping on the job

sleeping on the job

my Oriental double?

my Oriental double?

Shadows & Light; photograms, rope bondage and mentoring girls

Yesterday I was asked to mentor teenage girls about body image in a pod on the London Eye on International Day of the Girl (October 11th which is also my Mother’s birthday). Today I told teenage girls who were continually whispering in the 6th form class I was modelling for, to shut up. I could not discern their words but there was a constant low level conversation in their huddle, and when I was looking their way I was not imagining the cheeky ‘OMG she’s looking at us’ looks directed at me. 3 poses into this nonsense I thought of saying something. I had a few ideas in my head but knew that whetever came out would be more effective unrehearsed. It needed to come from my heart in the moment. As I changed pose I glanced their way decrying “It would be better if you shut up.” Then realising that might have sounded unduly strong – I am more than twice their age and also about 10 years older than the teacher, I added, “I mean I can hear that you are whispering, and it IS off-putting.” I was calm and I’d said what I needed to say, what a relief! I automatically assumed the next pose facing another direction (I was in the round) and where I had been counting 300 seconds (5 minutes) for each pose in my head, I now just let time be. I felt myself turn a little pink at the surprise of my outspokenness, crossing an unspoken line in terms of my position in relation to the teacher (who was turned away at a computer on the other side of the room) and the class, then returned to my usual shade and gathered a growing smile on my chops. I had taken control just for a minute and the dynamic of the class had shifted. Now there was silence; and a sense of it being possible for anything to happen now. No one knew what would happen next. Well of course it was pretty straight forward; tension had been released and I had more smiles than before. Reminded of the time I told patrons at The National Theatre who were rude to me when trying to buy a programme from me (I worked front of house), to fuck off, got a warning from the manager, left early and had a fantastic evening at an art event I would otherwise have missed, I remembered that sometimes my anger pushes me forward. It’s good to cross lines to maintain strength, make a point. It’s worth risking your poorly paid job to stand up for truth and self-expression, being real and not waiting for someone else to champion your cause.

I will add here that the tutor here had been very supportive and given me such a fantastic introduction to the class as she raved about Spirited Bodies. I certainly felt welcomed (my first time there) and trusted, and in good hands. Dealing with the pair of girls was an isolated, individual case and everything else was fine. I even got a round of applaus at the end of the session; I wonder if I will be booked again.

On the same day that I received an email asking me to mentor teenage girls on the London Eye, earlier in the morning I had been going through old papers and found this section of diary from a few years ago that drew my attention: –

“It’s such a shame I think, that I haven’t known really, what I want to do, since those crucial years as a teenager. It’s as if someone took all the aspirations I had been having, and said, ‘Whoa! You’re not going anywhere with those! Forget that shit, and get some real experience…’

And I bought it, and all the little packets of speed I could get my hands on.

I look back and sometimes wish better guidance had been available to me. There was a sense from within me that I really wanted to go off the rails, to shock, lose control, and completely change from the girl I’d been. Any obviously sensible advice would have been most likely unheeded. It would have taken a very special person to penetrate my closed-in, bent-on-being-fucked-up world. Someone who’d been through something similar, but already come out the other end.

And I could have done with someone being really tough on me, hardline about certain issues, to give me a sense of discipline, and where it was that I was Really fucking up. But for me to accept that, that woman would have to have known what she was talking about. And be kind. I needed all that…….

A little gentle guidance would have been so good. Like, ‘Yeah try those needles, undeniably fun that injecting… but don’t let it take over! And don’t lose sight of artistic interests and your education…..’

She would have told me which things I was doing to make money that really fuck with your head; to live on less, and not worry about pleasing men who expect you to look, act and fuck a certain way….

I hear her voice, ‘Keep reading, watching, alert for what’s going on out there. It’s easy to get lost in that enclosed world, but there’s so much more going on which will be much more important later. Be informed and find your creative path.’

Nothing like learning the hard way.”

It’s a funny idea I have of some sassy role model having words with my troubled youth. Not realistic. The whole point is that you have to find out on your own. Anyway; where would all the fun be if someone had told me what not to do? Events become stories you remember for years after because at the actual time of them happening, you really didn’t have a clue what was going on. Yet I do recall yearning at particular moments of apparent darkness for some female guidance.

Here are pictures from a photogram session which involves holding bizarre poses in a dark room on giant photographic paper whilst coloured lights are flashed from above.

27_20130801-crop-esther-bunting1326 I had to get used to working in the dark with artist Andrew Chisholm which I found very meditative. It was like a ritual, each of my movements in coordination with his procedure and that of a technical assistant, giving each other signals that a phase was complete so the next could begin.

27_20130801-crop-esther-bunting1327Extremely light sensitive paper had to be wrapped and unwrapped in darkness, deposited in a giant processing machine. It was quite amazing and magical as we waited for the result to see if how we had planned the image had transpired.

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This was a novel way to engage in nude art and could appeal to those preferring total anonymity, though I am not sure a shadow is necessarily that. It is a fairly expensive procedure but if you are interested contact Andrew. Some of his photograms will be in an exhibition starting this Friday at Candid Arts in Angel, London.

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Yesterday I was grateful for a more spiritual experience when modelling. This was for a friend Jon who organises the annual Festival of the Art of Japanese Rope Bondage. Dressed in a partly transparent kimono I allowed Jon (Nawashi Murakawa) to tie the intricate knots around me and suspend me from bamboo sticks hanging from the ceiling. An eerie haunting Japanese music accompanied together with Vera Bremerton doing live vocals. The stage was set up in Japanese decoration; a painted backdrop and various paraphernalia; sticks, cloths, hats and the twiney ropes. First I watched Jon arrange Maya into poses as she submitted, I could see she was in trance and so it was after for me. The atmosphere here was very supportive of my whole being, the room full of enthusiasts, people doing knotting themselves at the other end. I felt the love and gave Jon my trust. I experienced how this art allows the model to express sexuality without being overtly sexual. Parts of me were exposed at times which may have been more erotic for me being partially covered. But I was just hanging there, contorted in ways I could not normally manage. There was pain, tingles and numbness but I am used to that. I gave in to the new variation of sensations, the rope digging in cutting off different parts of me in isolation, and enjoyed performing to a drawing audience.

I wore a hat with ears first

I wore a hat with ears first

by Brett who added remembered text

by Brett who added remembered text

by Jon, after he had suspended me

by Jon, after he had suspended me

On October 11th Thelma and I will be spinning slowly in The London Eye around breakfast time with women role models from a variety of backgrounds including ‘policewomen, artists, lawyers, conductors, painters and decorators, athletes and business women.’ We will be speed-mentoring teenage girls about body image and related matters, this is organised by Southbank Centre, Women of the World (WOW) of which we were a part this year and have attended every year since it began (2011).