tag:blogger.com,1999:blog-38557185777829999862024-03-13T04:16:40.722+00:00The C Word, (Because Craft is Art's C Word).This is where I write about completed work and exhibitions. I also write occasional reviews. Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.comBlogger149125tag:blogger.com,1999:blog-3855718577782999986.post-80805139862712760662022-07-25T20:44:00.014+01:002023-07-30T19:45:05.399+01:00TERFed Out (of Ceramic Art London, (CAL,) by the Craft Potters Association, (CPA,) and Central St. Martin's, (CSM.) <p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ST27s3O5yvVMK7URs_w2pBoYjgLt7MsFEckbooPcanft9xgEHbGbaMaLTifvK8bp8MwO4GMK0B8nhnm8xyINiE0uB9Ng2PpRy9SxlmWiPY4wsphPS8baJFQKklTqm4Ucdpgl0nPUF4MPhS0gssaVNnx3QPbPnXe6N2nb5iT7j1RBetXAyXhTUCejlg/s1600/ArtGroupatRussellSqLunch.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1083" data-original-width="1600" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ST27s3O5yvVMK7URs_w2pBoYjgLt7MsFEckbooPcanft9xgEHbGbaMaLTifvK8bp8MwO4GMK0B8nhnm8xyINiE0uB9Ng2PpRy9SxlmWiPY4wsphPS8baJFQKklTqm4Ucdpgl0nPUF4MPhS0gssaVNnx3QPbPnXe6N2nb5iT7j1RBetXAyXhTUCejlg/w400-h271/ArtGroupatRussellSqLunch.jpg" width="400" /></a></div><br /><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>What Happened - the cancellation itself</b></p><p>I had been booked to give a talk at Ceramic Art London, (CAL,) the annual flagship event of the Craft Potters Association, (CPA,) of which I am a member. It takes place at Central St. Martin's, (CSM,) part of the University of the Arts, London, (UAL.) </p><p>The original booking, in 2020, had included a plan to display my pots which formed part of a project with <a href="https://www.watw.org.uk/" target="_blank">women@thewell</a>, a women only service based in Kings Cross, that supports both women in prostitution and those at risk. It also helps them to find ways out. This last part is particularly controversial among students and academics, including senior academics who often call themselves 'sex positive,' or 'sex workers rights activists.' They are neither of these things. Rather they are supporters of the complete decriminalisation and deregulation of the sex trade which is an entirely different thing. </p><p><a href="https://claudiaclare.co.uk/and-the-door-opened/" target="_blank">My talk was about the project</a> with women@thewell. There's a <a href="http://claudiaclare.blogspot.com/2022/03/claudia-clare-survivors-and-fighters.html" target="_blank">good collection of pictures here</a> from the display at Fore Street Library in Edmonton, London. </p><p>In February 2022, after a two year Covid gap, CAL was in its final stages of preparation. I got a phone call from Toby Brundin, Director of the CPA, to say that the CPA council had decided to cancel the booking: 'In the time since the talk was originally scheduled in 2020, we have been made aware that its inclusion in the programme may cause the event to be disrupted, leading to possible delay or even closure. ' This was the reason given over the phone and later that day by email. </p><p><b>What we Know and Don't Know</b></p><p>In 2022, I had no indication of who or what was threatening to cause disruption on such a scale that it could delay or close a major three day event. The potter and blogger, Marshall Colman, had a conversation with Brundin some days after my talk was cancelled and was told it was because of my Gender Critical beliefs. He reported this <a href="https://marshallcolman.blog/2022/02/19/claudia-clare-2/" target="_blank">in his blog here.</a> </p><p>Clearly not a single person involved had read either the <a href="https://www.judiciary.uk/wp-content/uploads/2022/07/Forstater-JR-AG.pdf" target="_blank">Forstater Judgement</a> or the <a href="https://sex-matters.org/posts/freedom-of-speech/the-reindorf-review-a-wake-up-call-for-universities/" target="_blank">Reindorf Report</a>. </p><p>I also saw a copy of a letter stating that just my presence in the building would be enough to incite a heated protest. I was subsequently told I could not come to the event or enter the building at all. </p><p><b>The Response</b></p><p>A petition calling for the restoration of my talk and a letter to the CPA signed by 74 members and associates made no difference. The support from other artists and potters was encouraging as were the many messages of sympathy but the CPA and CSM did not shift their position at all. </p><p><b>Legal Action</b></p><p>I took legal action. The claim was against the CPA for discrimination against my Gender Critical beliefs with a further claim against CSM/UAL. Levins Solicitors acted for me. Subject Access Requests, (SARs) were sent but to no avail. CSM did respond but their response was so heavily redacted that it revealed little. The CPA's response was to treat the SAR with contempt. We then moved forward to 'orders for disclosure.' These are the basics. </p><p><b>The Impact</b></p><p><b><u>Additional statement added June 25th 2023 </u>- <i>legal action is now concluded. We have reached a settlement. Please see the <a href="https://claudiaclare.co.uk/legal-action-result/" target="_blank">statement from Levin's</a> who represented me in this case. There is no gagging order so I am now free to say there was no verbal or written threat of any protest from anyone. The organiser at CSM/UAL feared there may be one based on 'past behaviour' among some students. There was absolutely no evidence of any sort to suggest it might happen in this case though. </i></b></p><p><b>Ends. Return to original text from 2022 now fully edited and updated in the light of the result. </b></p><p>I meanwhile must find a way to continue being an artist knowing that exhibiting in public spaces is almost impossible. </p><p>I know from the legal disclosures that Duncan Hooson, the ceramics lecturer at UAL/CSM who organised the lecture series, was the main protagonist in getting my talk cancelled and me banned from the event. He didn't do it alone, he summoned Prof Jeremy Till, the now ex-head of school, who was eager to support him, and seven more support staff including the Dean. They initially agreed the talk should go ahead with additional security, (for what?) but Hooson made it clear in conversation with Toby Brundin, the CPA director, that he needed to get the lecture cancelled altogether. Brundin then persuaded the CPA Council to vote to cancel my talk. He, together with the chair of the CPA Council, Peter Snowdon, agreed they should tell the council members that the threat was real, even though no evidence could be found. The entire thing came from Duncan Hooson's own over-anxious imagination and his fear of the one of his students in particular. </p><p>The legal disclosures reveal some truly unedifying plotting and shows the extent to which academic and support staff at UAL have lost control of their own PR. Cancelling my lecture and banning me was an exercise in appeasement in order to make a public statement to a particular audience - the gender lobby - which, in reality is small and is not inherently powerful. It's powerful only if allowed to be and if that power is facilitated by others - others who, perhaps, intend to benefit in some way from bestowing such favour. It is a perfect example of public scapegoating. </p><p><b>Press coverage</b></p><p>The press coverage was positive and helpful, from my point of view. You can read Ewan Somerville's piece for the<a href="https://www.telegraph.co.uk/news/2022/02/26/ceramic-artist-claudia-clare-cancel-culture-row-arts-college/" target="_blank"> Telegraph here</a>, The <a href="https://www.dailymail.co.uk/news/article-10568455/Fury-artist-CANCELLED-prestigious-ceramic-art-gender-critical-views.html" target="_blank">Daily Mail's here,</a> along with this piece in <a href="https://unherd.com/thepost/ceramicist-de-platformed-for-being-a-swerf/" target="_blank">Unherd by Julie Bindel </a>and this by <a href="https://www.spiked-online.com/2022/03/02/the-closing-of-the-artistic-mind/" target="_blank">Jo Bartosch in Spiked</a>. Jo Bartosch also wrote an excellent piece, The <a href="https://www.spiked-online.com/2019/12/23/the-silencing-of-feminist-artists/" target="_blank">Silencing of Feminist Artists</a> in Spiked in 2019. </p><p><b>Target</b></p><p>This kind of process can be repeated anywhere now - in any public space or private gallery showing my work or that of any other feminist artist. Activists have even succeeded in getting feminist artists removed from commercial selling sites such as Shopify, Etsy and even Stripe - one of the most common payment systems. As <a href="http://claudiaclare.blogspot.com/2021/05/cancel-culture-reality-for-one-artist.html" target="_blank">my earlier post on this subject</a> shows, this is not the first time it has happened to me. I have become a target now - probably since 2019 although my cancelling history goes back to 2010. Even someone at Cardiff School of Art raised questions about my coming as a guest to the 2022 degree show - enough to require a meeting and an over-ruling by the Dean. My recent talk at Tate Modern has also had repercussions and I had a <a href="https://claudiaclare.co.uk/the-show-must-go-on/" target="_blank">planned exhibition cancelled at Burgh House</a> in Hampstead. </p><p><b>Moving on and a Call for Action</b></p><p>This is not an easy environment to work in. Now I know what did happen, that is clearer still. The artworld as a whole cannot move forward from this impasse without proper conversations, still less a small discipline like ceramics. The fear, anxiety, the look-the-other-way silence and, above all, the studied ignorance has to end. This is where ostracisation starts - with silence, then exclusion. <a href="https://sex-matters.org/posts/updates/what-does-forstater-mean-for-employers/" target="_blank">The Forstater Judgement</a> sets out, clearly and unequivocally, that both Gender Critical beliefs and Gender Ideology are 'worthy of respect in a democratic society.' <b>BOTH</b> of them. Not just one. Art worldists need to get a grip on this. </p><p>Art galleries and museums must learn to live within the law and democratic norms. The current situation, in which the artworld resembles a de facto state within a state, with its own laws and customs, is intolerable and cannot continue. Curators, gallerists and Museum staff must learn to work with differences of opinion and learn to deal with conflicting opinions, including those that some may find uncomfortable or offensive. </p><p><b>Postscript</b></p><p>CAL has now been permanently removed from UAL/CSM. To date, to my knowledge, the CPA have not found an alternative venue for this event which is vitally important to potters. The head of school resigned and has been replaced. And Grayson Perry, - the 'fearless' according to Garth Clark and others - and Chancellor of UAL, still refuses to 'stand with JR Rowling,' because 'that's a hot button issue and I'm not going there.' Clear indication that he is, in fact a TERF but a cowardly one. Think what could follow if he just summoned up the required courage to say what he really thinks, for once. </p>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-49469023007632529092022-03-08T15:32:00.008+00:002022-03-08T15:34:03.379+00:00Claudia Clare: Survivors and Fighters Talk, Fore Street Library, Edmonton, London N18<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiOqU0a18yTxWSyq4Uska2Ym3agk0SFAVIAKGhKw5JcQj06m3IE0s5eMf_gU4ItXqnG4pl9i1sSbToAVjmyXCBD7pV9-g4hgxqNA5rxJYp3Lb3iXFGz0hzPqg81KZObyfyqidzYuCOo_w4M-WUTlpSViAlMtI0nfMfPkH4j0qR6XANty9SjkjBQfztMHA=s1080" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiOqU0a18yTxWSyq4Uska2Ym3agk0SFAVIAKGhKw5JcQj06m3IE0s5eMf_gU4ItXqnG4pl9i1sSbToAVjmyXCBD7pV9-g4hgxqNA5rxJYp3Lb3iXFGz0hzPqg81KZObyfyqidzYuCOo_w4M-WUTlpSViAlMtI0nfMfPkH4j0qR6XANty9SjkjBQfztMHA=w400-h400" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiLhhs0b-PUccb481PG4I-RYgjWuZybFpUIgHkW9O76vu7ELzW11xInCLbLPdwZmpm0K3mcGBlzPGGOmAJfURdan2SzgvqWQwnPP_nQMNzaXzVZ8oAndbWWSLRM49lk__EbliJXY2CuuzNS_xxs-59TdFQ-iy9trr0Gfqq1fesDyiY5Rkw5Y4pSw5IvCQ=s1417" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="946" data-original-width="1417" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiLhhs0b-PUccb481PG4I-RYgjWuZybFpUIgHkW9O76vu7ELzW11xInCLbLPdwZmpm0K3mcGBlzPGGOmAJfURdan2SzgvqWQwnPP_nQMNzaXzVZ8oAndbWWSLRM49lk__EbliJXY2CuuzNS_xxs-59TdFQ-iy9trr0Gfqq1fesDyiY5Rkw5Y4pSw5IvCQ=w400-h268" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhH5UAY8tcXcZkLYJ5LzA8et-dGd3MbzxFmrE6uV9WxdPeaqeOPuaQ81gVaU5pIuBee4TnFkHT2YXkigqwzG6BPkCJXvN2n9v0rn3QuziNoGkljRYVxDsgYZ_nukOdb5I2gydvAduW7cqk3imnuU20gjDgcMTRkn0wiPE6c22j6KXBA1c07EQ6nZpnsNQ=s1080" style="clear: left; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8F7ahZbMy68US0AC2UHvL0G22nuLoB6gfiyNnTNMuDgXv_d7aWGSOHU5FH1kxc-cKW0mS3i2KSo08dRokMnfJUdBhDkizQLK4-Yisx-CP27hgd7SURxZy6ihyHz__ELYfPe6Gt1fIDxzJEAMTSKvGjD2i1-uIVqXyIj-9kkaK4oQvlW6majnsHebIng=s1278" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1278" height="281" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8F7ahZbMy68US0AC2UHvL0G22nuLoB6gfiyNnTNMuDgXv_d7aWGSOHU5FH1kxc-cKW0mS3i2KSo08dRokMnfJUdBhDkizQLK4-Yisx-CP27hgd7SURxZy6ihyHz__ELYfPe6Gt1fIDxzJEAMTSKvGjD2i1-uIVqXyIj-9kkaK4oQvlW6majnsHebIng=w400-h281" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgNzWte5Qz1VaB976th8kL28VX3Bp1wBcKGzmeFpBuuP2gP5I112Bza1xU4UrBCHhf6ArsGdUZPyULqmDBdCx-o_LQvs4rgCzaI12AxT3QTHCAEKxaPRvgyigXSm5JHSmokwBEzJIWrls2F3otRV1KsIHzhxj3LchJJfJbOBkvf-0QQdq3FQm2yUkTJLQ=s914" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="582" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgNzWte5Qz1VaB976th8kL28VX3Bp1wBcKGzmeFpBuuP2gP5I112Bza1xU4UrBCHhf6ArsGdUZPyULqmDBdCx-o_LQvs4rgCzaI12AxT3QTHCAEKxaPRvgyigXSm5JHSmokwBEzJIWrls2F3otRV1KsIHzhxj3LchJJfJbOBkvf-0QQdq3FQm2yUkTJLQ=w408-h640" width="408" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><b><span style="font-size: medium;">Fore Street Library, Edmonton, displayed five pots from 'And the Door Opened,' on December 9th 2021. </span></b></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I was invited by Cellina Doswell, chair of REACT Edmonton, the local residents association to talk about the project with women@thewell . The area has, in the last three years or so, been targeted by pimps and traffickers who are bringing women into the area and sexually exploiting them as well as targeting local young women and girls for the same treatment. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Life has become very difficult for people living in the area, especially the women, who are constantly harassed particularly when on their way home in the evenings. 'Fore Street for All,' is a local initiative, a partnership between Fisher Cheng architects, Artist Hive Studios, REACT Edmonton and Enfield Council to 'reclaim the night economy,' and bring people back on to the streets at night. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Cellina Doswell and REACT are keen to find ways to support the women who are being brought into the sex trade and are interested in finding out more about how that can be done. We desperately need properly funded and resourced support for sexually exploited women and girls in Enfield and Haringey so I'm hoping we may be able to set up a local support and exiting service that can provide the practical solutions to the many interlocking problems that build up for women in this situation. </div><div class="separator" style="clear: both; text-align: left;"></div><p></p>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-11551952532487746102021-09-02T22:47:00.017+01:002021-11-03T16:49:35.959+00:00And Evening With Women @the Well and Claudia Clare<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqhll860u0ZmYj4_6D2m6fn9FAepLNcfpwvwZSh_mMZbe1KZElKBmKSE3XCN768J8dMTuxbQACqGlXDfAJuh5Zc0V6KGSzNCwGsG0dzyQDMlgiQC2ijQPhzt-Dl8tm75cuGJJHWuufyELU/s2048/Image-3.jpg" style="clear: left; 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font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #cc0000; font-size: medium;">An Evening with Women@the Well and Claudia Clare. </span></b></div><div class="MsoNormal"><b><span style="color: #741b47;"><br /></span></b></div><div class="MsoNormal"><span style="color: #741b47;"><b>Weds Sept 15th, 2021, 6 - </b><b>8pm, doors close 9pm. </b></span></div><div class="MsoNormal"><b><span style="color: #741b47;"><br /></span></b></div><div class="MsoNormal"><b><span style="color: #741b47;">6.30 Claudia Clare - artist working with Women @the Well</span></b></div><div class="MsoNormal"><span style="color: #741b47;"><b>6.45 Harriet Wistrich - Founder of the Centre for Women's Justice </b></span></div><div class="MsoNormal"><span style="color: #741b47;"><b>6.55 Lynda Dearlove - CEO Women @the Well </b></span></div><div class="MsoNormal"><span style="color: #741b47;"><b>7.10 A minute's silence ended with the smashing of the pot, 'Brave Face.' </b></span></div><div class="MsoNormal"><br /></div><div class="MsoNormal">The evening includes a display of the pots from our joint project, <span style="color: #cc0000;">'</span><b><span style="color: #cc0000;">And The Door Opened.'</span></b> </div><div class="MsoNormal">I will be talking about the pots and the project and the director of W@W will discuss the work they have been doing over the past 18 months and how Covid has affected the women they support. </div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><u><span style="color: #cc0000;">About the Project:</span></u></b></div><div class="MsoNormal"><div class="MsoNormal"><a href="http://www.watw.org.uk/" target="_blank"><b>W@W </b></a>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected - or at risk of being affected - by prostitution. They also offer support to women wishing to exit the sex trade and help them to identify and overcome the barriers that maybe obstructing that process. </div><div class="MsoNormal"><span style="font-size: 12pt;"><br /></span></div><div class="MsoNormal"><span style="color: #cc0000;"><a href="http://claudiaclare.blogspot.com/2021/05/and-door-opened-ceramic-project-with.html" target="_blank">‘<b style="mso-bidi-font-weight: normal;">And The Door Opened,</b>’</a></span> is <span style="font-size: 16px;">a collection of pots, made in partnership with W@W, that illustrate the lives of the women they work with, based on accounts provided by the women themselves. Some of the pots represent the accounts of women survivors who have already exited and others are still involved in prostitution. </span></div><div class="MsoNormal"><div class="MsoNormal"><br /></div></div><div class="MsoNormal"><b>The aim</b> is to enhance the public's understanding of what prostitution is and to show that, <span style="font-size: 12pt;">with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span></div></div>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-79802060490605440472021-08-25T20:23:00.008+01:002021-08-25T20:57:16.589+01:00Remembering Atefeh, (2011-13)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNKef_lwdgKTkKnhVerU3CkVmfkHaqE5-Isretrly2w6F2eaEhnBOctkh45-PIPbUI7oKa6paEmRRUSHg8xjIEhWSK8o26AEg8Uma4f2n0duDhTMkdLqhF45Kf4e6PD7vGqtGBOi1BzGNp/s1134/+1+Claudia+Clare+Remembering+Atefeh+2013.jpg" style="clear: left; 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float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="757" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCIi_OIo27N0Qsa_jgNHydyy1uBt7w3WZVs482VLrlbzIuBulI-ZNGL8X3QHPhZYmkTE3RQl9Bjeejx7IhKty9DpYSWj5S2vs5zkK8BGA6bOw7Ls1JQgGNH98ModAnzZcmM_m0wstiMfVJ/w268-h400/7+Remembering+Atefeh+72.jpg" width="268" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEXOwslPbxThMAKvgI6EgDuadNU2RgmbuItACLBiPOcW-3BaQPZ0wzmf3X9YmMvgLC6LsZT4DsPzvxFeIzg-eO5Nrk75SMrVMotwDCoyl4VYji7GgmW99B_kjyPPF-lkQ7xEyTFgm4wi5n/s1134/8+Remembering+Atefeh+72.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="741" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEXOwslPbxThMAKvgI6EgDuadNU2RgmbuItACLBiPOcW-3BaQPZ0wzmf3X9YmMvgLC6LsZT4DsPzvxFeIzg-eO5Nrk75SMrVMotwDCoyl4VYji7GgmW99B_kjyPPF-lkQ7xEyTFgm4wi5n/w261-h400/8+Remembering+Atefeh+72.jpg" width="261" /></a></div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><b><span style="color: #cc0000;">Remembering Atefeh, (2011-13)</span></b></div><div><br /></div><div>Atefeh Rajavi Sahaaleh was a girl living in a small town, Neka, in Northern Iran. Her mother died when she was a small child and her father was an addict and neglected her. She was raised mostly by her grandparents. She was an isolated, lonely child and extremely vulnerable. At the age of twelve she was raped and prostituted by a taxi driver who was formerly a member of the Revolutionary Guard. She - not her pimp/rapists - was imprisoned, numerous times and, when she threatened to go public, she was sentenced to death and hanged, on August 15th, aged sixteen, for 'crimes against chastity.' </div><div><br /></div><div>Even in Iran, it is illegal to execute a child so her documents were falsified. She is not the only one and Iran is not the only country that does this. The response in Iran was muted at first because the state owned and controlled media covered it up. Word go out though and women got increasingly angry. </div><div><br /></div><div>The criminalisation of underage girls and corresponding impunity of their abusers well be horribly familiar to sex trade survivors the world over but, in Iran, where the bodies of women and girls are used to symbolise the male (dis)/'honour' of the nation state, it takes on another dimension: in effect the state is the pimp. </div><div><br /></div><div>This pot was made with a group of Iranian friends, mostly refugees, both men and women, and was smashed in front of the Iranian Embassy in London, August 15th, 2011. I rebuilt it, leaving some pieces out so you can see the image of Atefeh inside. It remains the only image there is of her - it's from her ID card. </div><div><br /></div><div>The edges of the gaps are picked out in gold to honour her short life and her brave attempt to fight the injustices she faced, alone and hugely disadvantaged. </div><div><br /></div><div>Nasrine Sotoudeh, an extraordinarily courageous, Iranian human rights lawyer, made the following observation on Atefeh's case and countless others like hers: </div><div><br /></div><div>"The courts somehow deal much more rigorously with the women than with the men. The weakest point in our downfall is that this is happening right in front of our eyes but, sadly, we pretend that we just don't see it." </div><div><br /></div><div>Sotoudeh has herself been imprisoned and beaten on numerous occasions for standing up for girls like Atefeh and trying to represent and defend them in court. </div><div><br /></div><div>Today we remember Atefeh, as the Taliban secure their hold on Kabul and the whole of Afghanistan, and women's sex-based, human rights take another turn for the worse. These are not good times for women. </div>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-33148210422017331682021-05-22T20:10:00.019+01:002022-06-02T19:02:35.261+01:00And The Door Opened, ceramic project with Women @the Well, (W@W): rescheduling for 2021-22<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5GU8GHABBzOShymgA8uqLD5PmfLI4wg4l1wTgZF5DGLUIcRO19zuBGhZpWUM5WrZv6hZEm4Qu3MbOtsJ3Ico2m0Yy-Lcrw3tqmrzxDtbXyPdAP1_5UEgJigqtDKf_IWT4C5DHa2RKBAdf/s1564/IMG_20200826_102245.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1564" data-original-width="1564" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5GU8GHABBzOShymgA8uqLD5PmfLI4wg4l1wTgZF5DGLUIcRO19zuBGhZpWUM5WrZv6hZEm4Qu3MbOtsJ3Ico2m0Yy-Lcrw3tqmrzxDtbXyPdAP1_5UEgJigqtDKf_IWT4C5DHa2RKBAdf/w400-h400/IMG_20200826_102245.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-b8Wut2Ijz0Rl-SjJymrGvJyTyOGUntc0lwOzu4vaHdOixPmlwhnP9Ij7EWkT_t9NfENIfQ2pqAL2pp_h0-oqgfzkTcZ5gx07BnD-rBHCaAQYJIRZR4K_J4Rgcx8HmGFtf0k9tScIocl/s1564/IMG_20200826_101740.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1564" data-original-width="1564" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-b8Wut2Ijz0Rl-SjJymrGvJyTyOGUntc0lwOzu4vaHdOixPmlwhnP9Ij7EWkT_t9NfENIfQ2pqAL2pp_h0-oqgfzkTcZ5gx07BnD-rBHCaAQYJIRZR4K_J4Rgcx8HmGFtf0k9tScIocl/w400-h400/IMG_20200826_101740.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1k2yXQz3L0VlxY9cI27HuCKYTbjIm0MJvpuhSqO_kdoUjIv0ySspw6n-1ah6Uy7FvcTOUfXpqt1_VVK8A7HnMZD9uOrV9JGtF0DtGtNvTsR2QOGEc0gGRU31yO1Sq62g0NEwruZj4RPsw/s1532/Claudia+Clare+with+I%2527m+Not+the+Criminal+3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="1532" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1k2yXQz3L0VlxY9cI27HuCKYTbjIm0MJvpuhSqO_kdoUjIv0ySspw6n-1ah6Uy7FvcTOUfXpqt1_VVK8A7HnMZD9uOrV9JGtF0DtGtNvTsR2QOGEc0gGRU31yO1Sq62g0NEwruZj4RPsw/w400-h299/Claudia+Clare+with+I%2527m+Not+the+Criminal+3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">1. <b><a href="http://claudiaclare.blogspot.com/2020/05/im-not-criminal-2019-pot-from-and-door.html" target="_blank"> 'I'm Not The Criminal,' 2019, Four views</a></b></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Four views are collaged together </span><span style="text-align: left;">to show the outside of pot, which depicts the men that buy sex from women exploited in the sex trade. The pot was smashed in Centenary Square, Bradford, at </span><a href="http://claudiaclare.blogspot.com/2019/10/march-against-sex-trade-filia.html" style="text-align: left;" target="_blank">The March Against the Sex Trade</a><span style="text-align: left;">, Filia international feminist conference, October 19th, 2019.</span></div><p>2.<b> 'I'm Not The Criminal,' 2020, Two views</b></p><p>In its unbroken state, this was 'The Invisible Man.' The shattered and rebuilt version is '<b>I'm Not The Criminal,</b>' depicting, inside the pot, the March Against the Sex Trade with Fiona Broadfoot who led the march with other sex trade survivors. </p><p>3. Me with 'I'm Not The Criminal,' 2020. (all photos: Sylvain Deleu)<b><u><span style="color: #cc0000;"><br /></span></u></b></p><p><b><u><span style="color: #cc0000;">About the Project:</span></u></b></p><div class="MsoNormal"><a href="http://www.watw.org.uk/" target="_blank"><b>W@W </b></a>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected - or at risk of being affected - by prostitution. They also offer support to women wishing to exit the sex trade and help them to identify and overcome the barriers that maybe obstructing that process. </div><div class="MsoNormal"><span style="font-size: 12pt;"><br /></span></div><div class="MsoNormal">‘<b style="mso-bidi-font-weight: normal;">And The Door Opened,</b>’ is <span style="font-size: 16px;">a collection of pots, made in partnership with W@W, that illustrate the lives of the women they work with, based on accounts provided by the women themselves. Some of the pots represent the accounts of women survivors who have already exited and others are still involved in prostitution. </span></div><div class="MsoNormal"><div class="MsoNormal"><br /></div></div><div class="MsoNormal"><b>The aim</b> is to enhance the public's understanding of what prostitution is and to show that, <span style="font-size: 12pt;">with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span></div><div class="MsoNormal"><span style="font-size: 12pt;"><br /></span></div><div class="MsoNormal"><span style="font-size: 12pt;"><div class="MsoNormal" style="font-size: medium;"><span style="color: #cc0000;"><b><u>When and Where - latest updates and rescheduling for 2021 - 2022</u></b></span></div><div class="MsoNormal" style="font-size: medium;"><span style="color: #cc0000;"><b><u><br /></u></b></span></div><div class="MsoNormal" style="font-size: medium;"><span><span style="color: #cc0000;"><u style="font-weight: bold;">Planning in the pipeline:</u> </span></span></div><div class="MsoNormal" style="font-size: medium;"><br /><b><span style="color: #cc0000;">Ceramic ArtLondon</span>,</b> postponed to 2022, Central St Martins, Granary Building, 1 Granary Square, London, N1C 4AA <b>'And The Door Opened' is part of the Claytalks lecture series including a display of some of the pots. <span style="color: #cc0000;">This event was de-platformed, (cancelled,) apparently by a combination of the pimp lobby and transactivists. Legal action in process. </span></b></div><div class="MsoNormal" style="font-size: medium;"><br /><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span style="color: #cc0000;"><b>Wood Green Library, </b></span>191 High Road, Wood Green, N22 6XD. Readings and pot smashing ceremony - watch this space for updates late 2021 or 2022. If this goes ahead, it will probably be late 2022 or early 2023. </div></div><div class="MsoNormal" style="font-size: medium;"><!--EndFragment--></div><div class="MsoNormal" style="font-size: medium;"><br /></div><div class="MsoNormal" style="font-size: medium;"><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span style="color: #cc0000; font-size: 12pt;"><b><u>Past Events 2021</u>: </b></span></div><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span style="color: #cc0000; font-size: 12pt;"><b><br /></b></span></div><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span style="color: #cc0000; font-size: 12pt;"><b><u><span><a href="https://filia.org.uk/" target="_blank">Filia Conference, Portsmouth, 16th -17th October 2021 </a></span></u></b><br style="color: black;" /><span style="color: black; font-size: 12pt;">Presentation about <b>And the Door Opened,</b> and pot smashing ceremony to end the <b>Femicide March</b>, remembering the women murdered because they were women. </span></span></div><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><span style="color: #cc0000; font-size: 12pt;"><b><br /></b></span></div><div class="MsoNormal" style="font-family: "times new roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;"><div class="MsoNormal" style="font-family: Times; font-size: medium;"><span style="color: #cc0000;"><b><a href="http://claudiaclare.blogspot.com/2021/09/wednesday-september-15th-2021-6-8pm-37b.html" target="_blank">Wednesday September 15th 2021 6-8pm</a> </b></span>an evening with <b>Women@the Well</b> and <b>Claudia Clare,</b> </div><div class="MsoNormal" style="font-family: Times; font-size: medium;">talking about the pots and the project including about the work they've been doing over the past 18 months and how Covid has affected the women they support. </div><div class="MsoNormal" style="font-family: Times; font-size: medium;"><br /></div><div class="MsoNormal" style="font-family: Times; font-size: medium;"><a href="http://claudiaclare.blogspot.com/2022/03/claudia-clare-survivors-and-fighters.html" target="_blank"><b>Thursday December 9th, 2021, 6-9pm, Fore Street for Al</b>l</a>, with REACT Edmonton, Artist Hive Studios, Fisher Cheng Architects and Enfield Council. A talk in two parts with a display of pots from <b>And the Door Opened.</b> Part one was about project women's accounts that produced the pots, part two went into more detail about how the pots were made. The display of pots continued in the Library until February 10th 2022. </div><div class="MsoNormal" style="font-family: Times; font-size: medium;"><br /></div></div></div><div><div class="MsoNormal" style="font-size: medium;"><u><b><span style="color: #cc0000;">Past Events 2020:</span></b><o:p></o:p></u></div><div class="MsoNormal" style="font-size: medium;"><div class="MsoNormal"><br /><b><u>Jan 23rd 2020: Talking about 'And The Door Opened,' at <a href="https://zuleikagallery.com/" target="_blank">Zuleika.</a></u></b><br />Informal talk, discussing the project with Q&A. <br /><br /><u style="font-weight: bold;">Jan 14th-31st 2020</u> <a href="https://zuleikagallery.com/artists/59-claudia-clare/works/" target="_blank"><u><b>Zuleika Gallery,</b></u> </a>6 Mason's Yard, London, SW1Y 6BU<br />Display of four pots from '<b>And The Door Opened</b>,' as part of a gallery artists show, 'January Edit.' Zuleika's official launch of the project<br /><br /><span style="color: #cc0000;"><u><b>Past events 2019</b></u></span><br /><span style="color: #cc0000;"><u><b><br /></b></u></span></div><div class="MsoNormal"><b><u>November 7th<sup>th</sup>-December 31<sup>st</sup> 2019</u></b> with <u>Collage-arts at <a href="http://www.collage-arts.org/door-opened-exhibition/" target="_blank"><b>Collage Artspace 4</b></a></u><b> </b>and Wood Green Library, Library Mall, 191 High St, London, N22 6DZ<br /><b>Window display and display in library Nov 7th 2019 -Jan 6th, 2020</b></div></div><div class="MsoNormal" style="font-size: medium;">Launch with speakers and pot-breaking ceremony: Nov 25<sup>th<span style="mso-spacerun: yes;"> </span></sup>(to coincide with UN 16 days campaigning to eliminate violence against women;) <b><a href="https://www.eventbrite.co.uk/e/and-the-door-opened-tickets-73801513313#" target="_blank">Details of event available here</a></b><br /><a href="http://claudiaclare.blogspot.com/2019/12/and-door-opened-launch-november-25th.html" target="_blank"><b>Photos and brief summary here.</b></a><br /><br /></div><div class="MsoNormal" style="font-size: medium;">Demonstration of mending a pot with talk: Nov 30<sup>th </sup>12-4pm;</div><div class="MsoNormal" style="font-size: medium;">How to mend a pot - workshop for participants Dec 7<sup>th </sup>12-4pm.<br /><a href="http://claudiaclare.blogspot.com/2019/12/and-door-opened-drop-in-demonstration.html" target="_blank"><b>Brief description and photos of both events here.</b></a></div><div class="MsoNormal" style="font-size: medium;"><br /><b><u>October 30th 2019</u>: </b>a talk about the project at Soho Farmhouse, Oxfordshire<br /><br /></div><div class="MsoNormal" style="font-size: medium;"><b><u>October 19th 2019</u>: </b>unofficial launch - Filia Conference, Bradford, 'The Invisible Man' was smashed as part of the March against the Sex Trade. <b><a href="http://claudiaclare.blogspot.com/2019/10/march-against-sex-trade-filia.html" target="_blank">Pictures and description of the event here</a>.</b></div></div></span></div>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-63064892052494933632021-05-09T20:01:00.013+01:002022-07-03T16:19:14.986+01:00Cancel Culture: the reality for one artist<p><b><span style="color: #cc0000; font-size: medium;">Cancel Culture: Introduction</span></b></p><p></p><div style="text-align: left;">From time to time, someone on social media asks if 'Cancel Culture' is real. This is my account of what I have experienced, on and off, since 2010 - it is not definitive, or necessarily representative, but it is authentic. It is one artist's experience of a mix of censorship, threat of the same, or 'de-platforming,' (being disinvited after an invitation has been accepted, confirmed and, in some cases signed off as part of a contract,) over a period of eleven years. I also discuss the impact and reasons why it happens.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXf5A4r2uBNxTc1Lh3N9lEBSHWQKvWyMUQgPlj20z-cXWTxiFVcz36HiyzM4XE5oDJl6yYZuIn-6jxGKZeXC8UadGOPH-wMUCTuNMo948gRQJOg6uzRCavf9WA77ReOW3KeLVpkBodsslC/s2048/7+Claudia+Clare+Princess+Hymen.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1340" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXf5A4r2uBNxTc1Lh3N9lEBSHWQKvWyMUQgPlj20z-cXWTxiFVcz36HiyzM4XE5oDJl6yYZuIn-6jxGKZeXC8UadGOPH-wMUCTuNMo948gRQJOg6uzRCavf9WA77ReOW3KeLVpkBodsslC/w419-h640/7+Claudia+Clare+Princess+Hymen.jpg" width="419" /></a></div><br /><div style="text-align: left;"><b style="color: #cc0000;">2010: Shattered, Keighley Castle</b></div><p style="text-align: left;"><span style="color: #800180;">Summary: the road to Hell is paved with ignorance and good intentions</span></p><p style="text-align: left;">After two years of planning and 30 days before opening, I received an email from the exhibitions organiser at Bradford Metropolitan Council’s Museum’s and Galleries, to say one of my pots would be withdrawn from the proposed show, ‘Shattered,’ because of the ‘clear vagina imagery.’ I noticed they'd used an image of that pot for their publicity and pointed that out. I also lobbied locally among people of influence I knew. A diligent local journalist noticed an unusual silence about the forthcoming show so investigated. He found me and my blog posts and wrote an article in the Keighley News. The local vicar complained it was censorship. The battle raged. I won a partial victory. The pot was reinstated, but only one side was made visible. Visitors complained that they couldn't see the work properly. I sought compensation and got it - in kind – in the form of magazine quality photos of the show. </p><p style="text-align: left;">For the record <a href="https://claudiaclare.co.uk/shattered-2007/" target="_blank">‘Shattered’ comprised five pots</a>, each 2 metres high. It was ‘Princess Hymen’ that was withdrawn. There is no vagina imagery as such. The image is woman opening her make up bag. It is a visual pun, certainly, but hardly likely to offend. During the installation of the show, I was told that one of the complaints was that I'd ‘criticised their culture,’ by denouncing FGM, criticising hymen reconstruction, and questioning the entire concept of the virgin body. </p><p style="text-align: left;">Princess Hymen is, first and foremost, a feminist work. It is about the concept of virginity, the obsession with the virgin body that only ever applies to girls and women, and the devastating impact this has on girls and women of all ages. The immediate assumption was that feminism would ‘offend the local Muslims.’ No one had thought to consult any of the local Muslim populations though, so on what basis was this decision made? And by whom? This was the second time a Museum had slandered both me, my work, and their own audiences, notably their Muslim audiences, and tried to dress up their own grotesque cultural relativism and cultural and religious ignorance, and present them as anti racism or at least some kind of community sensitivity. The first time was the same work which was to show at a venue in London. A similar anxiety was expressed. That time organiser understood and accepted that she couldn't know everything so, wisely, sought advice from someone who knew more. After a meeting, her fears allayed, the show went ahead. It was extended for a week by popular demand - notably from the local Muslim women. </p><p style="text-align: left;"><span style="color: #cc0000;"><b>2016: Five Jugs</b></span></p><p style="text-align: left;"><span style="color: #800180;">Summary: racism masquerading as anti-racism, coupled with incompetence.</span></p><p style="text-align: left;">After the above fiascos, I had sworn I would never show in a public sector space again. I broke my own promise when I was invited to show<a href="http://claudiaclare.blogspot.com/2016/09/politicians-preachers-prophets.html" target="_blank"> five jugs</a> in an exhibition at People's History Museum, Manchester. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoH0cmWOTwBgCMKO5GUnZkqJtmOMCL830UChHQnDzutWVxcjdsR_FWksLKR9I7IZVhMsdUtkiSD9shrWkjytK-TciXdNd1oWc3kh2I84ggOWWgPKNE3YYmEFPDxoEqoHxEh9cE3LAooLmx/s1169/Claudia-Clare+The+Prophet%2527s+Lament+1-72+crop.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1169" data-original-width="928" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoH0cmWOTwBgCMKO5GUnZkqJtmOMCL830UChHQnDzutWVxcjdsR_FWksLKR9I7IZVhMsdUtkiSD9shrWkjytK-TciXdNd1oWc3kh2I84ggOWWgPKNE3YYmEFPDxoEqoHxEh9cE3LAooLmx/w319-h400/Claudia-Clare+The+Prophet%2527s+Lament+1-72+crop.jpg" width="319" /></a></div><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;">There was a complaint by 11am on the first morning. I had represented, on a jug, a protest by French Arab women in Paris. One of them had written ‘Fuck the Sharia’ in English on her stomach. I depicted her and her slogan. The complainer declared she was offended shouted about it on Twitter. Her call to outrage was largely ignored but I responded with some care, as is my habit. I do it for the silent readers. By lunchtime the same day, I received an email from the Museum director saying they'd withdrawn another jug with a picture of a weeping man on it. ‘We thought it might be the Prophet Mohammed and that someone might be offended.’ In this case, no one had complained. I explained that depicting the Prophet isn't blasphemy - venerating the depiction is the blasphemy – and that to take sides in what amounts to a sectarian disagreement is extraordinarily ill advised. I also observed that there is no prohibition of blasphemy in British law. The title of the show, by the way, was ‘Ideas Worth Fighting For.’ </p><p style="text-align: left;">All three of the above occasions were examples of a common art world problem. It can be summed up like this: ‘There's a great big hairy scary Muslim out there and I’m afraid he's going to OBJECT and possibly explode.’ It is fear of conflict, fear of disapproval, fear of peer group disapproval and ignorance of the issues, and acute anxiety about their own audiences brought about by simply not knowing who they are. It is also, it must be said, straight forward racism. All of these are masqueraded as anti-racism. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN2pTZt_WMOfZiGpA4K8_YlF-pQwrSGMcci8GL4nHKdzoll7vYT4ONZBimoLZg7g9vOQ3VLX-TnxzGKAWZeOEzXXO2Y6_RjllPqp4Bj1AgqHVdsKz4AJoFL6JHJYkhdGF5XWd2VoPtpf0W/s1440/Claudia-Clare+10k+men+72+2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="960" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN2pTZt_WMOfZiGpA4K8_YlF-pQwrSGMcci8GL4nHKdzoll7vYT4ONZBimoLZg7g9vOQ3VLX-TnxzGKAWZeOEzXXO2Y6_RjllPqp4Bj1AgqHVdsKz4AJoFL6JHJYkhdGF5XWd2VoPtpf0W/w426-h640/Claudia-Clare+10k+men+72+2.jpg" width="426" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN2pTZt_WMOfZiGpA4K8_YlF-pQwrSGMcci8GL4nHKdzoll7vYT4ONZBimoLZg7g9vOQ3VLX-TnxzGKAWZeOEzXXO2Y6_RjllPqp4Bj1AgqHVdsKz4AJoFL6JHJYkhdGF5XWd2VoPtpf0W/s1440/Claudia-Clare+10k+men+72+2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #cc0000; text-align: left;"></span></a></div><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #800180;"><br /></span></p><p style="text-align: left;"><span style="color: #cc0000;"><b><br /></b></span></p><p style="text-align: left;"><span style="color: #cc0000;"><b><br /></b></span></p><p style="text-align: left;"><span style="color: #cc0000;"><b>2019: And the Door Opened - event planned for Crossbones Cemetery, Southwark</b></span></p><p style="text-align: left;"><span style="color: #800180;">Summary: I am accused by sex workers rights activists of whoring myself to oligarchs </span></p><p style="text-align: left;">Venue: Crossbones Cemetery, a 17th and 18th century burial ground for the "outcast poor," including a great many sexually exploited and prostituted women and girls. It was an early experiment in full decriminalisation of the sex trade. The women were licensed by the church to be exploited without fear of arrest so that men could abuse them with impunity. The women and girls were still denied Christian burial so were buried there unmarked and unremembered. My event, in partnership with <a href="https://www.watw.org.uk/">women@thewell</a>, an exiting service based in Kings Cross, was to be a memorial event, involving the smashing of a pot, to remember and name of all the women and girls murdered in prostitution since records have been kept. The host organisation, Bankside Open Spaces Trust, (BOST,) was keen and the event was agreed as was Arts Council funding. Then came the email: it was decided we couldn't proceed this event because, to paraphrase, ‘you sell your work in a Mayfair Gallery. You're too commercial.’ In fact, what had happened, was this: I had been invited to give a presentation of the proposed event for ten minutes to BOST and Friends of Crossbones. Half way through the presentation, three Phd students came in and proceeded to grill me for an hour. ‘It's too negative. We're "sex positive.”’ (“Sex positive?” I thought that old chestnut went out in the 1990s.) They were among the volunteers from Friends of Crossbones and disapproved of the event on political grounds. They duly withdrew their volunteer labour leaving BOST no option but to pull out. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEWJzOemCu7DmxYYy8uyKOfnKGN2jbwgbtDgl3tLJs7gz0vVal3ffgTtpXl8vo9TbNQYQXUoVFMqJ3q_eDlixdPp4h8pjNw0t6rxKNBI20hndgPgFksTdNU1jXZ7wTIdmu45-2kBCtuqy/s1440/Claudia-Clare-+10k+Men+smashed+-+ATDO+launch+Nov+25+2019jpg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1440" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEWJzOemCu7DmxYYy8uyKOfnKGN2jbwgbtDgl3tLJs7gz0vVal3ffgTtpXl8vo9TbNQYQXUoVFMqJ3q_eDlixdPp4h8pjNw0t6rxKNBI20hndgPgFksTdNU1jXZ7wTIdmu45-2kBCtuqy/w640-h426/Claudia-Clare-+10k+Men+smashed+-+ATDO+launch+Nov+25+2019jpg.jpg" width="640" /></a></div><br /><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;">I had notched up another cancellation. Yet again, feminism was silenced. This time I had the wrong political response the sex trade and, again, those doing the cancelling were evasive and not entirely truthful. The ‘commercial’ line was a smoke screen and BOST knew it but wouldn’t admit to the real issue. They were also possibly in breach of contract which may have accounted for the studied silence. Fundamentally though, people who cancel, ‘no platform,’ or censor, always lie about the reasons because they know, damn well, they're doing something wrong.</p><p style="text-align: left;"><span style="color: #cc0000;"><b>The impact: </b></span></p><p style="text-align: left;"><span style="color: #cc0000;"><b>i) Constantly watching over your shoulder to see where the next hit will come from. </b></span></p><p style="text-align: left;">Add to these, two more instances worth discussing. One, in 2018, was to take part in a show about Clause 28 to be held at Sussex University. I was asked what I had learnt from Clause 28. I replied that a central part of the legislation was an attack on free speech and expression and suggested showing '<a href="http://claudiaclare.blogspot.com/">Ballad of Sister Bergdorf</a>,' a new piece just completed. I also stated that if any of my work was shown, I would ask them to sign a contract to agree to leave it on display no matter how many people complain. At this point, all contact ceased without explanation. This may simply be that none of the work I offered was consistent with the aim of the show but, after a while, one becomes a little paranoid – hence my insistence on a contract. (<u>Edit: Jan 4th 2022</u>: the curator and director of this show was Dr Francesco Ventrella, the lecturer supporting and advising the students who repeatedly threatened Professor Kathleen Stock.) </p><p style="text-align: left;"><b><span style="color: #cc0000;">ii) The chill factor</span></b></p><p style="text-align: left;">The other instance worthy of note was in 2017. The Woman's Hour Craft Prize stated in the T&C's – paraphrasing again – ‘No blasphemy and nothing that might offend. We reserve the right to remove work from shows as needed.’ I had considered applying but, instead, wrote to the organisers to complain, received a ‘holding email’ and have heard nothing since. The prize was organised by The Crafts Council, the BBC, and the V&A. The Crafts Council is a QUANGO - now, I think a govt department - the V&A is also a QUANGO. These are not neutral spaces, their CEOs are government appointees. They also, apparently, see fit to make up laws when they feel like it. The result for artists is either to self censor, or stay out of it. I, along with a number of others, chose the latter.</p><p style="text-align: left;"><span style="color: #cc0000;"><b>iii) Harassment</b></span></p><p style="text-align: left;">Then there is <a href="https://twitter.com/TERFsOutOfArt" target="_blank">‘TERFs Out Of Art.’ </a>This is a Twitter account. It is a network of some four thousand artworldists, about half of whom are professionals, some from major art galleries, museums, universities, and studios. Their followers include some well known writers and curators - people who can make or break you. They listed me as ‘verboten,’ within 24 hours of the launch. On top of that I was listed by Oxford Brookes University LGBT society as a ‘forbidden’ artist shortly after I had given a talk on the right to free expression in 2018…</p><p style="text-align: left;"><span style="color: #cc0000;"><b>What does it all mean? Why does it happen? Who benefits and from what?</b></span></p><p style="text-align: left;">In the art world ‘cancelling’ someone is a way of constructing networks and communities. – gangs, if you like. In large part, cancelling someone, and showing you've cancelled them, is a way to advance your career and, potentially, secure an income or even make some real money. Politics, especially the politics around equality of opportunity and advancement, has become thoroughly corrupted. These days, unfortunately, the words "diversity" and "intersectional," have lost most of their meaning if, indeed, they were ever fully understood. </p><p style="text-align: left;"><span style="color: #cc0000;"><b>Who does the cancelling?</b></span></p><p style="text-align: left;">‘Cancel Culture,’ for artists rarely takes the same form as it does for journalists and academics. In my case it has been my work, rather than me, that has been ‘cancelled.’ 2019, the Crossbones Cemetery debacle is the exception - though for other artists, that is now becoming the rule. The ‘Shattered’ fiasco involved Bradford Metropolitan Council and Haringey Council so it is clear that the impulse to control and censor most often comes from organisations close to government. They are powerful. If you ignore Cancel Culture, and delude yourself that it is just and a few students and that the main source of complaint is from ‘the Tories’ or ‘racists’ or whoever your favourite target is, you leave yourself open to the same treatment. As you have seen, most of my experiences of cancellation have been motivated by ignorance, racism, and misogyny, not by knowledge, anti-racism, or feminism.</p><p style="text-align: left;"><b><span style="color: #cc0000;">The Consequences</span></b></p><p style="text-align: left;">I have provided a snap shot of what 'Cancel Culture' is in action. For the artist, it is both demoralising and damaging. If you cannot show your work in public spaces, your career will eventually die. It never happens to the big people - Grayson Perry, for example, has never been cancelled. It only happens to those of us regarded as disposable - which suggests it is done so the canceller/censor can parade their own credentials to their target audience rather than any serious desire to protect their audiences from whatever they perceive as harmful. I do not believe for a second that any of these people really believed I was doing or saying anything harmful. They were appeasing something or someone they understand to be powerful or influential. The losses are significant for me though. Bit by bit the cancelled artist falls away from the artworld radar and becomes invisible. Both I and my work is perceived as troublesome and, contrary to a widely believed myth, the artworld seeks safety way ahead of creative risk. </p><p style="text-align: left;"><u>Edit 4th Jan 2022</u>: I have now left the gallery that represented me from 2017-2021. There are many reasons but among is that I don't want to bring trouble to their door. This isn't altruism on my part, it is self interest. The situation for artists has heated up considerably over the past year and more and more female artists are coming forward having been hounded out of studios, dropped from exhibitions, excluded from selling sites such at Etsy, and deplatformed by universities. In spite of the heightened rhetoric, the majority of artworldists are still shockingly ignorant of the issues and are therefore wholly unequipped to fight the battles when they come. For this reason, I judge it is better to be independent for the time being. </p><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-GEtSyxLbHoPx5nLtyiqivC_s7v8bvRrTa1K8AlePBroXT3kEt6Wa15XuXcj1ZpbW7s7tLPqC-lhbUttnK1BvZgRLDNCJohTzf0Tp8GSQ5joIfTUGEePziiPDLS1JCwC7ToXneJ-fN1qa/s1747/Claudia_Clare+Surivors+and+Fighters+5-72.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1747" data-original-width="1289" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-GEtSyxLbHoPx5nLtyiqivC_s7v8bvRrTa1K8AlePBroXT3kEt6Wa15XuXcj1ZpbW7s7tLPqC-lhbUttnK1BvZgRLDNCJohTzf0Tp8GSQ5joIfTUGEePziiPDLS1JCwC7ToXneJ-fN1qa/w472-h640/Claudia_Clare+Surivors+and+Fighters+5-72.jpg" width="472" /></a></div><br /><p><br /><br /></p><div class="separator" style="clear: both; text-align: left;"><b>Suvivors and Fighters, 2021</b></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-82192485687111525242020-06-11T16:41:00.003+01:002020-06-11T16:54:26.002+01:00Comrade Corbyn's Allotment, 2018<div class="separator" style="clear: both; text-align: center;">
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Another excuse to satirise Labour Party politics of 2015-20 and its leader, Jeremy Corbyn, in particular. It seems unbelievable and horrifying now that he could have held that position for so long. The background to this pot is the attempted murder in 2018 of former military officer Sergei Skripal and his daughter Yulia in Salisbury - presumably on Putin's orders - using the nerve agent, Novichok. There was a repeat use of this chemical weapon that killed two UK citizens. Corbyn refused to condemn Russia for an attack that might have resulted in the mass poisoning of much of the population of a British city. </div>
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Comrade Corbyn's Allotment, (based on Mary Mary Quite Contrary): </div>
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Comrade Corbyn</div>
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Puppet of Putin</div>
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How’s your allotment grow?</div>
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With Novichok</div>
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PIE</div>
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Antisemites and a</div>
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Poisoning pretty maids</div>
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Corbyn leans on his spade, a basket of beetroot at his feet. There's a story in that but it is a minor detail for this pot, anyway. <span style="font-size: 12pt;">Shami Shakrabati waters the allotment as Niobe, 'all tears,' as she fondly strokes an Ermine and John Mcdonnell is wheeling away the skull harvest in his barrow. </span></div>
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Death calls by and does a final sweep. </div>
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Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-25899151396039217412020-06-11T15:40:00.004+01:002022-01-04T19:42:37.875+00:00The Ballad of Sister Bergdorf, 2018<br />
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A Pilgrim vase - about 30 x 30 cm approx</div>
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<b><span style="color: #b51200;">Some Background</span> </b></div>
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The Ballad of Sister Bergdorf grew out my observation that an unholy coupling had occurred between religion and politics. 'Art discourse' was one of its most obnoxious offspring. I have discussed 'cultural appropriation,' since the 1980s, theorised 'appropriately,' particularly on ceramics, since the 1990s, debated with feminists on transgender politics, among other things, since the late 1990s, and argued with transactivists since the early 2000s. I've held forth on social media - mostly on Facebook - about all of it since 2010. I have even been described as a <a href="https://www.spiked-online.com/2019/12/23/the-silencing-of-feminist-artists/" target="_blank">'veteran of the culture wars,'</a> by the writer Jo Bartosch so, if that doesn't convince you that I am familiar with this territory, nothing will. It took some time to find my satirical voice - or at least to find a way to express it on pots - but the <a href="http://claudiaclare.blogspot.com/2016/09/politicians-preachers-prophets.html" target="_blank">jugs that I started making in 2015</a> gave vent to the first collection of work that deals directly with the increasing madness of politics. Looking back now, I can see the satire clearly enough in <a href="http://www.claudiaclare.co.uk/night-walker.html" target="_blank">Nightwalker, (2014,) </a>and there are probably hints before that. </div>
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<span style="color: #b51200;"><b>About the politics</b></span></div>
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When politics walked through the looking glass and the Labour Party appointed Munroe Bergdorf, a transwoman, as their advisor on 'LGBT' issues, it was time to respond. Bergdorf isn't gay. Transgender isn't gay - it isn't about who you love, it's about how you see yourself. Bergdorf has had vast amounts of radical and cosmetic surgery to make her body resemble an idealised, porn-woman. 'She' lives as she imagines a woman might, but she is not female - or as we used to say, 'a woman.' Her sex is male, consistent with being what we used to call 'a man.' Nonetheless she - yes I do use that term for her because I've grown used to it and do not wish to have my pronouns policed by purists any more than I do by transactivists - she opines on feminism, shamelessly lecturing women on how to do feminism better, and is now lecturing anyone who will listen on the matter of menstrual periods. This is someone who grew up a boy and has never had a period in her life. This is where we find ourselves: MtF transexual women claiming to have experiential knowledge of menstruation simply because they call themselves women and choose to ignore the fact they are biologically male. Their notion of sex (the noun not the verb,) is that it is based on faith - like religion - not on biological material reality. Put simply, Transactivists and their institutions, Stonewall and many others, have conflated sex and gender and sought to impose their beliefs on the entire population. Volumes of analysis has been written on this, so I will not add more. The redoubtable Allison Bailey, from LGB Alliance, covers most of the main points in her statement which was redacted from her crowdjustice page - as if to prove the very point the statement makes - but reproduced with permission by <a href="https://womansplaceuk.org/2020/06/27/i-am-suing-stonewall-stop-policing-free-speech/?fbclid=IwAR3WU36aPQJUog8-bepFdmo2uXsnmlsbnSRekHPRsvgD55duVyNM5imbgvw" target="_blank">A Woman's Place UK</a>. A good ten volumes would now be required to cover all the issues adequately, and this is just a blog post, but it should make my own position clear. This piece I wrote for <a href="https://howiescorner.blogspot.com/2020/03/what-are-lesbians-to-do-with-left.html">'Howie's Corner,'</a> for International Women's Day, may clarify some further issues if needed. </div>
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<span style="color: #b51200;"><b>About the pot</b></span></div>
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The Ballad of Sister Bergdorf is only the beginning. There will have to be more because the madness has spun right out of control but, at the time I made this, I was still finding a way to convert words like these into pots. I chose a pilgrim flask form because it has religious connotations. I also like the simple binary of the shape it has front and a back, or it can do, and it has its ceramic roots in Renaissance Maiolica which featured religious imagery, mythology and, on occasion, political satire.</div>
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I also set myself the challenge of using buzz words from academia and art-talk just for hell of it. Look out for the following: </div>
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<i><b>misgender</b> </i>- as in 'you misgendered me.' This means speaking to or about a transperson using the wrong pronoun - an offence for which women have lost their jobs and their livelihoods and for which some have been investigated by police. </div>
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<i><b>Othering</b></i> - a process of creating difference and distance between groups of people. I like this term and find it one the more useful ideas couched in language that academia has provided in the last thirty years or so. </div>
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<i><b>Cultural Appropriation</b></i> - the assertion that a cultural artefact, performance, or custom belongs to a specific culture and is appropriated by another - often with a socio-political or geopolitical dimension that disadvantages the 'owner' or presumed originator of the culture. It is characterised by exponents as theft from a subjugated culture or people by a dominant or more powerful culture or nation. This one is a political and cultural minefield and is fundamentally dependent on Nationalist politics to operate. As such, it is inherently flawed since has become part of the most treasured political tools of people who regard themselves as anti-Imperialist. While anti-Imperialism and Nationalism certainly do go together, Nationalism cannot work with anti-racism and proponents of the ideology of cultural appropriation, for the most part, think of themselves as vehemently anti-racist - and often are, passionately so. Hence the minefield. </div>
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Here is the text in full as it is written on the pot pictured above. </div>
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<b>The Ballad of Sister Bergdorf</b></div>
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Her novitiate completed,</div>
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Miss Gender Ring-Munroe</div>
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Bade farewell to the Convent sisters</div>
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Of St. Simpering-le-Beau</div>
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To the land of Eternal Doublethink</div>
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Our pious pilgrim was bound</div>
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Where Our Lady of Perpetual Othering’s</div>
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Shrine, in the woods, by a river, was found.</div>
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She hadn’t been long on the road</div>
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Only a mile from Doublethink Station</div>
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When Lo! She beheld the Sepulchre</div>
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Of Cultural Appropriation.</div>
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The stone had been rolled away</div>
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And there appeared Our Lady of Other,</div>
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Miss Gender was struck</div>
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By the light – What the Fuck!</div>
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I’m not a nun,</div>
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I’m a monk!</div>
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I’m a Brother!</div>
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Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-77130747079545234622020-05-02T19:14:00.000+01:002020-05-03T16:27:41.738+01:00'I'm Not The Criminal,' 2019, A Pot from 'And The Door Opened'<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztIIIlfdSzkiCOWT5GfkKxQKNcV1hEdtzBPMjeZG9DHDjHq0ncgbVn8ZNZxzITJfbGUD3zSR8UF2sGXKVrT6iksBvPyheRnp-Gvt8tWXCmBk_iBrZBE-bvHJcOCdiAv_-UrgbbifbcxCD/s1600/Claudia+Clare+I%2527m+not+the+Criminal+detail.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztIIIlfdSzkiCOWT5GfkKxQKNcV1hEdtzBPMjeZG9DHDjHq0ncgbVn8ZNZxzITJfbGUD3zSR8UF2sGXKVrT6iksBvPyheRnp-Gvt8tWXCmBk_iBrZBE-bvHJcOCdiAv_-UrgbbifbcxCD/s640/Claudia+Clare+I%2527m+not+the+Criminal+detail.jpg" width="426" /></a></div>
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<i>'<b>Im Not The Criminal</b>,' 2019, 60h x 38w cm </i><br />
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<b><i><span style="color: #660000;">I'm Not The Criminal</span></i></b><br />
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<span style="font-size: 12pt;"><span style="font-weight: 400;">The dominant image of, '</span><i>I'm Not The Criminal</i><span style="font-weight: 400;">,' is the portrait of Fiona Broadfoot, a sex trade survivor and campaigner for the abolition of the sex trade. </span><span style="font-weight: 400;">She is one of three women who, with the </span><a href="https://www.centreforwomensjustice.org.uk/news/2020/1/22/prostitution-convictions-case-update" style="color: purple; font-weight: 400;">Centre for Women's Justice</a><span style="font-weight: 400;">, brought the judicial review to have the criminal convictions of exited women removed from the records. Currently, those convictions remain on police records for one hundred years - longer than the life of the woman herself - surely one of the most inhumane and vindictive legal sanctions we have in Britain and wholly unjustifiable. The title of the pot comes from the hashtag adopted for the campaign, #I'mNoCriminal. I am indebted to Fiona for her help with this project, '</span><i>And The Door Opened</i><span style="font-weight: 400;">,' which I'm doing in partnership with </span><a href="https://watw.org.uk/" style="color: purple; font-weight: 400;">Women @the Well. </a> <span style="font-weight: 400;"><o:p></o:p></span></span><span style="font-size: 16px; font-weight: 400;">You can read more about her </span><a href="https://www.spaceintl.org/about/" style="color: purple; font-size: 16px; font-weight: 400;">on this website</a><span style="font-size: 16px; font-weight: 400;"> - scroll right until you find her. </span></div>
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<i style="font-size: 12pt;"><span style="color: #660000;">Two Titles</span></i></div>
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<span style="font-weight: 400;">'</span><i>I'm Not The Criminal</i><span style="font-weight: 400;">,' in its unbroken state, was called, 'The Invisible Man.' On the outside, it depicts a burlesque of hideous characters on the sex trade merry-go-round. These are the men who buy sex, also known as punters/johns/tricks. You can call them what you want - they amount to the same thing: they are the men who pay to abuse exploited and prostituted women and girls. This is not an, 'equal financial transaction,' as some claim, they are buying the submission and, crucially, the silence of the women they abuse. It also depicts the pimps, brothel owners, hotel and escort agency owners, travel tour guides who run 'stag nights,' and so on. It depicts the men who 'groom,' in gangs, the church men, the legal teams who dismiss the testimony of the girls as 'unreliable,' and the police who arrest the exploited girls and women but not the pimps or punters. One of the reasons these pots are broken and rebuilt is to smash the power and dominance of the men and to bring out and emphasise the courage and persistence of the women to speak out, ‘break the silence,’ and campaign for change. This is also the reason for the changing title – it expresses the women’s refusal to submit to the social and legal sanctions imposed on them, and on all prostituted women and girls, and their capacity to wrest the power from the dominant abusive men to effect change in their own lives and in society.<o:p></o:p></span></div>
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<span style="font-size: 12pt;"><i><span style="color: #660000;">Why ‘Invisible?’</span></i></span></div>
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<span style="font-size: 12pt;"><span style="font-weight: 400;">'</span><i>The Invisible Man,</i><span style="font-weight: 400;">' was so called because the public conversation and focus of every second of media coverage from obscure internet channels to social media to mainstream TV and radio to print journalism, is on the women. It is hardly ever on the men. The men of the sex trade - who are its market, its life blood - the abusers and profiteers, define and embody the sex trade but they escape scrutiny and act with impunity day in day out while the women, the abused and exploited, get the blame and stigma. I am not wholly opposed to stigma - I just think it needs to be relocated - on to the men. I owe this title to Julie Bindel whose excellent book, </span></span><a href="https://www.palgrave.com/gp/book/9781349959464" style="color: purple; font-weight: 400;"><span style="font-size: 12pt;">'The Pimping of Prostitution,'</span></a><span style="font-size: 12pt; font-weight: 400;"> Palgrave Macmillan, 2017 includes a chapter on this subject, called 'The Invisible Man.' I would also like to alert the reader the work of </span><a href="https://research-information.bris.ac.uk/en/persons/raquel-m-rosario-sanchez(83749537-a1eb-4948-850f-071fe3cec20e).html" style="color: purple; font-weight: 400;"><span style="font-size: 12pt;">Raquel Rosario Sanchez </span></a><span style="font-size: 12pt; font-weight: 400;">who is currently research men who buy sex using the reviews they write of the women they abuse in prostitution.<o:p></o:p></span></div>
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<i><span style="color: #660000;">How and why: the images on the pot – inside and out</span></i></div>
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The pot is painted on the inside as well the outside. The inside is painted as the pot is being built up. The colours inside are lighter and brighter than the exterior colours so that once the pot has been broken and rebuilt the interior is clearly visible through the gaps. There are images of women on horseback painted inside. It is an allegorical and idealistic image of escape – as though the merry go round horses have come to life to carry the women away to a safer life. The portrait of Fiona Broadfoot was painted on the biggest shard, after the pot was broken. This was to ensure her image was complete. There are images of broken faces of women inside – again I have no wish to deny the damage the sex trade does to women and girls – but I do not want these to be the only images visible.</div>
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The merry-go-round motif on this pot is one I have used many times. It is perfect for the dynamic, turning form of a pot and allows a satirical, grotesque characterisation of the men depicted. The Merry-go-round horses get more vicious every time I paint them. These are biting and kicking the men, bucking them off and trampling on them. I want to express the violence of the sex trade - it is necessary to do so. I do not want to hide from it but I have no desire to reproduce images of sexualised violence against women by these men in pictorial form. Another reason to smash the pot is to expresses the violence.<o:p></o:p></div>
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<span style="font-size: 12pt;"><i><span style="color: #660000;">Breaking pots</span></i></span></div>
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<span style="font-weight: 400;">This pot – in its first state, as ‘</span><i>The Invisible Man</i><span style="font-weight: 400;">,’ was broken as part of a </span><a href="http://claudiaclare.blogspot.com/2019/10/march-against-sex-trade-filia.html" style="color: purple; font-weight: 400;">march against the sex trade in Bradford.</a><span style="font-weight: 400;"> (This is an earlier post on this blog.) It was also a memorial procession which ended with a calling out of the all the names of women murdered in prostitution since records have been kept. At the end of a minute's silence, the pot was smashed. The shards were collected and taken back to the studio. There I added the new images, glazed the shards, fired them and then pieced the pot back together, leaving gaps through which the images of the women who have survived the sex trade become visible. The gaps are edged in gold leaf to frame and emphasise the women and to honour their courage and their struggle to survive.<o:p></o:p></span></div>
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A fired pot can be pieced back together so that it, near enough, retrieves its original form. It is more fragile now and will break again if subject to further pressure but it is remarkably robust and will last well into the future. The method for making the pots is based on the expression, 'I was shattered. Now I'm piecing myself slowly back together.' Or 'I have to completely rebuild my life.' These and similar expressions are commonly used by anyone who has experienced major trauma. The process is a metaphor, in effect, for the trauma and the process of surviving and living into the future. Sex trade survivors often carry a deeply embodied trauma. They are vulnerable to further pressures but, nonetheless, many survive and, eventually, thrive.<br />
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<span style="font-size: 12pt;">Pots - photo credit: Sylvain Deleu.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">Smashed pot - photo credit: Studio Twelve, Bradford</span></div>
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<b><i><span style="font-size: 12pt;">Women @the Well, (W@W,) </span></i></b><span style="font-size: 12pt;">is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected, by prostitution. It also provides support to exit prostitution. <o:p></o:p></span></div>
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<b><i><span style="font-size: 12pt;">‘And The Door Opened,</span></i></b><i><span style="font-size: 12pt;">’</span></i><span style="font-size: 12pt;"> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.<o:p></o:p></span></div>
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<b><i><span style="font-size: 12pt;">The aim</span></i></b><span style="font-size: 12pt;"> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span><span style="font-size: 12pt;"><o:p></o:p></span></div>
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Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-79126464822256563602020-04-30T12:36:00.003+01:002021-01-30T17:24:41.780+00:00'February, Dark and Cold,' 2019, a pot from 'And The Door Opened,' <div class="separator" style="clear: both; text-align: center;">
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<i>'<b>February Dark and Cold,'</b> 2019, 63 h x 28 w cm </i><br />
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Hand built earthenware pot, slip-painted inside and out with sgraffito drawing through the slip. Bisque fired. Smashed by dropping it into a box on the floor. The box helps to contain the flying shards but it also breaks the fall to some extent so the shattering isn't so dramatic. Some of the larger pieces were dropped again to encourage them to break a bit more. The shards were then collected up and glazed, then fired, and the pieces reassembled with some left out so the viewer can glimpse the images inside. Broken edges gilded in gold leaf.<br />
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<b><i><span style="color: #660000;">About the pot</span></i></b><br />
This is the account of a young woman, a fifteen year old girl at the start of her story, whose mother had a job that frequently took her abroad. She seems to have had no other parent or guardian so was left alone. The account is sparse. At some point she has a son, has a drink and drug problem, and also mental health difficulties. When W@W first meet her, she is being sold for sex on the London streets. They help her to 'return to her northern town,' to her family. She leaves again. It appears there is sexual abuse and/or exploitation but it is not spelled out. She returns to London and is street homeless - and immensely vulnerable to (further?) exploitation in prostitution. She describes the cold dark damp of February and the violence on the London streets. At some point she is arrested and is in prison for a while. Once out of prison she contacts W@W again and gets support with the drugs and alcohol problems. They also help her to find a housing solution. This very young woman with a history of abuse going back to her early teenage years now has an interlocking mix of problems which, together, make housing and a future life immensely difficult. The pot has a number of gaps and cracks. This young woman's process of mending her life is only midway, probably. She still has a long way to go. She misses her child. It is unclear where her mother and the rest of her family is. What is clear is that she knows W@W are there to provide support when she needs it.<br />
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<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<span style="font-size: 12pt;">Photo credit: Sylvain Deleu.<o:p></o:p></span></div>
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<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">Women @the Well, (W@W,) </span></i></b><span style="font-size: 12pt;">is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected, by prostitution. It also provides support to exit prostitution. <o:p></o:p></span></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
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<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">‘And The Door Opened,</span></i></b><i><span style="font-size: 12pt;">’</span></i><span style="font-size: 12pt;"> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.<o:p></o:p></span></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">The aim</span></i></b><span style="font-size: 12pt;"> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span><span style="font-size: 12pt;"><o:p></o:p></span></div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-83256859463649745152020-04-28T18:19:00.000+01:002020-05-03T12:52:24.281+01:00'Street Exit,' 2019, A Pot from And The Door Opened<div class="separator" style="clear: both; text-align: center;">
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<i>'<b>Street Exit,</b>' 2019, 60 h x 28 w cm </i><br />
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Hand built earthenware pot, slip-painted inside and out with sgraffito drawing through the slip. The bisque fired pot was then smashed with a hammer - an uncomfortable process - avoiding hitting any of the women, just going for the bits in between. Shards collected up and glazed, then fired, and the pieces reassembled with some left out so the viewer can glimpse the images inside. Broken edges gilded in gold leaf.<br />
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<b><i><span style="color: #660000;">About the pot</span></i></b><br />
'<b><i>Street Exit</i></b>,' is based on an account given to me by Women @the Well. The images inside the pot show the living places of a homeless woman who met W@W outreach workers in Hackney. She describes 'sofa surfing' with friends who were 'heavy substance users.' She wanted to get away from them so she moved to a tent in a 'green area in Hackney.' She was being exploited in prostitution in both these situations.W@W helped find a place in a hostel and set in motion a support system to help her to reduce and eventually cease her substance use and also to find a way to exit prostitution with the ultimate aim of finding safe, permanent accommodation. The latter is a longer term and probably more difficult goal to achieve given the extreme shortage of safe housing for women in London - particularly those with such complex range of vulnerabilities.<br />
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The outside of the pot shows the progress of a woman from street to hostel based on details from the above account and some others along with my own encounters with street homeless women on public transport. Homeless women often avoid hostels because they are heavily male dominated and pose a real threat of sexual violence from the men there. They also avoid the street, if they can, for the same reasons - and also because of the cold, the wet and the sheer exhaustion of never really sleeping - so public transport, being both public, rather than hidden, and a bit warmer and dryer is potentially a better option. The images above show a woman begging in the underground both at the station and on a train, sleeping - or trying to - in the station and on a bus and, finally, in a hostel sitting at table with a cup of tea contemplating the long and difficult process ahead. Like many of the accounts W@W have asked me to work with, this woman's life is very 'in process.' She has not yet reached a safe conclusion.<br />
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'<b><i>Street Exit</i></b>,' like <a href="http://claudiaclare.blogspot.com/2020/02/then-now-2019-pot-from-and-door-opened.html" target="_blank">'<b><i>Women @the Well,</i></b></a>' the pot posted earlier, is a broken and mended pot. The images inside are visible through the gaps but only just. You do need to see the pot, 'in person,' to be able to see them. The shattering of the pot is a metaphor the broken feelings the woman expresses and her process of slowly piecing her life back together. It is an imperfect process. She is unlikely to reach a state of complete 'restoration,' but she can continue to live and may be able to thrive, in time. Memories and images of her past will impinge on her present from time to time, however. She may well not live in the past but the past, to some extent, will probably live in her, in her 'emotional muscle memory,' if I may put it that way, and it may be expressed through her emotional responses to things and to situations. I frame the fissures and and gaps in gold leaf to honour her survival and her struggle to proceed through life.<br />
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<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<span style="font-size: 12pt;">Photo credit: Sylvain Deleu.<o:p></o:p></span></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">Women @the Well, (W@W,) </span></i></b><span style="font-size: 12pt;">is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected, by prostitution. It also provides support to exit prostitution. <o:p></o:p></span></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">‘And The Door Opened,</span></i></b><i><span style="font-size: 12pt;">’</span></i><span style="font-size: 12pt;"> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.<o:p></o:p></span></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="font-family: "Times New Roman"; font-size: 10pt; margin: 0cm 0cm 0.0001pt;">
<b><i><span style="font-size: 12pt;">The aim</span></i></b><span style="font-size: 12pt;"> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span><span style="font-size: 12pt;"><o:p></o:p></span></div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-51641994304803758242020-03-22T20:23:00.007+00:002022-05-20T18:49:45.771+01:00The Goose Mugs 2019<div class="separator" style="clear: both; text-align: center;">
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<div><div><div><div><div>These lovely, elegant bone china mugs were designed by me specially for '<i><b>And the Door Opened,</b></i>' my project with<a href="https://www.watw.org.uk/" target="_blank"> women@thewell</a>, and produced in Stoke on Trent by <b><a href="https://www.repeatrepeat.co.uk/" target="_blank">Repeat Repeat </a></b>as bespoke products. The edition is limited to 600. <br />
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<b>Why Geese? </b><br />
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The goose comes from 'Winchester Geese,' the term used to refer to the women who were licenced by the Bishop of Winchester to be sexually exploited legally in the parish around Southwark Cathedral, South London, in the 18th century. The term was probably pejorative but geese are fierce birds - often kept as guard animals. They’re also group animals - they don't operate singly. These two things struck me as good qualities for a project campaigning for social and legal reform, as <b><i>And The Door Opened</i></b> does. May your mug inspire you with fierceness, strength and excellent teamwork.</div>
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<b><i>And The Door Opened,</i> (ATDO,) </b>is a ceramic project by artist<b> Claudia Clare<o:p></o:p></b></div>
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in partnership with<b> Women @the Well, (W@W.)<o:p></o:p></b></div>
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<b>Women @the Well,</b> is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected, by prostitution and helps them to find ways out.</div>
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<b>ATDO is </b>a series of events with displays of Claudia’s pots, with talks, demonstrations and workshops that illustrate the lives of the women supported by <b>W@W</b>.</div>
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<b><i>The aim</i></b> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</div>
</div></div></div></div></div>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-47834099083437279322020-02-11T16:05:00.004+00:002020-05-03T12:53:03.818+01:00'Women @the Well,' 2019 a pot from 'And The Door Opened.' <div class="separator" style="clear: both; text-align: center;">
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<b><i>'Women @the Well,'</i></b> <i>2019, 50 h x 32 w cms.</i><br />
Hand built earthenware pot, slip-painted inside and out with sgraffito drawing through the slip. Smashed with a hammer after the first firing - an uncomfortable process - avoiding hitting any of the women, just going for the bits in between. Shards collected up and glazed, then fired and the pieces reassembled with some left out so the viewer can glimpse the images inside. Broken edges gilded in gold leaf.<br />
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<b><i><span style="color: #660000;">About the pot</span></i></b><br />
<i style="font-weight: bold;">'Women @the Well,' </i>the eponymous pot for the project, is based on an account given to me by the organisation I'm working with, (W@W).<br />
The account had a strong sense of the past being shut away, for now, anyway. The woman describes her young life, raised in the care system, and being on the streets at an early age, being prostituted to get money for drugs for the pimp, (though she, herself was not using them to begin with,) street homeless and, in the end, in and out of prison. She describes herself as 'destitute, dirty and down.' Now she is being supported by W@W where she gets clean clothes, a hot meal and has a 'named worker.' That connection with a support worker whose name she knows and who knows her name seemed absolutely vital in this account. Here she was treated as fully human, perhaps for the first time in her young adult life. She was learning some basic skills, she had help to find housing - appropriated for her needs. In all the accounts I have read there is a powerful sense of separation - an almost impregnable wall - between the 'world of the prostituted and the rest of the world.' This woman seems to be starting to breach that wall, starting to feel part of the world. Knowing another woman's name - a professional woman, not someone in the prostituted world - and her own name being known to her 'named worker,' was central to that process. She is also contacting family - there is one, somewhere.<br />
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The images you see on the pot are of her with her worker at W@W. They're all fictional images. I had to imagine her there and imagine what she might look like. Confidentiality is key to success so this is why I'm working with prepared accounts. I have shut her past away inside the pot but it appears in the cracks from time to time. The other common thread in all the accounts is trauma. These are women grossly abused and exploited, often from an early age, and exposed to persistent violence and brutality. Recovery from trauma is long process and rarely complete. Sex trade survivors remain vulnerable to further pressure. The broken pot, mended, but not fully, is a metaphor for surviving sexual violence and exploitation. It is not easy to do justice to these accounts and I did not want to avoid the shattering experiences these women had endured but nor did I want to reproduce the violence in pictures. Breaking and rebuilding the pot was the best approach. It represents the slow recovery and the lasting vulnerability while also honouring the courage of the women to survive and find different lives.<br />
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<span style="font-size: 12pt;">Photo credit: Sylvain Deleu.<o:p></o:p></span></div>
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<b><i><span style="font-size: 12pt;">Women @the Well, (W@W,) </span></i></b><span style="font-size: 12pt;">is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected, by prostitution. It also provides support to exit prostitution. <o:p></o:p></span></div>
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<b><i><span style="font-size: 12pt;">‘And The Door Opened,</span></i></b><i><span style="font-size: 12pt;">’</span></i><span style="font-size: 12pt;"> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.<o:p></o:p></span></div>
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<b><i><span style="font-size: 12pt;">The aim</span></i></b><span style="font-size: 12pt;"> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</span><span style="font-size: 12pt;"><o:p></o:p></span></div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-42355037703533245272019-12-31T19:26:00.003+00:002021-01-12T17:57:48.447+00:00And The Door Opened: the shop window display - November 2nd 2019-January 6th 2020<div class="separator" style="clear: both; text-align: center;">
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The photos below all show the shop window display that was set up on November 2nd and changed bit by bit throughout the display period as I was able to add complete pots. The titles were added last with quotes from some of the people who attended the launch and demonstration. Professional photos of the individual pots will be added with more about each one, including some of the accounts on which the pot is based.<br />
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<b><i>Women @the Well, (W@W,) </i></b>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected by prostitution, and helps them to find ways out.</div>
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<b><i>‘And The Door Opened,</i></b><i>’</i> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.</div>
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<b><i>The aim</i></b> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-23322536218380295952019-12-31T19:11:00.000+00:002020-03-22T20:47:17.827+00:00And The Door Opened: Drop in Demonstration and Workshop, November 30th and December 7th 2019The drop in on November 30th brought people in from the shopping mall and library to see me demonstrating how to rebuild a shattered pot. Some people came, having attended the launch, others saw posters, others followed social media posts but most just came in from the mall.<br />
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The workshop, where I invited people to bring a broken pot from home and show them how to mend it was all people returning from one of the earlier events. There are no images of the mending workshop, mainly because everyone was too busy concentrating on their work and because I forgot to take any but also because there was a kind of intimacy about the day. People brought their own things with their own stories. I can share one of these though. A woman brought a broken ceramic clown - just the button was broken, a tiny part of it but it was in numerous pieces. She was Nigerian and her father had been a leading trade union activist there. In the 1960s he went to Russia as part of a TU delegation and was given the clown as the TU equivalent of a diplomatic gift. She mended the button with utmost care. At the end she said, 'I'm going to leave out this last piece as a memorial and to honour all the shattered lives.'<br />
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<b><i>Women @the Well, (W@W,) </i></b>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected by prostitution, and helps them to find ways out.</div>
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<b><i>‘And The Door Opened,</i></b><i>’</i> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.</div>
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<b><i>The aim</i></b> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-29044924086915134812019-12-31T18:51:00.000+00:002020-03-22T20:44:14.155+00:00And The Door Opened: the Launch, November 25th, 2019'And the Door Opened' launched, (officiall,) on November 25th, to coincide with the International Day for the Elimination of Violence Against Women.<br />
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Held in the old Post Office in Wood Green, now occupied by Collage-arts and renamed Collage Artspace 4, we had a full house - 53 people came not including speakers or photographer.<br />
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Me speaking, introducing the project and welcoming the audience. Speakers on the left, from left: Caroline Hattersley, director of Women @the Well; Fiona Broadfoot, sex trade survivor, founder of Build a Girl, and one of three survivors bringing the judicial review, with the Centre for Women's Justice, to get criminal convictions removed from the record exited women; Julie Bindel, journalist, researcher and campaigner and author of The Pimping of Prostitution,' 2017, Palgrave Macmillan; and next to Julie Bindel is Julie McNamara who compered and led us into the minute's silence before I smashed the pot in the centre of the room. She also ended the event reading Audre Lourde's 'Litany for Survival.' McNamara is a performer, writers, activist and Artist direct of Vital Exposure, 'a passionate plea for social justice.' Below is a montage of three views of pot then called 'Ten Thousand Men,' that was smashed. It will be renamed once it is rebuilt and images of the women painted inside become dominant.<br />
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The images of me smashing the pot and the two below them are by Sylvain Deleu, as is the one directly above, showing a detail of the inside of the pot smashed at the Filia Conference in Bradford. This pot is now called, 'I'm Not The Criminal,' and the image is of Fiona Broadfoot who led the March Against the Sex Trade in Bradford where the pot was smashed. The other images show the pots on display at the event, some complete, some in progress. All photos by attendees - except the one with Fiona Broadfoot talking to journalist, Josephine Bartosch - that one is also by Sylvian Deleu.<br />
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<b><i>Women @the Well, (W@W,) </i></b>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected, or at risk of being affected by prostitution, and helps them to find ways out.</div>
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<b><i>‘And The Door Opened,</i></b><i>’</i> is a series of events with displays of Claudia’s pots, with talks and demonstrations that illustrate the lives of the women supported by W@W.</div>
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<b><i>The aim</i></b> is to enhance the public’s understanding of what prostitution is, to name the abuse and exploitation, and to show that, with the right support, girls and women do not need to live and die exploited in the sex trade – there are ways out.</div>
Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-5252935306762933232019-10-28T20:44:00.002+00:002021-07-18T11:58:08.941+01:00March Against the Sex Trade, Filia Conference 2019, Bradford. <div class="separator" style="clear: both; text-align: center;">
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The March Against the Sex Trade took place on the Saturday
evening, October 19<sup>th</sup>, at the end of day one of <a href="https://filia.org.uk/saturday-19th-oct/2019/5/30/march-against-sex-trade" target="_blank">Filia</a> conference. We
assembled at twilight and processed to Centenary Square, the main square in
Bradford. There we gathered in a circle and, after an introduction by Fiona
Broadfoot, read out the names of all the women who had been murdered while
exploited in prostitution. Shocking how long it took. As daylight was faded, and the sky went deep blue, we held up white roses and cards, each with the name of
one murdered woman, and called out the names again, all together this time, like
a Greek Chorus. Once all the names had been sounded at least three times, we
had a minute’s silence to reflect on the harms of prostitution and sex trade,
and to remember the lives and deaths of the women whose names were called. ‘The
Invisible Man,’ the pot set up in the centre of the circle, ‘broke the
silence,’ as it smashed on to the paved stone ground, releasing the images of
women painted inside.<br />
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The memorial concluded with a song and a dance by an Argentinian
woman, one of the conference speakers, whose daughter had been abducted,
prostituted, and murdered in Buenos Aires. </div>
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Perhaps the most significant part though was this: I was
about to collect and wrap up the shards when a young man who was passing by with his girlfriend, asked me if I knew Rebecca Hall, one of the women
whose names were called out during the memorial. ‘I knew her,’ he said, ‘She was one of my best friends at school. This means so much to me.’ He
then went and spoke to the woman holding the card with Rebecca’s name
on it. <a href="https://www.thetelegraphandargus.co.uk/news/11145911.grieving-family-in-renewed-plea-13-years-after-brutal-unsolved-murder/?fbclid=IwAR3a0YQUiu1P-UrgwGoRaxit6gYybFzjBXnMKZC6M0UuD9fyXy-1s9zyong" target="_blank">You can read about Rebecca here.</a></div>
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The shards are now on their way back to the studio where
they will be glazed and the pot reassembled but with pieces left out so you can
see the images of the women painted inside. If all goes according to plan, the
internal images – the women - will dominate. You will see them rather than the
men depicted on the outside of the pot. The shattering and mending of a pot is
a simple metaphor, reflected in the words, ‘I was shattered. Now I’m piecing
myself slowly back together.’ </div>
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Among my proudest moments, as a feminist and a potter, are
when my pots are part of feminist activism, especially activism against the sex
trade and the call for abolition. <span style="font-size: 12pt;">The March Against the Sex Trade was an action done as part
of a feminist conference but in a public space. Reaching out to survivors, to
family and friends of survivors, and to passers by</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">- the public in the most general sense, is surely the most
important of any campaign. It was a huge honour to be part of it.</span></div>
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<u>The names of the women murdered in prostitution in Bradford</u></div>
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May 21 2010, Suzanne Blamires, 36</div>
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April 26 2010 Shelley Armitage, 31</div>
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June 22 2009, Susan Rushworth, 43</div>
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April 26 2001: Rebecca Hall, 19</div>
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May 2000 Gemma Simpson, 23</div>
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October 1996: Caroline Creevy, 25</div>
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June 8 1995: Maureen Stepan, 18</div>
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1992 Yvonne Fitt, 32</div>
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1984: Deborah Kershaw,22</div>
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January 21 1978: Yvonne Pearson, 21</div>
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<a href="https://www.sexindustry-kills.de/doku.php?id=prostitutionmurders%3Auk&fbclid=IwAR2AEDogA5Aq_yhr4L9X_vj-MHd6K8tY0BGdob-mBJsug1aGg9Uyi4uYWo0" target="_blank">Wiki page – women UK-wide</a> - This is UK and Ireland - from 2010-today. </div>
<!--EndFragment--><br />
Fiona Broadfoot is one of the women bringing the <a href="https://www.theguardian.com/society/2018/jan/17/former-prostitutes-launch-high-court-challenge-to-uk-law" target="_blank">judicial review</a> aiming to get convictions removed from the record of exited women and remove the need for disclosure which represents a major barrier for prostituted women who are trying to exit.<div>Photos from top: 1- Studio Twelve, 2 and 3 - Deb Ball, 3,4 and 5 - Claudia Clare</div>Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-35870566994160343842019-10-11T11:46:00.002+01:002020-07-23T11:11:45.942+01:00And The Door Opened, ceramic project with Women @the Well, (W@W) ***Covid19 intermission*** Events postponed until 2021. Watch this space for pop-up events in late 2020. <!--[if gte mso 9]><xml>
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images: From top:<br />
1. 'The Inivisible Men,' 2019. Smashed in Centenary Square, Bradford, at The March Against the Sex Trade, <a href="https://filia.org.uk/new-blog/2019/8/18/memorial-march-details-to-follow" target="_blank">Filia</a> international feminist conference, October 19th, 2019.<br />
2. 'I'm Not The Criminal,' 2020, in its unbroken state, this was 'The Invisible Men.' The rebuilt - or second state, is 'I'm Not The Criminal,' depicting the March Against the Sex Trade, led by Fiona Broadfoot, who organised it, and other sex trade survivors. (photos: Sylvain Deleu)<br />
3. Me with 'I'm Not The Criminal,' 2020. (photo: Sylvain Deleu)<br />
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<b><u><span style="color: #cc0000;">About the Project:</span></u></b><br />
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<a href="http://www.watw.org.uk/" target="_blank"><b>W@W </b></a>is a women-only service located in Kings Cross dedicated to supporting women whose lives are affected - or at risk of being affected - by prostitution. <span style="font-size: 12pt;">They have asked me to make a collection of pots illustrating the stories of the women they work with and then to get both the pots, and the stories they tell, to as wide an audience as possible. </span></div>
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‘<b style="mso-bidi-font-weight: normal;">And The Door Opened,</b>’ is
my response. In effect, it is a travelling ‘Work in Progress’ show – think ‘Open
Studio' goes on tour. It is not a single exhibition, or any exhibition as
such, it is a series of events with displays of my pots, demonstrations of
pot-making, talks, seminars, and conversations that, together, will illustrate
the stories of women wanting to leave, ‘exit’ prostitution. </div>
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<b>The aim</b> is to enhance the public's understanding of what
prostitution is and to show that, <span style="font-size: 12pt;">with the right support, girls and women do not need to
live and die exploited in the sex trade – there are ways out.</span></div>
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<span style="color: #cc0000;"><b><u>When and Where - latest updates and current schedule: </u></b></span></div>
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<span style="color: #cc0000;"><b><u><span style="color: red;">Postponement to March 2021</span></u></b><b><u><span style="color: red;"> expected depending on social distancing situation:</span></u></b></span><br />
<u><a href="https://www.eventbrite.co.uk/e/ceramic-art-london-2020-tickets-86829275701" target="_blank">Ceramic ArtLondon</a></u>, Central St Martins, Granary Building, 1 Granary Square, London, N1C 4AA</div>
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<b>'And The Door Opened' is part of the Claytalks lecture series</b>.<br />
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<b><u><span style="color: #cc0000;">Postponement to 2021 expected, or possibly later in 2020: </span></u></b>readings and pot smashing ceremony at <b>Wood Green Library</b>, 191 High Road, Wood Green, N22 6XD as part of Women’s History Month.</div>
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<!--EndFragment--><u><b style="font-family: "times new roman"; font-size: 12pt;"><span style="color: #cc0000;">Postponed until 2021 - same dates expected:</span><span style="color: red;"> </span>May 1<sup>st</sup></b><b>-September 30<sup>th</sup></b> </u>Beyond the Streets and <u><a href="https://www.stbotolphs.org.uk/" target="_blank">St.Botolph’s without Aldgate</a></u>, </div>
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Aldgate High St, London EC3N 1AB<br />
Beyond the Streets, an exiting service in East London, leads a walking tour in Whitechapel in opposition to the ‘Jack the Ripper’ tours, on the last Thursday of each of the five months. The tour talks about the lives of the women who were murdered, stopping at the places they lived, and also talks about the lives of prostituted people now. St. Botolph’s without Aldgate will have a display of pots from the project from May to September.<br />
<b style="mso-bidi-font-weight: normal;"><a href="https://beyondthestreets.org.uk/2019/02/04/hiddenhistory/" target="_blank">See Beyond theStreets website to book a place on the walking tour.</a></b><br />
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<span style="font-family: "times new roman"; font-size: 12pt;"><b><u><span style="color: #cc0000;">Postponed to 2021:</span> Major event being planned for the end of September with St. Botolph's without Aldgate and Beyond The Streets. Updates as they come - discussion in progress.</u> </b></span><br />
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<!--EndFragment--><strike><b style="font-family: "times new roman"; font-size: 12pt;">September 19<sup>th</sup> and October 3<sup>rd</sup> 2020</b><b> </b>Southbank
Open Spaces Trust with Crossbones Cemetery, Redcross Way, London, SE1 1SD</strike> <i style="color: #cc0000;">This event has been 'no platformed.' You can read </i><b style="color: #cc0000; font-style: italic;">Josephine Bartosch's</b><i style="color: #cc0000;"> article about it here: </i><a href="https://www.spiked-online.com/2019/12/23/the-silencing-of-feminist-artists/" style="color: #cc0000; font-style: italic;" target="_blank">'The Silencing of Feminist Artists.' </a><i style="color: #cc0000;"> </i><b>I am looking for an alternative venue for a ceremonial smashing of a pot and for a permanent memorial. </b><br />
Cross Bones is the burial site of the ‘outcast’ people of the 17<sup>th</sup> and 18<sup>th</sup> centuries, including prostituted women.<br />
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<b><span style="color: #cc0000;">Postponed until 2021:</span><span style="color: red;"> </span></b><u><a href="https://cathedral.southwark.anglican.org/" target="_blank">Southwark Cathedral</a></u>, London Bridge, London SE1 9DA</div>
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Display of pots -no date set but last communication was that postponement was definite. <i><b>This is not a cancellation</b></i>.<br />
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<b><u><span style="color: #cc0000;">Updates on this when I get them: </span>Filia Conference, Portsmouth, 2021 </u></b><br />
<span style="font-size: 12pt;">Display of <b>And The Door Opened</b> pots.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: red;"><u><span style="color: #cc0000;">Updates when I get them:</span><span style="color: red;"> </span></u></span>And the Door Opened</b>
will continue in 2021 in Stoke on Trent, Bradford and Leeds. </div>
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<u><b><span style="color: #cc0000;">Past Events 2020:</span></b><o:p></o:p></u></div>
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<b><u>Jan 23rd 2020: Talking about 'And The Door Opened,' at Zuleika.</u></b><br />Informal talk, discussing the project with Q&A. <br />
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<b><u>Jan 14th-31st 2020</u> </b><u><a href="https://zuleikagallery.com/" target="_blank">Zuleika Gallery</a>,</u> 6 Mason's Yard, London, SW1Y 6BU<br />Display of four pots from '<b>And The Door Opened</b>,' as part of a gallery artists show, 'January Edit.' Zuleika's official launch of the project<br />
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<span style="color: #cc0000;"><u><b>Past events 2019</b></u></span><br />
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<b><u>November 7th<sup>th</sup>-December 31<sup>st</sup> 2019</u></b> with <u>Collage-arts at <a href="http://www.collage-arts.org/door-opened-exhibition/" target="_blank">Collage Artspace 4</a></u> and Wood Green Library, Library Mall, 191 High St, London, N22 6DZ<br />
<b>Window display and display in library Nov 7th 2019 -Jan 6th, 2020</b></div>
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Launch with speakers and pot-breaking ceremony: Nov 25<sup>th<span style="mso-spacerun: yes;"> </span></sup>(to coincide with UN 16 days
campaigning to eliminate violence against women;) <b><a href="https://www.eventbrite.co.uk/e/and-the-door-opened-tickets-73801513313#" target="_blank">Details of event available here</a></b><br />
<a href="http://claudiaclare.blogspot.com/2019/12/and-door-opened-launch-november-25th.html" target="_blank">Photos and brief summary here.</a><br />
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Demonstration of mending a pot with talk: Nov 30<sup>th </sup>12-4pm;
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How to mend a pot - workshop for participants Dec 7<sup>th </sup>12-4pm.
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<a href="http://claudiaclare.blogspot.com/2019/12/and-door-opened-drop-in-demonstration.html" target="_blank">Brief description and photos of both events here.</a></div>
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<b><u>October 30th 2019</u>: </b>a talk about the project at Soho Farmhouse, Oxfordshire<br />
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<b><u>October 19th 2019</u>: </b>unofficial launch - Filia Conference, Bradford, 'The Invisible Man' was smashed as part of the March against the Sex Trade. <a href="http://claudiaclare.blogspot.com/2019/10/march-against-sex-trade-filia.html" target="_blank">Pictures and description of the event here</a>.<br />
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<br />Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-25715082075333068222019-09-10T16:06:00.000+01:002020-06-11T11:17:57.440+01:00 'And The Door Opened,' crowdfunder pots for project with Women @the Well <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU_rTOoZP9sIACQZK9nP8dBd-8vlQ9mE2Cpe-Nd8dEU-YYtZxtElXPD-qVT1jm5rqyQLLkks8ej-DwRjKSNPevK9BFmTEzU34CHROCqX1hxrhGDefnNZJE7hX4P3vTrIal0G5Tvt3UmpUi/s1600/Five+pots+from+The+Garden+Growing+2019.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1325" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU_rTOoZP9sIACQZK9nP8dBd-8vlQ9mE2Cpe-Nd8dEU-YYtZxtElXPD-qVT1jm5rqyQLLkks8ej-DwRjKSNPevK9BFmTEzU34CHROCqX1hxrhGDefnNZJE7hX4P3vTrIal0G5Tvt3UmpUi/s400/Five+pots+from+The+Garden+Growing+2019.jpg" width="330" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU_rTOoZP9sIACQZK9nP8dBd-8vlQ9mE2Cpe-Nd8dEU-YYtZxtElXPD-qVT1jm5rqyQLLkks8ej-DwRjKSNPevK9BFmTEzU34CHROCqX1hxrhGDefnNZJE7hX4P3vTrIal0G5Tvt3UmpUi/s1600/Five+pots+from+The+Garden+Growing+2019.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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Women @the Well, (<a href="http://www.watw.org.uk/" target="_blank">W@W</a>,) is an organisation based in Kings Cross, London, that supports women who want to leave, 'exit,' prostitution. <span style="font-family: "times new roman"; font-size: 12pt;">They have asked me to make some
pots that illustrate the stories of the women they work with and get both the
pots and the stories to as many people as possible. The aim is to take a little
known or understood 'issue' and turn it into something more human - woman - and
meaningful. </span><br />
<span style="font-family: "times new roman"; font-size: 12pt;"><br /></span><span style="font-family: "times new roman"; font-size: 12pt;">There is a small collection of pots available for direct sale - ie
no gallery commission and no VAT.</span><br />
<span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;">All of them are signed with my potter's mark, the W@W logo, and the date. It's a bit like buying a share in the project with the pot as the 'share certificate.' In an ideal world, the pot gains in value but I can't promise that but, ranging £250.00 - £375.00 each, I can tell you that these are significantly cheaper than my usual sale price. There are three of the original group of ten pots left and new ones on the way. Get in touch claudiaclare40@yahoo.com if you are interested and I can send images. The quoted price will have postage and packing added. </span></span><br />
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<br />Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-46020051617971770652017-06-10T20:07:00.000+01:002017-06-10T20:07:29.057+01:00The Summer Pots: Summer Rain, 2017, currently showing at Gallery 286, 286 Earl's Court Road, London SW5 9AS June 8th - 30th 2017<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.gallery286.com/claudia-clare-2017/" target="_blank"><br /></a>
<a href="http://www.gallery286.com/claudia-clare-2017/" target="_blank">The Summer Pots</a> at <a href="http://www.gallery286.com/" target="_blank">Gallery 286</a><br />
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A burst of sunshine illuminates a torrential summer rain and umbrellas in Oxford Street.<br />
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Ther is far less scrafitto on this pot than in earlier works. This one is almost all brush work.<br />
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Earthenware pot, coil built, approx 62cms high, slip-painted with clear glaze.Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-69057918351167729652016-09-16T21:36:00.003+01:002020-04-17T15:53:16.564+01:00Politicians, Preachers, Prophets, Protesters: Five jugs in 'Ideas Worth Fighting For,' 17th-23rd, October 2016, at the People's History Museum, Manchester. <div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_so-nLfU-0bmWF1yXjXd4_SSpV8nsjHbHY5O5x9rSFLixM0LyGFpLzfB4vn5JcZxd7_8OywewxQESDGvQsqd0B3wH99S7CpybBpOkjQk1cAeYgfZw4DRb409sqOc8FjGMjGt0MSnr5W5/s1600/Claudia-Clare+Galloway+Jug1-72.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1597" data-original-width="1214" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_so-nLfU-0bmWF1yXjXd4_SSpV8nsjHbHY5O5x9rSFLixM0LyGFpLzfB4vn5JcZxd7_8OywewxQESDGvQsqd0B3wH99S7CpybBpOkjQk1cAeYgfZw4DRb409sqOc8FjGMjGt0MSnr5W5/s400/Claudia-Clare+Galloway+Jug1-72.jpg" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The Ballad of Gorgeous George, (2015)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsP6P99rX3IPVrRwfuypt6MbrxKDYs-5e70y2swzWMMvSS5w7PhKQq18xVepX4MTjckYBYgD4hqeWiwZ1JCK05L9PxoC7zu6KSzdbVn29IcCQE4wzydXOr8tq7CA1Mp9ufOOZVgS58ww7O/s1600/Claudia-Clare+Galloway+Jug2-72.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1455" data-original-width="1199" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsP6P99rX3IPVrRwfuypt6MbrxKDYs-5e70y2swzWMMvSS5w7PhKQq18xVepX4MTjckYBYgD4hqeWiwZ1JCK05L9PxoC7zu6KSzdbVn29IcCQE4wzydXOr8tq7CA1Mp9ufOOZVgS58ww7O/s400/Claudia-Clare+Galloway+Jug2-72.jpg" width="328" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Meet my friend George Galloway, </span><br />
<span style="font-size: small;">He worships Ayatollahs<br />He genuflects to Ba'athists</span><br />
<span style="font-size: small;">And he LOVEs the Hezbollollahs.<br />He entertains his Islamists in a purple leotard,<br />He's not much good at pussy</span><br />
<span style="font-size: small;">But he licks cream good and hard.<br />OH Galloway's coming to London,</span><br />
<span style="font-size: small;">He wants to be the mayor,<br />Anjem's lot'll love him up</span><br />
<span style="font-size: small;">But he doesn't stand a prayer.<br />When we've thrown him out London, </span><br />
<span style="font-size: small;">He's off to Liverpool,<br />He's buggerd off from Bradford, </span><br />
<span style="font-size: small;">No one wants him, bloody fool. </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi36UBycJhsmmQYCLeZq2-y_OOgZqx8WIhaKM5Yf7KHOEgacCAXN1C_U-RJ7R0LhICyyYKb6QU50cb8ycgBLRoFufPy1h4Pt_iQzMJE_R6khtWs4FFVu3sQDdxNMlHDMegmwHHUENw39kHa/s1600/Claudia-Clare+The+Prophet%2527s+Lament+1-72.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1564" data-original-width="1053" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi36UBycJhsmmQYCLeZq2-y_OOgZqx8WIhaKM5Yf7KHOEgacCAXN1C_U-RJ7R0LhICyyYKb6QU50cb8ycgBLRoFufPy1h4Pt_iQzMJE_R6khtWs4FFVu3sQDdxNMlHDMegmwHHUENw39kHa/s400/Claudia-Clare+The+Prophet%2527s+Lament+1-72.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">How the Prophet was driven to drink (2015)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG3NQtfSg5y1tCK6dT0EnJjMV3CHr6v487Grx5cgUXfiwYijo3lccJi3ax26791m0UJkR2I5DjApEa67l5qBFxNBfBevhT12yp0TvBVR1O9JaxacJs3PiXpaKg8LQ4atBCjcjCg4oMF26d/s1600/Claudia-Clare+The+Prophet%2527s+Lament+2-72.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1564" data-original-width="1053" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG3NQtfSg5y1tCK6dT0EnJjMV3CHr6v487Grx5cgUXfiwYijo3lccJi3ax26791m0UJkR2I5DjApEa67l5qBFxNBfBevhT12yp0TvBVR1O9JaxacJs3PiXpaKg8LQ4atBCjcjCg4oMF26d/s400/Claudia-Clare+The+Prophet%2527s+Lament+2-72.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman"; font-size: 12.0pt;">And it came to pass<br />
In the land of the Assyrians and Babylonians<br />
That a vile scourge of Ba'athists, Islamists and Barbarians<br />
Did invade and ransack the ancient places.<br />
Bloody was the conquest.<br />
And though the fields were fed with the people's blood<br />
Yet did they yield forth nothing<br />
But more food for vultures.<br />
And even the mighty seas were in tumult<br />
Devouring small boats<br />
Spewing forth corpses<br />
Leaving terror in the hearts of those that reached land.<br />
Verily the prophet did rage at the carnage<br />
Crying out in despair:<br />
"You bastards!" He thundered.<br />
"Goddam! Don't you gettit, you arseholes?<br />
It's fiction!<br />
I lied about gays, about Jews, and addiction.<br />
I don't care who you love, how you worship, or feast.<br />
Eat and drink! Wine or cider! </span><span style="font-family: "times new roman"; font-size: 12pt;">But for fuck's sake, live in peace!"</span><span style="font-size: 12.8px;"> </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Cider Party for the Corbynati, (2015) </span></td></tr>
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<span style="font-family: "times new roman"; font-size: 16px;">Jeremy Corbyn</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Likes it cosy</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">His beard and bonnet</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">A little bit posy?</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Perhaps his glasses are tinted rosy,</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">His politics are Crap.</span><br />
<br style="font-family: "times new roman"; font-size: 16px; text-align: start;" />
<span style="font-family: "times new roman"; font-size: 16px;">He's a great admirer of Hamas</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Khaled Meshal is his friend.</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">In bed with Hezbollah</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Sir Hasan Nasrullah</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Doth ram-rod his glistening rear end.</span><br />
<br style="font-family: "times new roman"; font-size: 16px; text-align: start;" />
<span style="font-family: "times new roman"; font-size: 16px;">So watch it if you're arty</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">And offend the Shariati</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Or blaspheme the Cornbynati</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">You'll feel the force of their knee-cap</span><br />
<br style="font-family: "times new roman"; font-size: 16px; text-align: start;" />
<span style="font-family: "times new roman"; font-size: 16px;">And mind if Corbyn wins the day</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">If you're a Jew, or if you're gay</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Because jihadis want their pay</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">And he's a squirming in their lap.</span><br />
<br style="font-family: "times new roman"; font-size: 16px; text-align: start;" />
<span style="font-family: "times new roman"; font-size: 16px;">So soddit let's just have a party</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Proper Bacchanaliati</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Lest Cobyn's sychophantiati</span><br />
<span style="font-family: "times new roman"; font-size: 16px;">Turn off our cider tap!</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftQfVbUIkqiEkGHwuTcEIzSt1UE0vE3iDnTlrW5N3fx0B0vA6UCRVO6BX4AcB218jLZAmBXyAovHQPzqaaIvsOx-JNAWHDeTSuda86zuMO3dvVDT9vocj25rfepmSUgGKaJn0FEuOGmAl/s1600/Claudia+Clare+Stop+the+War+Jug+1-72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1328" data-original-width="1106" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftQfVbUIkqiEkGHwuTcEIzSt1UE0vE3iDnTlrW5N3fx0B0vA6UCRVO6BX4AcB218jLZAmBXyAovHQPzqaaIvsOx-JNAWHDeTSuda86zuMO3dvVDT9vocj25rfepmSUgGKaJn0FEuOGmAl/s400/Claudia+Clare+Stop+the+War+Jug+1-72.jpg" width="332" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Stop The War, jug, (2015)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJSHfHFWfSs_y41eLGGA-OySpvsFL9WJRqk_585Xi6wkvcrqNvYLZCKAxbmIQ-ce2UcVj3b6uC-UN23-MTrIqKNH0dwLucPOksWyGg5jon0I8Mx3RZP13zrpCEcQukstHU7IvdZ-nlxVC/s1600/Claudia-Clare+Stop+the+War+Jug+2-72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1328" data-original-width="1111" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJSHfHFWfSs_y41eLGGA-OySpvsFL9WJRqk_585Xi6wkvcrqNvYLZCKAxbmIQ-ce2UcVj3b6uC-UN23-MTrIqKNH0dwLucPOksWyGg5jon0I8Mx3RZP13zrpCEcQukstHU7IvdZ-nlxVC/s400/Claudia-Clare+Stop+the+War+Jug+2-72.jpg" width="333" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Stop the War!<br />Protest in a tweet,<br />Kiss Assad's arse,<br />Prostrate at Putin's feet.<br />Salute the Ayatollahs,<br />Appease the Caliphate,<br />It's Israel and America<br />We all love to hate. </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Bvjzx9RjpzmBA4jx5UyH1KhCyg9EnGUI3orVjmNydt-ISeVKsU5OD1HROUg1mCkuNsl4q6d74vMBydZPk74hyMXO5hGwHZbk_G-6UAHa6pYZeCznmsJd2zurqAt-P-WMkFYajVxhyphenhyphen7lt/s1600/Claudia-Clare+John+McDonnell%2527s+Farm+1+72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1371" data-original-width="1116" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Bvjzx9RjpzmBA4jx5UyH1KhCyg9EnGUI3orVjmNydt-ISeVKsU5OD1HROUg1mCkuNsl4q6d74vMBydZPk74hyMXO5hGwHZbk_G-6UAHa6pYZeCznmsJd2zurqAt-P-WMkFYajVxhyphenhyphen7lt/s400/Claudia-Clare+John+McDonnell%2527s+Farm+1+72.jpg" width="325" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">John McDonnell's Farm, jug, (2015)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_KOpf0y1B48O66Pkb3lGlS8T4TSGhYuZsmdPbn8hItKOdfKu6tZvYTwUfdHq-S0_GbbMcn2dpPsAEgzPn84FVJAwf9eEhyMbwsmWqgGAEVuVEo9zDBsDLrxqQxRaGhW1bmU8RPfUIOJ0/s1600/Claudia-Clare+John+McDonnell%2527s+Farm+2+72.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1329" data-original-width="1145" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_KOpf0y1B48O66Pkb3lGlS8T4TSGhYuZsmdPbn8hItKOdfKu6tZvYTwUfdHq-S0_GbbMcn2dpPsAEgzPn84FVJAwf9eEhyMbwsmWqgGAEVuVEo9zDBsDLrxqQxRaGhW1bmU8RPfUIOJ0/s400/Claudia-Clare+John+McDonnell%2527s+Farm+2+72.jpg" width="343" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">John McDonell had a farm,<br />Eee Aye Eee Aye Oh.<br />And on the farm he planted cash,<br />but it wouldn't grow.<br />With a deficit here<br />And a printer there<br />And quantitive easing everywhere,<br />With normal times here<br />And special times there<br />Borrowing and spending and selling off shares,<br />With Osbornes here<br />And Camerons there,<br />And Tory porkers hogging the air,<br />With campaigns here<br />And protests there<br />and Corbyistas tearing their hair,<br />Poor Jonny 'Donnell's printer jammed.<br />His farm just had to go. </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Calipahte Seaside jug, (2015)</span></td></tr>
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<span style="font-size: small;">We are all<br />Stop-Start a War<br />HamaHezbolicious!<br />Come and join us at the seaside<br />In Islamocalificious!<br />We think you'll find the food out here </span></div>
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<span style="font-size: small;">is really quite delcious<br />The weather, beach and swimming, dear, </span></div>
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<span style="font-size: small;">is always beneficious.<br />Bit it's beheading infidels, my dear,<br />The rape, and crucificious,<br />That's what makes the Caliphate,<br />the Best Vacationicious. </span></div>
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<br />Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-80018563943671435642016-08-27T19:25:00.000+01:002016-09-16T21:18:18.914+01:00Land and Skyscapes at the Contemporary Ceramics Centre, August -November, 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJtlFDly-XjJd0hP2sLJBBMCDpxbfoxNm1ePdEoMp03lwix6BVQ_5jIMYECLEqjHe62f9BPzRVw4HpXEQlF1M0-09TWz9Q-W61uuGWDvrIfT03R3QUzThySzwcMK99aGSphgoOHNlT7Wf/s1600/2016-07-24+17.26.58-edit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJtlFDly-XjJd0hP2sLJBBMCDpxbfoxNm1ePdEoMp03lwix6BVQ_5jIMYECLEqjHe62f9BPzRVw4HpXEQlF1M0-09TWz9Q-W61uuGWDvrIfT03R3QUzThySzwcMK99aGSphgoOHNlT7Wf/s400/2016-07-24+17.26.58-edit.jpg" width="400" /></a></div>
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Five pieces showing as part of the Autumn Rotation at the Contemporary Ceramics Centre, opposite the British Museum, from August 1st - November 1st 2016. From the top: Hordley Swamp, (2016), 35 cms diam. Wootton Floods, (2016), 35 cms diam. London, Sledging at Broadwater Farm, (2015), 50cms diam. London, Autumn Fair, Hyde Park, (2015), 40 cms diam. Sun Setting After A Storm, London, Late Summer, (2015). 35 cms diam. All of these are shallow dishes, pinch-pots, slip-painted earthenware with scraffitto, and clear glaze. Top two are photographed by me, the bottom three are photographed by Sylvain Deleu.Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-18228230310078942232016-07-20T16:49:00.004+01:002016-07-20T16:53:42.316+01:00Bring on the Baroque! Featuring, (from top): Nightwalker, Postcard from the Caliphate, (two views), The Prophet Expels Isis, (in kiln), Caliphate Jug, Galloway Jug. <div class="separator" style="clear: both; text-align: center;">
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These pots, and more of the jugs and smaller works, will be on show at Gallery 286, Earls Court Road, London, November 8th - 30th, 2016.<br />
<a href="http://www.claudiaclare.co.uk/mollysodyssey.html" target="_blank">Molly's Odyssey</a> will be showing in the upstairs gallery and these ones will be downstairs.Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-27791063638658255702016-07-20T16:35:00.001+01:002016-07-20T16:56:57.117+01:00The Prophet Expels ISIS From Babylon (and ushers in the dancers) 2016. Work in progress, studio view. <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin5DqgxJi3TO3h0ksz8-4ZPOR0AqoMA_7dVuLhSlEzMlncc1Oho69D0V6TsyIxiq4AUz6ODy_VdsziHatqUUBICLOUHcrROLYkUrxtUb_bLjcwXThvZqR52Jro75S7FcsNdih50n5HOva9/s1600/1+Prophet+expels.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin5DqgxJi3TO3h0ksz8-4ZPOR0AqoMA_7dVuLhSlEzMlncc1Oho69D0V6TsyIxiq4AUz6ODy_VdsziHatqUUBICLOUHcrROLYkUrxtUb_bLjcwXThvZqR52Jro75S7FcsNdih50n5HOva9/s400/1+Prophet+expels.JPG" width="300" /></a></div>
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With any luck, one of those thunderbolts will land on Putin too.Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0tag:blogger.com,1999:blog-3855718577782999986.post-80352048470029625112016-04-14T10:35:00.003+01:002016-07-10T22:16:11.304+01:00New and Recent work - These pots will be shown in 'Hidden', 6 Mason's Yard, SW1Y 6BU, September 2016, and at GAllery 286, Earls Court Road, SW5 9AS, November 2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3UdqgEvjnN6umw_GBCZszfC6d3sGJWy15RjWoJYz_TCM6wM17p6MX8TaWyWz2hyphenhyphenUEJaE92cWdEvBMYts5YKAl_6plOqI75x0S4_J4bwBFvq9sTIxAPs9hisV8W_SwQ7i-0bhgZH6FJBI1/s1600/4+CC+with+Nightwalker.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3UdqgEvjnN6umw_GBCZszfC6d3sGJWy15RjWoJYz_TCM6wM17p6MX8TaWyWz2hyphenhyphenUEJaE92cWdEvBMYts5YKAl_6plOqI75x0S4_J4bwBFvq9sTIxAPs9hisV8W_SwQ7i-0bhgZH6FJBI1/s400/4+CC+with+Nightwalker.jpg" width="300" /></a></div>
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From the Top<br />
Nightwalker, (2014)<br />
Travelling West, (2013),<br />
WW1 1915-6, Ararat to Albania, (2015),<br />
Me with 'Drinking Hemlock' (2015), Postcard from the Caliphate in the background,<br />
Me with Drinking Song for GAlloway, (2015,) as above,<br />
Postcard from the Caliphate, (2016)<br />
Postcard from the Caliphate, (2016)Claudia Clarehttp://www.blogger.com/profile/07529627854448792681noreply@blogger.com0