Shawanda Corbett

Evocation of Buked


Festival Hub, St Paul’s House, 1 Market Yard, SE8 4BX


A live performance exploring the biblical and social implications of disability during slavery. The piece portrays the experiences of undocumented disabled female slaves in post-colonial Mississippi. What happened to those on plantations who could not breed or do physical work? What did these women experience as able-bodied slaves escaped? What were the implications for their own well-being and continued life? The Bible used figures with physical limitations and deformities as messengers or lessons that exposed the afflictions of society. The atrocities of slavery, the actions of their own families, and the misappropriation of biblical text were complicit in the silencing of disabled female slaves. Evocation of Buked captures their internal dialogue with God. The performance is accompanied by the negro spiritual song I Been Buked.

Shawanda Corbett works with film, photography, performance, text and ceramics. Her practice draws on an extensive knowledge of African, European and other artistic traditions. Corbett trained initially as a painter but soon began to experiment with ceramics, attracted in part by the medium’s collaborative aspects. From clay pots she moved on to sculpture, working with porcelain and then iron. Her influences range far and wide, from Charlie Chaplin to African American history, John Akomfrah to Jan van Eyck, African studies to Jacob Lawrence.

Shawanda Corbett is based in Oxford. She studied Fine Art at Rochester Institute of Technology, New York (2013-16) and the Ruskin School of Art (2016-17).

Shawanda Corbett was nominated for Platform 2018 by Oreet Ashery (artist).

Shawanda’s work confronts race and disability. In her MFA degree show performance at the Ruskin School of Art in 2017 she presented two wearable wooden sculptures, one that she wore herself and the other worn by an able-bodied performer. The gigantic, Bauhausesque, bell-like structures revealed only the two heads of the performers. Both figures elegantly glided up over a wooden platform. The performance was ambitious, economical and incredibly effective. 
-Oreet Ashery

Shawanda Corbett ↗

Oreet Ashery  ↗

Wheelchair accessible.

Georgia Lucas-Going

Home is Where the Work Starts 1988

DAGE (Deptford Action Group for the Elderly), 71 Deptford High Street, SE8 4AA


This new piece involves three generations of my family who have all lost their greatest loves. A family of women outliving their male counterparts. Habits & rituals, physicality & taking up space. The joys of surviving still plump our skin.

What is better than the place where you take your shoes off (If you don’t, you should)? Sink into the stuffing and watch the TV glow off of their faces. The art started at home, so why not finish it there? Accessible to all and no one. Institutions are overrated & stepping in is only done by some.

This new piece of work has been filmed in various locations in and on the outskirts of London. From Luton, then everywhere in-between, and Deptford is where it will end. I wanted to dismantle any hierarchies or boundaries that may arise when viewing art in institutions or gentrified areas. Familiar spaces or objects that are known to nearly all – and to the people of Deptford. The TV symbolises the first world: the object most desired by people of the 80s and 90s. There is no power-play here. Watch the art without being watched.

Georgia Lucas-Going was born in Luton and is based in London. She studied Fine Art at Leeds Arts University (2007-10) and the Slade School of Fine Art (2015-17). Georgia is currently a scholar at the Lee Alexander McQueen Foundation. Her work exists in a range of mediums from installation to sculpture, performance and video art - the work confronts themes of stereotypes and power dynamics, also exploring humour and self taught 'survival techniques’.

Georgia Lucas-Going was nominated for Platform 2018 by Melanie Keen, Director of Iniva.

My reason for nominating Georgia is that as an artist using performance and moving image, she prefaces the female body as central, as dominant, as material at a moment when women’s bodies are paradoxically subject to immense scrutiny and violation as much as being revered as a powerful collective political force. With the erosion of black spaces and queer spaces her practice attempts to push against this retrenchment in unexpected, bold, coercive ways.
-Melanie Keen

Georgia Lucas-Going:
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Melanie Keen:
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Wheelchair accessible.

NT

Fox

Unit 4, Carriage Way (Deptford Market Yard), SE8 4BZ



A video installation exploring parallels between representations of the urban fox and ‘urban’ youth. Focusing on a lone youngster as he travels through the night, the film poses questions about the boy’s presence, as that which is tolerated and often hidden from consciousness – viewed as menacing, but also shrewd, fearless, and adapted to the environment.

The word urban now has 2 distinct meanings. The first relates to the characteristics of a densely populated town or a city. The second, adopted from the US, denotes popular ‘black culture’. In this context the word often becomes a substitute for ‘black’.

Looking is not a simple task or action. Every artist wants their work to be looked at. Every artist courts the gaze of the viewer. As an artist I am no different. I am interested in the awareness of the ‘gaze’ and the aspect of looking, whether it is by the artist, the camera lens, or the viewer, and the tension that arises from the courtship of the gaze by the subject-artist-lens. This extends into how strategies of disruption can interfere and interrupt the gaze, as well as bring about change. I am also interested in how the outcomes of such actions are then interpreted or misinterpreted. As a result of this approach, the media used have incorporated film, sound, performance, photography, installation and print.

NT works with a range of media including film, sound and performance. Their work currently explores the relationships and interconnectedness of people, place, time and history, as well as the interplay between image, language, gesture and sound, all in an attempt to elicit that which is forgotten, hidden and overlooked.

NT is based in London, and studied Fine Art at Central Saint Martins (2008-11) and the Royal College of Art (2011-13).

NT was nominated for Platform 2018 by Larry Achiampong (artist).

NT ↗

Larry Achaimpong:
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Wheelchair accessible.

David Steans

From the Lounge


Deptford Lounge, Giffin Square, SE8 4RJ





David Steans’ project revolves around a book of experimental short horror stories, written by the artist. The book collects new, revised and previously unpublished stories, some of which draw inspiration from the context of Deptford, the venue and the festival itself.

Visitors can still borrow or browse the book at their leisure in the library. There were daily readings by Deptford Lounge staff and two performances that related to one of the stories, 'Foul Shot', about an allegedly haunted basketball court. The book is published by Deptford X in a first edition of 300, with cover image and design by Stef Sadler

Deptford Lounge is open Mon - Fri 08:00 - 22:00, Sat 09:00 - 17:00, Sun 10:00 - 17:00

Book: Available to browse or borrow in the library; please inquire at front desk. The book will also be available for sale in the near future - please check back or email for further information. 

WARNING: the book contains material that some may find offensive/upsetting. Reader discretion is advised.

David Steans’ practice encompasses written fiction, moving image, performance, installation and music. He takes a cue from broadly postmodern approaches to fiction and narrative in art, literature and moving image media, and is particularly interested in employing the 'blurring' of fact and fiction as a creative method. Recent work has used horror, humour and reflexive storytelling to complicate familiar representations and narratives.

David Steans is based in Leeds. He studied at Leeds Beckett University (2004-2007), and was a participant in the founding year of The School of the Damned (2014).

David Steans was nominated for Platform 2018 by Bryony Bond (Creative Director of The Tetley, Leeds).

David’s work feels strangely achronistic, by which I specifically mean without time. It doesn’t feel wildly fashionable, which I think is a good thing, and it is strangely obsessed with the ancient past, with story-telling and myth, not to mention Wetherspoons pubs (although I think Brexit may have had an impact on that particular obsession). David also just does things – performances, films, writing. He created the character of a food critic, whose persona was slowly revealed in a series of restaurant reviews released over a number of years. David resurrected the character to write about a dinner devised by another artist at The Tetley (thetetley.org); the resultant article cleverly mimicked the language of the food critic in a wry take on art. Funny, smart and irreverent.
-Bryony Bond

David Steans:
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Bryony Bond:
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Wheelchair accessible.

Laura Yuile

A Logo Stands Out Against a Soiled Background


Unit 5, Carriage Way (Deptford Market Yard), SE8 4BZ



Laura presented a film within a sculptural installation – an arrangement of pebble-dashed household appliances. Her recent work and research has focused on the shifting boundaries between public and private space, in particular the negative implications of smart domestic appliances. The ‘invisible’ potential of networked appliances seem at odds with their bulky forms and disposability. Assuming a fragmented, house-like form, Laura’s pebble-dashed white goods suggested a life rooted to and dependent upon buildings and objects that will outlive us.

The film is composed from corporate stock footage and new footage staged and shot by the artist. The latter centres on the changing urban landscape of East London. Parallels are drawn between tattooed skin and urban graffiti, decorated surfaces that occupy the border between inside and outside, inclusion and exclusion. These markings serve to both animate the film and reframe the spaces they inhabit.

Laura Yuile creates installations of object and video-based works that speak to multiple senses and and are activated by performance. Her work explores the domestic and the urban; personal care and household maintenance; wellness and well-being; and the effects of globalisation upon living space. Projects include Comfort Zones – a series of symposia on the subject of comfort zones held in the showrooms of IKEA stores in the UK and China; and a bus tour to a landfill site for Global Shadow Local Mist. Born in Glasgow, Yuile studied Fine Art at Goldsmiths, University of London (2015-17), and GlasgowSchool of Art (2004-8). She was an Associate Artist with Open School East (2015), and is currently based in London.

Laura Yuile was nominated for Platform 2018 by Sarah McCrory (Director of Goldsmiths Centre for Contemporary Art).

Laura Yuile:
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Sarah McCrory:
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Wheelchair accessible.