TF18 - Mentoring
About our scheme
As an emergent artist on our mentoring scheme, these early career artists meet with their mentor to work towards producing a premiere at this years festival.
As well as the support from the artist mentor, our own production team of artists and producers who run the festival give further guidance in promotion, health & safety, insurance and production.
This programme is designed to offer invaluable professional development and a place in the programme at TF18, with the intention that the new work allows the artist to take a step onto an international stage and can move forwards with this new work at other events in the future.
About the Mentees
"My research-based performance practice is inspired by the politics of ecofeminism within which I currently explore obsession, materialistic desire as sexual desire and the (female) body as the consumer and the consumed. I blur the lines between reality and fantasy by creating ‘living’ images of everyday actions with an air of ridiculousness. Through repetition and a non-narrative structure, my work is an ongoing investigation on how the body converses with witnesses, objects and space."
A performance and visual artist based between Helsinki and London. They are interested in queer intimacies and ways of being okay alone. Their work is a millennial quest for transcendence in an age of self obsession.
Natalie has shown both collaborative and solo works extensively across the UK and Finland, as well as internationally, including at The Royal Academy in London.
Peter Eason Daniels
A artist and musician based in Glasgow, graduating from the Glasgow School of Art in June 2018. His practice revolves around a prolific and sporadic process of making, simultaneously working on different projects in diverse mediums, acting as a curator to select and present these, forming a narrative by interaction of each work. The work draws from the placement within a ‘space’, whilst creating multiple dualisms: the tension between performer and the camera, image and narrative, permanence and the ephemeral, involuntary and voluntary sound, as well as the banal and the absurd.
Born in Lausanne (CH). Living and working in Leeds (UK), since 2016. Currently doing an MA in Performance Art at Leeds Beckett University.
Her/them domains of research are in intersectional-feminism, queer, politics, the limits of the body.ies, collecting opinions and sharing conversations.
Nicole’s practice uses several media such as performance, drawings, videos, soundtracks and writing. She/they work as an artist individually or collaboratively in projects or in collectives (Spiegelei collective, Lausanne, CH, Queerology, Leeds, UK).
Nicole’s current research explores the public space as a political strategy of exchanges with a non-specific “audience”.
James Jordan Johnson
London based performance artist and multidisciplinary recently performing his first work Lament at The Courtauld Institute of Art and Hundred Years Gallery. James is concerned with creating performances that explore the black body in contexts that are not binary nor hegemonic. Whereby possible exploration and doing so are greatly reliant on the audience's participation and their place in the landscape of his work. Using the audience as a social and political commentary on the body politics of the back body in space(s).
About the mentors
Rosana Cade (Glasgow)
Rosana Cade is a performance maker based in Glasgow. Whilst the form of her work varies and emerges in relation to the specific process or context she is engaging with, it is rooted in a queer feminist discourse and straddles live art and activism. Her performances are often collaborative and happen in various contexts including theatres, galleries, urban public spaces, as well as club and cabaret settings.
She was part of the Spill National Showcase in 2013, a National Theatre of Scotland ‘Auteur’ in 2014, an Artsadmin artist bursary recipient 2014/15, and was commissioned by Fierce, The Marlborough and the Yard Theatre to create a new work: MOOT MOOT in 2017, in collaboration with her partner, EIlidh MacAskill. They also perform together in their live-art-riot-grrl-on-grrl-on-boi-on-boi concept band Double Pussy Clit Fuck. She regularly tours across the Europe, most notably with her interactive participatory performance Walking:Holding, which has been touring for the past 7 years. She is also co-founder of BUZZCUT, Glasgow.
Helena Goldwater (London)
Helena Goldwater lives and works in London, making performance art since 1989 and paintings since 2003. She often makes performances that last many hours and her paintings can take months to make. This dedication to the process is a way of exploring how concepts can be developed over time to inhabit something ‘other’ than the human realm, questioning the positioning of subjectivity and transforming the everyday into a devotional act.
Her work has been shown at many galleries and festivals, nationally and internationally, including Tate Britain, Tate Liverpool, Newlyn Art Gallery, Cornwall in the UK, and at the 1st Venice International Performance Art Week, Italy, Performatorium, Canada, and de Appel, Amsterdam. Most recent exhibitions and performances include: gut flora, MOCA, London (2018); embed, Tempting Failure, London (2016) and Hairline, 1st Morni Hills International Performance Art Biennial, India (2016).
She is included in publications such as Nature Morte by Michael Petry (Thames and Hudson), Double Exposures by Manuel Vason (LADA/Intellect), and contributed to Living and Present: Laurie Anderson on Performance Art on BBC Radio 3. In 2016 she compiled an online resource about UK Performance Artists from the 1970s, Glimpses of before for the Live Art Development Agency and Queen Mary, University of London.
Lea Cummings (Glasgow)
Lea Cummings is a performer, musician, visual artist and filmmaker based in Glasgow. He has performed in more than twenty countries and released over seventy albums of experimental sound on international record labels. His projects include Kylie Minoise, Opaque and Okishima Island Tourist Association.
"The themes that connect my work relate to distortion, noise, time, archetypes, symbolism, the subliminal, feedback, vibration and frequency. My work expresses alterations of perception, and the opening of channels to deeper levels of experience. I also enjoy smashing things and screaming.“
"A SHORT SHARP SHOCK OF SLOBBERING ONE-MAN AURAL HARA-KIRI AND GONZO PANTOMIME NIHILISM" Neil Cooper, The Wire Magazine
Rhiannon Armstrong (London)
Rhiannon Armstrong is an interdisciplinary artist making work under the lifelong series title Instructions for Empathetic Living. She is perhaps best known for The International Archive of Things Left Unsaid, a performance, installation, and latterly web-based work commissioned by The Space and Battersea Arts Centre. Her relational performance works Public Selfcare System and Can I Help You? have toured throughout the UK and internationally.
Rhiannon’s work is rooted in observations on how we are bound by the world we are in. She explores empathy as a subject and medium, and has an in depth specialism in interactive forms. She works regularly in public space and is particularly recognised for making work for unfiltered audiences.
Rhiannon is also a musician and performer/deviser working with other artists in more theatrical settings, most recently with Rachel Mars on Our Carnal Hearts (Total Theatre Award winner 2017), and Bobby Baker on The Emotion Police Emancipation Programme (William Morris Gallery, 2016). She associate artist of interactive theatre makers Coney.
Jamal Harewood (Brighton)
Jamal Harewood is an artist who creates temporary communities through audience-led participatory events that focus on ideas of identity and race - believing that these events should be playful experiences that allow everyone to get involved.
He works with the audience to create a unique experience; providing a space that enables discussion centred around each individual’s interpretation of the performance. This stems from his interest in abolishing the performer/audience hierarchy that frequently occurs within theatre.
This opportunity is made possible through the gracious support of Arts Council England and Croydon's Creative Partnership Fund.