& Then It Dawned On Me

 

& Then It Dawned On Me from Gaynor Perry on Vimeo.

& Then It Dawned On Me

These things terrify me and I'm all for quitting

Laying down today

But I keep turning the page I can help myself release the rage

Make room for something new

We can walk there in the dark

Above the stars, the view

and then it dawned on me

We are shining too

Looking at the world through your eyes

It's all up for grabs

and we are forging ahead, we can help ourselves be warm and fed

Without too much trouble

When we close our eyes we see the beauty of our own understanding

In the deepest forest there are treasures hidden just like you, baby

Our love is whispered in the language of the trees that sway

The roots of all things growing

and our dreams are alive, they're just as real as how we feel

The sun caress our skin

We can walk there in the dark

Above the stars, the view

and then it dawned on me

We are shining too

Film & Soundtrack

Written, performed & produced 

© ℗ Gaynor Perry

Bass: Ace

Bad Dog: Stan

How Shall I Get Elephants To Stay

How Shall I Get Elephants To Stay
oil on board, 40 x 40 cm

Here is the spoken word and soundscape album...

Here is the exhibition ...

Haunting This Place Alive

Haunting This Place Alive
80 x 80 cm, oil on board

Liminal States

existing on the threshold between two states of being

A group exhibition showcasing the work of four artists, each embodying a bold and uncompromising approach to life. To be alive is to navigate a series of transitions; from conception to extinction, nothing remains static.

By embracing these transient states and resisting the comfort of certainty, each artist becomes fully immersed in a sea of endless possibilities—free to explore inner transformations without preconceived outcomes.

Paula Day

As a visual kleptomaniac, Paula keeps and hoards personal and collected images recreating them through the act of translation.

Since a painted scene can never be the absolute translation, it is the loss between the act of looking and that of painting which Paula is interested in. Narratives and associations start to develop revealing the struggle between memory and forgetting.

www.pauladay.co.uk

Totem

75 x 56 cm oil on canvas

Paula Day

Gaynor Perry

Gaynor delves into the visual world echoed in the dreaming mind. She treads a path where the impossibility of dreams remains possible and summons forth the emotional truth hidden in plain view.

Invoking these dream characters through various media, Gaynor aims to capture the fleeting moments between perception and imagination.

www.gaynorperry.com

Stan

Starting from the premise that we mostly exist in two places at any one time, where conscious thought is only ever an observer of our actions, Stan looks behind the mind's constant babble to explore the inner drivers of this will and desire. Recognising the changing nature of this unspeaking underlying animal self.

Deborah Griffin

Deborah wields a confrontational politic and exhilarating sense of fun and transgression. This informs her current sculptural, installation and image based artwork, exploring the relationship between the simultaneous banality and violence of all that is beautiful and the poetic gravity of all that is ugly.

www.deborahgriffin.carbonmade.com 

Foetalmania

91.4 x 121.9 cm

permanent marker, acrylic paint, metal leaf on canvas

Deborah Griffin

to truly discover something new, you must dissolve all points of reference

Exhibition Photos - my exhibits:

The Jezebel Hussy & The Spy

76.2 x 50.8 cm, b&w print, acrylic, aluminium

Haunting This Place Alive

80 x 80 cm, oil on board

Physical Medium: Case Study I

37 x 27 x 8.7 cm

leather bound wooden case containing six 15.2 x 10.2 cm b&w prints on aluminium

collaboration with Stan

Tim-Lay-Lav

20 x 25 x 18 cm, air dried clay

The Man Whose Name I Dreamed

21 x 30 cm, wire bound book, hand-sewn cover

Thornhide

76.2 x 50.8 cm

b&w print, acrylic, aluminium. Leather mask made by Stan.

The Speed At Which Things Happen

80 x 80 cm, oil on board

Videos:

Physical Medium

The Jezebel Hussy

Thornhide

Ectoplasm Prints #1-9

30 x 21 cm each, b&w prints on handmade paper

Starting From Scratch

20 x 17 x 9 cm

hand tooled, leather bound book containing

nine 12.7 x 10.6 cm b&w prints on aluminium

collaboration with Stan

Private Views

Jo reading The Man Whose Name I Dreamed

Marnie

Marnie photographing photo of Marnie

The McCarricks

Click this link for full set of exhibition photos on Face Book.

Exhibition venue:

Arbeit Gallery, 4 Helmet Row, London EC1V 3QJ

Physical Medium

 

Physical Medium from Gaynor Perry on Vimeo.

Physical Medium: Deborah Griffin

Music: Bend by The McCarricks – with their kind permission.

Photography, film & concept: Gaynor Perry

Physical mediumship is defined as the manipulation of energies and energy systems by spirits. This type of mediumship is said to involve perceptible phenomena, such as loud raps and noises, voices, materialised objects, apports (objects said to appear or be transported to the séance room through supernatural means), or even materialised spirit bodies and body parts, including hands, legs, and feet. The medium serves as a source of power for these spirit manifestations, which, by some accounts, are achieved through the energy or ectoplasm released by the medium.

In 1944, Helen Duncan became one of the last individuals to be convicted under the Witchcraft Act of 1735, a law that criminalised falsely claiming to summon spirits.

Resembling cheesecloth, ectoplasm is described in spiritualist practices as being light-sensitive and capable of being produced only in a darkened room. Emitted through the body’s natural openings, it is said to serve as the raw material for spirit manifestation — though it is widely regarded as part of pseudoscientific beliefs. In this series of photographs and film, Deborah Griffin skillfully portrays the physical medium. Mediumship weaves a complex narrative of belief and need, rooted in a long history and often associated with the emancipation of women.

The Witchcraft Act remains technically in force in Israel, having been introduced under the British Mandate over Palestine. Israel gained independence before the law was repealed in Britain in 1951. In South Africa, the Witchcraft Suppression Act of 1957, modelled on 19th-century colonial laws derived from the Witchcraft Act of 1735, is still active, albeit contentious in modern times.

To be alive is to move through a series of transitions. From conception to extinction, life is never static. By embracing these ever-changing states and resisting the comfort of certainty, we open ourselves to a vast sea of possibilities — free to navigate inner transformations without the constraints of predetermined outcomes.

Tim-Lay-Lav

Tim-Lay-Lav – 80 x 80 cm, oil on board

Tim-Lay-Lav

An old expression which means coming up a bit short in your back, or not feeling very good.

There’s a train made out of a cardboard box. A little girl is sitting hunched with her back to me. She says she is feeling tim-lay-lav.

A Dream

Tim-Lay-Lav #2 – 20 x 20 cm, air-dried clay

Slaughtered Spies

A long, narrow courtyard that was once the headquarters for spies is now unoccupied. There is no need for spies anymore because the world is functioning without secrets and no longer requires espionage. The government has, therefore, executed the spies to remove all trace of previous corruption, wanting to start anew. 

A game is invented making use of the long, narrow courtyard, now desolate apart from two officials. Black bin bags containing the remains of the slaughtered spies are laid out in two lines, perhaps ten bags in each row. There are two tyre swings, and the arc runs the length of the courtyard. 

The aim of the game is for the two officials to swing into each other, causing one another to knock into their bin bags, with the bin bag then being removed. 

Whoever has the most bin bags remaining wins.

A Dream

3D scan