Photo 2021 09 27 12 34 36
posted: 27/09/21 14:37


We are crowdfunding to take the NO NEW WORLDS sculpture to COP26 in Glasgow in November and need your help to make it happen

IMG 6056
posted: 20/05/21 16:52

New Solo Exhibition by Léonie Hampton opens at RAMM Museum 18th May- 5th September 2021

Commissioned to complement the touring exhibition Seedscapes: Future Proofing Nature, Léonie Hampton’s body of work engages directly with the ecological emergency through a series of photographs that celebrate her vegetable garden, her family and friends, and the seeds in the collections at RAMM, Exeter. The exhibition is runs from 18 May to 5 September 2021. See here for more information.

Melinda and steph
posted: 24/11/20 10:15

Event: Indigenous Artists Panel

Still/Moving and Survival International in partnership with Dr Stephanie Pratt and Melinda Schwakhofer, invite the artists Cannupa Hanska Luger, Candessa Tehee, Ian Kuali’i and Jules Koostachin to discuss the complexities of the 400 year Mayflower history and their individual artist practices, in a panel chaired by art historian Dr Stephanie Pratt.

When: Tuesday 1 December 2020 At: 16:30 – 18.00GMT

Free Eventbrite link: CLICK HERE

During the month of November we have created multiple spaces for indigenous voices to be AMPLIFIED. Please submit a short quote responding to: ‘Tell us what the history of the Mayflower means to you.’ By following the links below or emailing us directly on these will be added to the NO NEW WORLDS tags which are written and tied to the sculpture in Plymouth UK, and posted through social media: /StillMovingCIC & @StillMovingCIC

Through the Survival International Map:

Top banner for email large MPH
posted: 11/11/20 17:43

Still/Moving IN CONVERSATION: Dr Stephanie Pratt and Survival International this FRIDAY

Marial Quezada from Survival International, Sam Maltais, (Aquinnah Wampanoag), Dr Stephanie Pratt (Dakota) and Still/Moving will discuss the current campaign, #Mayflowers Kill. This conversation will introduce November’s Native American Heritage Month, and reflect on the place of NO NEW WORLDS and other artworks within commemorative programmes such as Plymouth UK’s Mayflower 400 Commemorations.

When: Friday 13 November 2020 At: 16:30 – 17:30 GMT

Free Eventbrite link:

Speedwell Still Moving 6586
posted: 12/10/20 11:33

Speedwell 'Starter Tower' Talks Program

Throughout the duration of Speedwell's installation on Mount Batten Breakwater a series of 'in conversations' will be held between Still/Moving and invited speakers to discuss some of the themes raised by the project. The talks will be live-streamed online. Click here for a full list

Next up: Still/Moving IN CONVERSATION: 'Connections' with Marianne Brown 16.10.2020 @ 13.00

posted: 25/09/20 11:28

' hold me beside you ' A Site Specific Installation at Plymouth Art Weekender, 24 -27 September 2020

hold me beside you is a unique installation by Still/Moving for this year's Plymouth Art Weekender: 24 -27 September 2020.

The 2-metre distanced illuminated words respond to the experience of the COVID-19 pandemic. The site-specific installation explores the tension of proximity and risk in the physical structure of the Plymouth Citadel’s former gunpowder store. Originally created for The Box's 'State of Emergency' micro commission the words have been reconfigured to magnify our state of isolation and our dependence: our need to keep distanced, coupled with our longing for interconnectedness, revealing a shared vulnerability in the face of the unknown workings of the virus.

The work hangs on the north wall of Duttons Cafe, located above Elphinstone carpark which is one of the best places to see Still/Moving's other project Speedwell, on the Mount Batten Breakwater.

Speedwell Still Moving 6493
posted: 07/09/20 15:38

Speedwell is Live!

Speedwell is exploring the idea of 'no new worlds'.

For the settlers on the Mayflower who felt they were sailing to a new world, it was a world that had been inhabited for many thousands of years by indigenous peoples who were greatly impacted by the arrival of the Mayflower and subsequent ships that followed.

We wanted to challenge that idea and to uncover previously overlooked stories of the Mayflower sailing but also to remind people that we only have this world and we need to look after it.

Come and add your voice to the structure either by filling in a tag with one of our volunteers or by adding your voice on our text and audio link

Speedwell's Poignant Message - Plymouth Herald

Re-Informed on the Mayflower 400 website.

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posted: 29/08/20 08:30

Speedwell, A Mayflower 400 Commission to Open on 4th September 2020

Speedwell, a large scale light installation funded by Plymouth Culture and the Arts Council, will open on Plymouth's Mount Batten Breakwater at dusk on 4th September 2020. Currently under construction it can be clearly seen growing on the horizon from the Hoe and the Barbican. See Speedwell Project page for more info.

Still Moving Rogers Wholesale 0200
posted: 19/08/20 11:30

'touch' by Still/Moving, "A State of Emergency Commission" by The Box, Plymouth's new Museum

Still/Moving have been awarded a State of Emergency Commission by The Box, Plymouth's new museum, art gallery and cultural centre. The project titled 'touch' explores the two metre distance of safety forced under the pandemic regulations, a distance which paradoxically shows care through remoteness while enforcing isolation, yet in cases of coercion, hides from view those subject to a cruelty of touch.

The work explores these spaces, navigating from the distance of the horizon to the proximity of the home; the local. Moving through levels of intimacy and forms of touch from the caress of a lover, the lifting of a child to sharing a companionable proximity, the phrases ‘HOLD ME’, ‘TOUCH ME’, ‘BESIDE ME’ will be created using a low voltage LED technology.

The Box will open to the general public on Tuesday 29 September

Leonie and Kestor cropped
posted: 19/08/20 00:21

Léonie Hampton commissioned to create new work in response to seeds in Exeter Museum, RAMM’s collection

Still/Moving's co-founder Leonie Hampton new commission from RAMM, will explore the Exeter museum’s collection of seeds and herbarium sheets in dialogue with her own photographs of seed experiments, the garden and family. Creating a ‘story about love, growth, family and the archaic wisdom of plants’ the new artwork will place Hampton’s photographs of living and growing plants alongside that of the collected, dried seeds in the museum.

See: RAMM Museum for more info

JM Colberg Interview with Léonie Hampton

Concerning In the Shadow of Things, published Foam Magazine Autumn 2009

JM Colberg Interview with Léonie Hampton

Interview for Foam Magazine Autumn 2009 edition

Q: The largest section of work in your portfolio is dedicated to portrayals of families in various cities. How did you get interested in this?

A: I don’t know if I was ever interested in portraying ‘whole families’ more that I felt ex- cited to work within four walls and closely with the same group of people. I saw the work of Richard Billingham and Nick Wapplington, and I felt inspired to follow their lead by work- ing within the family. I looked at a lot of photography at this time, and this approach woke me up and got me excited to take pictures and start to find my own language. I wanted to cherish this approach and use it to explore and find my own questions. ‘Family’ is a fairly universal subject of interest. As a child I used to love looking through old family albums building narratives around the pictures. I’d stare at the pictures pretending that I knew the people that were now dead, and I’d imagine their lives. I think photographing within the family unit was an instinctive choice, a way that I felt comfortable to photograph strangers that then became friends.

Q: “Access” seems to be the magic word for photographers. How did you find those fami- lies and how did you convince them to let you be a spectator of their life?

A: I’m always asked this question. It’s very simple. I just show people my work. They like it and want to be a part of it, or they don’t. I find this first approach terrifying. But as of yet, no one has ever said no. You must give people pictures of themselves. This is really impor- tant to build trust, and as a result further doors normally open. I also take time to be more than just a passive spectator. I’ll do my best to pick up the family rules and quirks and, where appropriate, offer what I can to contribute. Reading with the kids, teaching English. Whatever is appreciated. I try to share myself with them, to give a little back in return for all the generosity and openness given to me. I also try to pay attention to when I am not wanted around. For a brief while I try to become a part of the family, and far more time is spent just being with them and getting to know one another than actually taking pictures. But when I do take pictures I am not trying to be invisible. I am the photographer, that is my role. Do my subjects ever ‘perform’ for me? Some perhaps do, others carry on as nor- mal. But I notice that by taking the role as the witness, people seem to become themselves. People are often genuinely surprised that I’m interested in them and their lives, and they realise they’re actually quite proud of what they have. That’s certainly the bit I’m interested in.

Q: With “In the Shadow of Things”, you’ve now turned your camera on your own family. What made you do this?

A: Because I believe that this is not a dress rehearsal. This is it. It’s my family that I care most about. I came to a point when I wanted to face things that needed to be faced. I needed to see if I was able to make sense of some of the unsaid problems that seemed to be holding us all back. I see the process like walking into a house and going from room to room, opening all the windows and doors to let fresh air flow again. It was never a con- scious intention to photograph other people’s families and then my own. But I think that working with other people slowly reassured me that ‘love’ in a family is by no means the one dimensional love we witness time and time again in mainstream blockbuster movies. I feel privileged to have glimpsed some of the odder facets of love in other people’s lives. This ultimately gave me the courage to look at my own little nest.

Q: With other people’s families, as an outsider the photographer might be shut out from a lot of what is going on. But inside one’s own family, one might know too much. Doesn’t this make portraying one’s own family hard?

A: You take that knowledge with you wherever you are, and it influences the way you see your own family or other people’s. I aim to overcome this, and I hope to photograph in a more instinctive and less informed way. I think this challenge applies to whatever I am pho- tographing- to empty one’s mind and respond in a simple and open way to what is in front of me. When I was photographing other people’s families I felt like I was trying to crack an egg, to get inside, while photographing my own family feels quite the opposite, trying to get out of the egg. I understand that sensation less in terms of knowledge, but more in terms of the intricate emotional terrain one steps into when photographing one’s own family. It con- sumes me emotionally, and I am trying to articulate those emotions, to make sense of them and then look to other horizons.

It has been interesting for me to realise that I’m not trying to ‘portray’ my family in the same way I did with previous families. This project is much more about coming to under- stand myself and my relationship with my mother who I have always been extremely close to. I am so much more invested in every image than I have ever been before. I think I might have ventured outside the ‘safety’ of the photojournalistic approach to photography, where the subject is ‘the other’, regardless of the photographer’s compassion. Yes, I have used my camera as a kind of shield to protect me during some almost unbearably intense times, but when I look over the images it has taken, it’s like looking into a very revealing mirror!