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.

94 EEFE8 F 7742 4700 B07 C 7 AB84737 D3 DB
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

In the Shadow of Things by Christian Caujolle.

Published in Ojo de Pez in March 2009

Léonie Hampton – In the Shadow of Things.

Written by Christian Caujolle.

Published in Ojo de Pez in March 2009

Christian Caujolle studies under Michel Foucault, Roland Barthes and Pierre Bourdieu in Paris. During the 80s he was photography editor for ‘Liberation’, a time when the newspaper was acclaimed for its bold use of photography and design. He then went on to found the French photography agency Agence VU, which he continues to run as an artistic director. He is an internationally respected writer and critic on photography.

In the course of the last ten years we have witnessed a proliferation of works in which artists, most of them women, have sought to construct self-portraits around often trivial details of their everyday lives. There have been so many works of this kind that they have begun to lose interest. The approach they adopt is self-centred, narcissistic even, the worlds they describe of interest only to the artists who produced them. As time has gone on, these works have become repetitive, their iteration of ‘I’, ‘me’, ‘I’ merely stylistic, an increasingly hollow fashion, betraying only the feeblest understanding, if any, of the work of Nan Goldin. Although she appears in a good many of her pictures, Nan Goldin did not consider the ups and downs of her daily life as works of art: she was giving an account of the particular life which was hers and especially that of her friends of both sexes, people on the margins, drug addicts, homosexuals, transvestites. Her ‘family album’ contrived to cast a direct and sensitive light on a part of society which up until then had been covered up, judged or treated in a pitying way by photojournalists who found in it ‘subjects’ often not without sensational appeal. It was a far cry, in other words, from the smug repetition of scenes featuring heaps of messy underwear alongside sinks overflowing with dirty dishes to which we have been increasingly treated.

From this convention of over-valuing the banal Léonie Hampton breaks away entirely, and her work comes as a welcome breath of fresh air. It is a slow study of her family, and it is still in progress. Her family’s situation is very particular: her mother suffers from a rare and almost incomprehensible condition which leads her compulsively and alternately to arrange things in as perfect an order as possible and then quite suddenly to reverse this and return them to a chaotic disorder whose logic she alone understands and governs.

Léonie Hampton follows her family in their daily lives as she visits them, but reveals in an extraordinary freshness of approach, working in a flexible and natural way, using colour and ambient light, and no artificial effects. This lets her garner moments of tenderness, children’s games, instants of anguish and pain, things in a mess and then things neatly stacked. She does all this with a subtlety of colour which makes each instant unique, whether shot inside or outside; she does all this without creating any sort of show, displaying instead an elegant and simple capacity to change the distance from which she photographs, free from all dogmatism and always finding the right tone and angles. Her work presents us with neither a carefully constructed ‘project’ didactic in intent, nor a sketchbook of impressions. It simply invites us to share emotions, instants, scraps of life articulated in a natural fashion within the framework of the family, which is the only constraint Léonie Hampton seems to impose on herself. This is not a narrative or a story, strictly speaking. Rather, it follows life and its threads as they weave together; taking us far beyond mere demonstration and making us each look into the real world.

In its documentary approach, pursued with humility, Léonie Hampton’s work could be said to be reminiscent of Nick Waplington’s early work on his parents’ neighbourhoods (effectively a way of talking about his own family, but her manner is less jarring. Again, while it may be similar thematically, it has nothing of the direct and disturbing quality of Richard Billingham’s depiction of his fathers decline. Léonie Hampton’s treatment is unique, truly personal. This is perhaps because by immersing herself in families in Rome, London, Cuba, Los Angeles and France, she has already confronted the need to make herself forgotten as the photographer in order to disturb the course of everyday life as little as possible and therefore successfully capture those ‘little nothings’, which take us back into the depth of actual life.

This time, her work is about her own family. This changes nothing in the subtlety of her treatment or her attention to light. But it changes a great deal for her.