Tg image 746602433
posted: 27/03/23 12:46

In-tuition at the Plough, Great Torrington

Please join us for the preview of Still Moving's ‘In-tuition’, an exhibition of new work inspired by the Commons around Great Torrington.

The exhibition features sculptures, films, works on paper and found objects brought together to embrace magic as a space of intuition, connection and possibility. The title, ‘In-tuition’, describes the artists’ desire to learn, using sensitivity to nature and openness to the way that it might speak through us.

Preview: Tue 04 Apr 2023, 6:00pm

Exhibition: Tue 04 Apr 2023 - Sat 06 May 2023

The Plough Arts Center, Great Torrington, EX38 8HQ

Still Moving is an artists’ collective set up by Laura Hopes, Léonie Hampton and Martin Hampton

About the Exhibition

England is a land that has been subject to ‘capitalist sorcery’ for over 500 years; a psychic and bodily rift between people and the land resulting from the history of the Enclosures, the destruction of the Commons and the persecution of the Witches.

Great Torrington’s own history of the Commons dramatically inverts this story. An ‘area of waste called the Common’, was given to the people of Torrington in 1194. This was formalised in 1889, when the Common’s Act was presented in Parliament in ‘An Act for vesting Great Torrington in a body of Conservators’. These 365 acres of common land remain vehemently defended and remain central to the traditions and defiant identity of the town and community. The free access to the land they represent is vital to nurturing dignity, sovereignty and a magical, intuitive connection to nature.

Still Moving’s practice aims to explore these psychic and manmade boundaries, unearthing ancient and modern ways of being in the world, mysterious, open and interconnected. By paying attention to the material and spiritual aspects of land, we stand to learn from the reciprocal relationship between people, nature and commons.


Film Screening and Preview event

4th April 2023

To coincide with the opening of In-tuition, the Plough Cinema will present a free series of films made by the artists collective Still Moving. Running on loop throughout the evening of Tuesday 4th April, the cinema will be open for ‘drop in’ viewings. The preview will involve a Q and A at 7pm-7.30pm where Still Moving will be joined by some of their recent collaborators. This includes Dance Lab Collective (represented by Kerry Chappell and Pam Woods, both of University of Exeter) who will offer a short movement insight into the Kinasphere film-making process to open discussion.

The films

Kinasphere - Three dancers move between three choreographed worlds, scientific, urban and rural. There, changing environmental vernaculars entangle with the human body reminding us that we are in relation to the worlds around us and together become active agents of movement and change. Made in Collaboration with Kerry Chapell, Lizzie Swinford and Pam Woods. Funded by The Eramus+programme of the European Union (3min)

Continuous and all around us - A filmic collage of sound and image questions the ecological and sonic impact of housing developments in Pinhoe on the fridges of expanding Exeter. Made in Response to the practice of Sound artist Emma Welton. Filmed as part of Clyst Valley Regional Park's Routes for Roots project funded by the National Lottery Heritage Fund.(6.54min)

Zenae - The film takes its cue from ancient literature on matriarchal migration into Britain, reflects upon our ecological inheritance, and draws out a series of clues found in Greek, Roman, and medieval texts, including a late medieval poem about Syrian sisters’ flight to the then unoccupied islands of Britain. The film contemplates the stories of suppressed female worlds, and asks us to consider what their presence might offer our future. Made by Islands of Women Collective (Rose Gibbs, Alice Albinia and Léonie Hampton) Music by Full of Noises. Funded by Arts Council England (16min)

Our Body is a Planet - A short film that challenges the way we think of ourselves as individual genetically prescribed entities, independent from our surroundings. Without fungi and bacteria our bodies and biosphere would not exist; we are in partnership with the microbial world. Music by Meredith Monk, made in collaboration with the MRC centre for Medical Mycology. Funded by Arts and Culture University of Exeter and Wellcome Trust. (11.09min)

Worlding - The film explores how we might enter into a different relationship with land, nature and place in order to address the climate crisis that confronts us all. Funded by Take A Part, National Lottery Heritage Fund (10.38min)

Lacuna - The Colour of Distance - The orb travels a landscape, distancing its occupant by insulating them from sound, heat, wind, while at the same time utterly controlling them. Commissioned by OSR Projects for The Weather Station II (4.55min)

Traum - The camera enters the derelict landscape of the Lee Valley, London, UK, the site of the 2012 Olympics. Cut to a complex score by Isambard Khroustaliov the film proposes a way of looking through the surface of banal things to find new and surprising territories (16min)

(Total screen time 70 min)

At other times these films are available through our website


Still Moving live research space

4th April- 21st April 2023

Still Moving will create a live research space connected to the exhibition In-tuition which will reflect our conversations and encounters in and around Torrington. Please feel welcome to interact with the objects and let us know if you have suggestions or additional offerings.

Matter at Hand MG 7952
posted: 17/01/23 14:20

Matter at Hand at Foto Forum Gallery, Bolzano, Italy

Léonie Hampton of Still Moving's exhibition Matter at Hand opened in Foto Forum, Bolzano, Italy on 31 May 2022

MG 3016
posted: 17/01/23 14:20

Language of Seeds at Thelma Hulbert Gallery, Honiton

Léonie Hampton, A Language of Seeds,

14 January 2023 to 4 March 2023
A Language of Seeds is a series of photographs celebrating the artist Léonie Hampton's vegetable garden, family and friends responding to the Royal Albert Memorial Museum and Art Gallery (RAMM)’s botany collection.

posted: 17/01/23 14:18

ZENAE premieres at Tate St Ives

Zenae is a film made by in collaboration between Rose Gibbs, Alice Albinia and Léonie Hampton as the Islands of Women collective.
With Music by Full of Noises.

It takes its cue from ancient literature on matriarchal migration into Britain, reflects upon our ecological inheritance, and draws out the relationship between the work women traditionally do, caring for others, and the work of caring for the earth. It is inspired by a series of clues found in Greek, Roman, and medieval texts, including a late medieval poem about some Syrian sisters’ flight to the then unoccupied islands of Britain. The film contemplates the losses that rising sea-levels will bring, and through a focus on the natural world, seeks to find a ways of looking that promotes and protects a more nurturing approach to the land and our bodies.

DSC 1869
posted: 17/01/23 14:15


Pharmakon, a new bronze sculpture for the MRC Centre for Medical Mycology by Still Moving at the University of Exeter was unveiled on 4th June 2022

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


Mayflower Commemoration and Speedwell

Stephanie Pratt

Indigenous North Americans and Britain, where to begin?

Most people here in the UK wouldn’t understand what I mean by Indigenous North Americans and probably only recognise a terminology which I find repellent, which is ‘Red Indians’, said I suppose to distinguish us from the people of the Indian sub-continent. ‘It all happened so long ago’, is what I imagine people say to themselves when I bring up the issue of Britain and its colonisation of North America and the impact that this had and still has on the original peoples who inhabited those lands. There are often some nods in agreement that yes, sometime in the dim and distant past the English colonised the Atlantic seaboard of North America, but the colonies broke off and became the United States of America and it was the USA that took control of what had been Native American land. So, the history of the early phases of settlement doesn’t really matter anymore, right? But it does matter, and the Mayflower anniversary can be used to make that clear. The story of the colonisation of North America and the loss of Native American control begins with these early settlements, their relations with nearby Indigenous communities, trading, making alliances and waging war. It is also a history of treaties made and treaties broken, promises of respecting Native American rights quickly forgotten in the hurry to secure new territory for colonial expansion. Even after so much experience of betrayal, in the eighteenth century many tribes threw their lot in with the British, hoping that the Crown’s Proclamation Line of 1763, created at the end of the Seven Years War in America, would hold. No colonists could settle over the boundary along the Appalachian Mountains and all the lands beyond were to be held for the Native peoples ‘for as long as the sun shines’ etc. A dream come true at that moment but of course as soon as the ink dried on the document…. This is often cited as one of the reasons for the Revolutionary War outbreak and again Indigenous peoples are at the heart of the matter.

Some brief background. My father was Dakota and my grandmother, his mother, was from two of the bands/camps of the Bdewakaŋtuŋwaŋ, the Sisituŋwaŋ and Wahpetuŋwaŋ. My grandfather, his father, was from the Ihaŋktuŋwaŋna band, in the middle of the whole Nation of my peoples, all of whom were part of the great circle of seven fires, the Očhéthi Šakówiŋ, the name we gave to ourselves. It is so much grander and so much more accurate than any name given to us by outsiders, such as the name ‘Sioux’. My father left the American Indian Reservation (the name colonisers gave to those places where Native peoples were forced to live) where he was born when he was just a teenager and would never really fully return there but kept going back to visit and trying to find the connection, long broken by the boarding schools and forced assimilation policies. I didn’t know then when I was growing up in California in the 1960s and 70s about the massive relocation schemes inducing Native peoples move to the cities from their homes and families on the Rez which the US government was putting into place to ensure that bonds and connections and cultural identities would be demolished forever. I didn’t know where this ache within my heart came from. Now I am aware of the fact of transgenerational trauma and inherited pain caused by the heritage I have from my dear and long passed father. I imagine he knows somehow what I am up to now. Does he see somehow what is happening in 2020 all across Indian country?

Who are the Native peoples of North America to the British today? Many people would probably say that they have never met an American Indian/Native American or First Nations person. It is difficult to recognise us as there is no Native American ‘community’ in Britain like there is for others who have migrated here from places all over the world. And why should there be a designated place for us? Why should we find ourselves in a unified Native American/First Nations/Inuit community here in the UK? We were never thus on our original lands as we were often separated by differing geographies, languages, customs, cultures, enmities, and misunderstandings. The major way that Britain knows of Indigenous North Americans is via the media and popular culture, it’s the Lone Ranger and Tonto, it’s Princess Pocahontas from the Disney film, it’s the famous battle of the Little Big Horn with Custer’s troops surrounded by those angry ‘Sioux’ warriors and any number of Hollywood filmic representations which repeat those same tropes again and again. In the movies the heroes are almost always the settlers and army soldiers, while the surrounded and ethnically cleansed Native Americans are depicted as the aggressors. As a result, no one questions why these white men are so brutal to their adversaries or considers why those Indigenous warriors might wish to confront those seeking to invade their land.

Stepping back into Mayflower plans, it’s summertime 2017 and the year 2020 is on the horizon, the 400-year anniversary of the sailing of the Mayflower from England to America when early English settlers will set a process in motion that will change the world. I’m sitting around a table in Plymouth helping, advising others about what’s to be done. ‘We can certainly link it to the science units in our school’s curriculum,’ someone says. ‘It’s new technologies after all, navigational, mapping, geographies, discoveries.’ How can we bring it into all aspects of our curriculum?’ It’s science, it’s culture, it’s history, it’s maritime. ‘Great! It looks like we can do this thing.’ But as I sit and listen my heart sinks, and I ask myself silently, when we will talk about what Mayflower actually means? Yes, surely, we all agree, it is also about the Indigenous American peoples too, they are clearly part of the story. And what a story it is. But how well will that story be represented?

Personally, I’d just been through a series of planning meetings, school visits, events, conferences, exhibitions centring on another transatlantic anniversary in 2017, the 400 years since the arrival of a real, historical Native American woman we all call Pocahontas (adult name Matoaka) to the same place (England) where I, a Native American and Anglo-American historian, am now acting as cultural consultant to an events organisation. It was the commemoration of her time in England in 1617, ten years after she sees her country’s name was changed from Tsenahcommacah to Virginia. World building for some but world shattering for her certainly. Does this make it a New World? My feelings about that commemoration of Pocahontas in 2017 impinge on my feelings about Mayflower now. Both are profoundly painful to me in ways that are hard to describe. Number one is the fact that my Native American ancestry is Dakota and my ancestors lived in the Northern Plains area of North America, nowhere near Pocahontas’ Tsenahcommacah /Virginia or Marshapoag, and Saukatukett /Massachusetts where the Mayflower colonists eventually settled and I have no direct connection with any of their modern day descendants. What right have I to advise here? I don’t even look like the cliché of what a Native American is meant to be. Still, I try to make connections. My link to Pocahontas comes from a story told to me from my childhood. This has to do with my Dakota name given to me by my father as a baby name, it is Iyokapiwin, in our language, meaning ‘happy or lively woman’. He wanted to approximate the name Pocahontas (meaning ‘little lively one’ in her language). But Pocahontas/Matoaka may have been forcibly married to John Rolfe, may have been raped and perhaps was murdered. We do not know for sure from this long historical distance, but her people claim it is so. I want to reach her somehow and say how sorry I am that I might have misunderstood, might have been fed a line or simply wanted to honour her time here and her lasting influence without demeaning her untimely death. We work in the British Library to create a conference that will include people from her Nations, from her descendants. I don’t want to speak for her and yet I do speak and try to tell others why this is important. Why do we need to know about the Native peoples of North America, they ask? Why are they so important to British history, to the Mayflower? Because they are part of the story, they are the story now.

The experts talk about a kind of fatigue, a feeling on the part of people of colour (eg. the group now referred to as BIPOC – Black, Indigenous People of Colour) when they have to explain again and again what it feels like to be the recipient of comments or abuse or violent micro/macro aggressions concerning their supposed ‘race’ or ethnic background, how they have been profiled by law enforcement. I remember an incident from my working life as a University lecturer when the Dean of my Faculty explained to me, over my objections, that it is acceptable to say ‘Red Indian’ when referring to my ethnic heritage ‘because my friend from Nottingham University says it is, and he’s an expert!’ This ignorant condescension would be called out today; but the pain I felt then I feel again whenever Native American issues are dismissed as irrelevant. Perhaps now in an extraordinary year of global shared pain and difficulties, as we begin to face up to the cruel stain of racism on our human experience and histories, we can do better. I believe we can be free of the prejudices and judgemental attitudes that threaten to defeat hope, if we open our eyes, our ears and our hearts.

I move back to the early months of 2019 and again I hold a position as advisor and consultant to several individual projects all coming under the umbrella of Mayflower 400. The branding to begin with is sharp and by that, I mean it is cutting. There is no mention of Indigenous North American peoples on the main page of the website at this stage or in the blurbs about the programming and one needs to dig to find the references there. There is not much about what actually happened 400 years ago when that small ship left Plymouth and then veered off course to somewhere north of the intended landing place. Yes, there are Native peoples represented, the Wampanoag people of Mashpee and they are partners in Mayflower 400, too. Reassured, I go further into the webpages. Lots of people are there talking about enterprise and investment but I can find no place on this website where one might be allowed to deplore, to mourn, to grieve deeply about what was sacrificed, what was lost, what wasn’t recognised by the European settlers and what was going to be done in the name of God and civilisation.

I begin to work with Plymouth Museum and those curators/educators planning the opening exhibitions for the new extension called The Box which will include whole displays (guest curated by the Wampanoag of Mashpee and others) that will work to explain an Indigenous North American worldview, perhaps for the first time in a regional museum and in such depth. I am asked to give any guidance that I can as an art historian with specialisation in the European visualising of Native Americans and their cultures in the historical period. I want to see a whole exhibition created just to explain the power and beauty of Native American/First Nations and Inuit art. Don’t we all deserve something of that order? But I must remember that the displays are intended primarily to elucidate the Mayflower and its voyage, and the connections between the UK and the USA. This is the part that must be told first, we can think about the rest later. A stroke of magic comes through with the inclusion of a newly created wampum belt (and touring exhibition to accompany it) to give honour and voice to the Mashpee Wampanoag partners. The Box curators and educators are working flat out. I give them my support to the best of my abilities.

In the midst of this activity, I am asked to meet with a group of artists based on Dartmoor who have been selected under the Mayflower 400 banner to create a new temporary installation that will be placed on Plymouth’s breakwater. The news on the ground is that they want to create a large illuminated artwork that will spell out the words ‘The New World’ which will rest on the horizon and be seen over that expanse of water from where the city of Plymouth residents and visitors might stand. What did they mean by this phrase ‘The New World’? Was it to be stated suggestively or with a sense of historical righteousness? I was confused. For any Native American that phrase is loaded, for it speaks only of a European perspective, of a world that was ‘new’ only to those who weren’t living there already. But it was ‘new’ also in the sense that it was a new land to exploit. Perhaps this was the intended meaning? From the 1490s until the end of the nineteenth century wave upon wave of emigration, forced or otherwise, would take millions of people across the Atlantic to the Americas and the Caribbean, to displace, unsettle and ethnically cleanse many generations of Indigenous North American peoples from their own lands and homes. My thoughts circled around that phrase New World and why it was so impactful and yet dangerous. I came to believe that there never was nor ever will be a ‘New World’. Whether in 1492, 1607, 1620 or later, the idea of a ‘new’ world to explore/exploit and an ‘old’ world left behind made sense only to those with a vested interest in the colonial enterprise. And we are no longer in that frame of mind.

Almost immediately, the artists and I were able to meet up in Exeter. They were asking for my advice in an honest and impassioned way, they wanted to know how I felt as a Native American person living in the UK and they were giving me back my Indigenous voice in doing so. Was it appropriate or not to use these words now with all that we know about the impacts of colonisation and genocidal policies against my ancestors and myself? Their confidence in me and their openness to listening was one of the most uplifting moments of these last few years. On giving them my advice that the words needed to change, they responded instantly and with so much humility. I was bowled over for sure. I realised that more than any individual and more than any single perspective, an inclusive and revised representation and voicing would be needed for all of us involved in this bigger project to be able to tell the full story. They heard me so clearly. Together we could agree that 400 years ago impactful things did happen and we are still living in the ripples; and that things did change when Native Americans and Europeans encountered one another. For both communities the world enlarged. Perhaps the 21st century will see the world enlarge again. The COVID-19 epidemic and the ecological crisis remind us that only a common purpose will allow humanity to thrive. We can remake the world we live in, make it anew with a clearer and more conscious focus and we can look again at the past to remember what was done, to see it clearly for what it was, how it brought us to this point and to be sure that we do not make the same mistakes again.