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

So Close by Christian Caujolle

Concerning In the Shadow of Things, written for Foam Museum Amsterdam, exhibition booklet 2009

Christian Caujolle 2009
So Close
Concerning In the shadow of things

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.

It is more about a visit, about the invitation to a visit, than a description. It is
more about a place, simultaneously open and closed, made of light rather than
being the description of the space that one passes through or occupies, and
which draws the eye before it even radiates susceptible vibrations. It is not
functional, practical or social. It presents itself simply as a receptacle for plants,
bodies, animals, objects, people and clothing that the frame links together
without really defining its function. Space that is floating and at the same time
very real, in which the emotions organise the tension between fiction and reality,
dream, nostalgia, the passage of time and experience, sometimes difficult
because of an unusual situation.
It is a simple, obvious and eminently complex story. It is the story of Leonie
Hampton and her family, who are experiencing a very particular situation as the
mother suffers from a rare condition, difficult to understand, which prompts her
to obsessively put things into the most perfect order possible, then suddenly to
return them to a state of disorder, herself being the only one to know and to
invent the underlying logic. A logic of chaos, of anguish, experienced everyday
by the bodies that live and express feelings, highlights the troubling presence of
her young brother, in full adolescence. It is the result of Léonie’ visits to her
family, of her apprehensions and of her little pleasures, of her uncertainties in a
world that seems to float and escape, incapable of finding any stability, and
which lands back on its feet, incomprehensibly, when one quietly folds the
washing as per usual. And close by, the accumulation of papers creates disorder,
an eerie protection and reassuring labyrinth, but without an end anywhere. Time
settles into a rhythm that is no longer that of the clock, of sequentiality. It
acquires its own internal logic, sometimes gentle, sometimes worrying, and it
manages to organise the somewhat unstable basis of this universe, in which the
immediate strangeness quickly makes room for the possibility of construction.
We will not get to know a great deal about this family, to which we are perfect
strangers, and this is hardly important, as it simply becomes the framework,
indispensable to the artist, for our interaction with another world. It is the matter,
it will never be the “subject”. Even less so since it is in the perpetual evolution
of things, in the comings and goings, in the decision to pursue, in the personal
and artistic necessity to take things “in progress” (not only a “work in progress”,
but a “situation in progress”) that everything is acted out.

It is always very tempting, when faced with a work that diverts and actually
refuses classification, to compare it with works that predate it or which exist in
the same era. One is therefore much tempted – even more so because it is about
a tradition derived from English documentary making – to think that in a more
abrasive manner Léonie is presenting a variant of the first works by Nick
Waplington, innovative in terms of their social approach, on the neighbours of
his parents (thus becoming a way of speaking about his own family) or of
Richard Billingham’s direct and disturbing portrayal of the breakdown of his
Both remain, with undeniable sincerity, spectacular in refusing the contradiction
between private and public, a wild willingness to escape conventions, dates and
references. Yet their call, which also knows how to link pain and humour, in the
end has nothing to do with the subject, or the process, of Léonie. Whilst they
affirm, she questions. Whilst they do everything to emphasise, she merely
sketches. Whilst they choose to be harsh and direct, aiming at revelation by
evasion, she adapts flexibly to the situation, lets herself be forgotten, whilst
remaining incredibly present and indispensable as this world is simply
inaccessible to us without her.
And in this way she escapes another convention – or fashion, already obsolete
elsewhere – of recent years, which has seen repetition ad nauseam, the vacuity
of essentially feminine, navel-gazing, egoistic works that border on autism, that
have attached themselves to the personal “surbanalism” of the everyday life of
the artists, to “nothing” but an exacerbated “I” with which we in the end have
little to do. Léonie, by virtue of delicate and fair-minded tonality, by using little
halftone music sometimes injected with painfully shrill notes, stands directly
opposite these practices, which reveal little more than a self-analysis that is
doomed to fail, exactly because it is narcissistic. Léonie breaths in time
with the very rhythm of what she photographs, without a formal plan, out of
pure necessity, out of a vital determination.
It is here that the formal, aesthetic relevance intervenes, self-effacing even
though it is essential. It is characterised firstly by the fact that, in a sensitive
manner and without any approach being privileged, the relationships between
the images come together to create, much more than a panorama of a situation, a
questioning of the place of she who comments on it and of the position of the
viewer. Delicately, Léonie succeeds in avoiding us becoming voyeurs of her
family at any moment. No misery therefore, simply feelings. It is by returning,
at the exact moment when photography’s time seems to come to an end and
where we are caught up in the crazy spiral of the image in all its meanings, to
the fundamentals of photography that Léonie achieves this little miracle: she
writes with light. And the world inscribes itself on her film, as in the early days

of the “heliographic image”. Without nostalgia however, without any subject
other than the proof of the moment that makes the lit indoors of a greenhouse
sparkle like a fairytale universe, simultaneously desirable and possibly
disturbing, and that makes the deep red plant matter acquire the same sensuality
when seen close-up, yet different, as that of the skin of a sleeping adolescent
when the vibrating rays of light mark out a landscape on the wrinkled skin of the
This is how the colour takes on all its meaning. A colour without any stridence,
a colour retained, deep, organic, from which the world seems to draw its own
material so that one’s gaze can glide there, curl up there, even if it encounters
irritating surprises, whilst everything seems to fall very nicely into its place.
So what is it all about really? It is simply about a key providing access to a
universe. About preventing us from becoming blind and indifferent, about
keeping our senses alert. About the simple, generous gift to a world that is
capable of unfolding itself as soon as we know how to attach ourselves to it, that
is to say, to pay attention.