there is a silence
© Photo by: Tiu Makkonen
Landscape oriented photo, showing a large arched stained glass window above the altar space at the end of the aisle in a chapel. There is a large clear perspex tank at the altar, filled with cylinders of ice, and a white woman with red hair and a coral pink dress is resting on the ice. Light is coming through the stained glass. There is LED striplighting on the floor and candles forming a path to the altar. From the performance of 'there is a silence', as part of Take Me Somewhere and the Adrian Howell's Award for Intimate Performance.
© Photo by: Colin Davison
Landscape oriented photo. In Baltic 39, a gallery space. There is a double bed entirely enclosed by panels of wood and doors. Inside the bed is made and looks cosy and inviting. There is a swag across the entrance preventing entry. On the walls inside are various curios and artifacts from the artist's life.
there is a silence promotional
© Photo by: Tiu Makkonen
A landscape oriented photo showing a white woman with red hair standing with an old fashioned walking stick in a river, on the ledge of a small waterfall. There is a large copper bowl filled with fire at her feet. She is wearing long coral coloured robes and is holding one hand out at hip level. There is a wall of stone behind her, the colours in the photo are grey and soft green and blue and black.
Amy Rosa is an award-winning artist based in Scotland. She makes live art, intimate performance, large scale sculptural installations, writing and photographic work about her experience of the world as a Disabled woman living with multiple chronic illnesses including Fibromyalgia and complex PTSD and speaks on panels on topics such as disability, class and living with multiple barriers.
She enjoys playing with perception of time and how it can be altered and explored through quiet, repeated acts and heightened states of reality. The act of installing structures for the purpose of meditation and reflection and creating symbolic action based works stem heavily from her personal fascination with ritual and nature and her own familial history of witchcraft.
She is in a position as an artist not only to provide vital representation for those who are often sidelined but to help lead the conversation on changing how Disabled people are seen and treated by society and governments. She wants to open up conversations around access, the politics of being a disabled person in the current hostile political climate and the other intersections of modes of oppression many of us experience.
Photo Credit Tiu Makkonen
“Much like the condition itself, the origins of the work remain unknown, and the audience are left alone to piece together their experience of it. Trying to find the language to explain this is difficult, with the piece spinning on the very idea of the unsayable, uncommunicable… I only graced it for a while. Caught a glimpse of something – then left. What I saw doesn’t exist anymore. It’s already gone. The body in change. It’ll never come back again. Bodies always changing, slipping from view, growing into something else.”
Andy Edwards, Exeunt Magazine