DIY 14: 2017 - Documentation

28 professional development projects across the UK and Ireland run BY artists FOR artists

DIY 14: 2017 offered artists working in Live Art the chance to conceive and run professional development projects for other artists.

28 projects took place across the UK and Ireland (and Transylvania) between July and November 2017, produced in collaboration with 26 national partner organisations. Projects were additional supported by Jerwood Charitable Foundation, and through the Diverse Actions initiative from Live Art UK.


More info about DIY.

More info about DIY 14: 2017


Ranging from GPS Embroidery in Jersey to eco-centric performance in Aberdeenshire, from the performance of the Islamic faith in London to radical body art in Brighton, and from an exploration of otherness in Dublin to a human flea circus in Stockton, DIY 14 included some of our most unusual and transformative projects yet. Here we present selected feedback, images and video documentation.


Catherine Hoffmann: Maybe Jumping Is Enough

Lizzie Philps: GPS Embroidery

Bedfellows: SEX TLK MTG (Sunrise to Sunset)

Daniel Oliver: MAX DYSPRAXE's Performance World Neurodivergent Revolution Fun-time

Feedback from lead and participating artists

'It was incredibly validating to share my practice with others who care about these themes already, and enriching to discover the overlaps between our approaches to them' - Lizzie Philps, lead artist (GPS Embroidery)

'Facilitating this retreat was an incredibly stimulating and enriching experience. I think it had some of the most profound learning of my journey as an artist so far' - Peter McMaster, lead artist (Performing Landscapes)

'Running the DIY has reinvigorated my sense of freedom in my own practice' - Susan Merrick, lead artist (Your Neck Of The Woods)

'It gave us a chance to test methodologies that we have been developing for several years with a group of people who have very different skill sets to ours, in an environment that supported genuine exchange' - Johanna Linsley and Rebecca Collins, lead artists (The Felixstowe Affair)

'This was one of the biggest pedagogical spaces I’ve organised as a facilitator; I feel like it’s really given me confidence in my skills to support artists on a larger scale and in other ways' - Paul Hughes, lead artist (Men From Behind)

'Running the DIY has been a positive and affirming experience, it has reinforced and highlighted the fact that as ageing artists we deserve a voice and can look at and design our own working model for ageing on our terms' - Giovanna Maria Casetta, lead artist (Help The Aged)

'I did not know that the work would be healing, and I greeted this reflection with enormous swelling gratitude' - Sara Zaltash, lead artist (Approaches to Embodied Islam)

'The workshop was incredibly valuable in bringing new voices to our discussions. It is always useful and energising to meet people working along similar lines and building new relationships from this position' - Appau Jnr Boakye-Yiadom, lead artist (Sounding In, Sounding Out 2.0)

'We learned how important time spent together was, how labour brings people together, and how these things help create spaces of safety and care' - Sheaf+Barley, lead artists (How To Build Boats And Influence People To Build Boats)

'It was a humbling experience to work with such talented and devoted participants' - Sheree Rose, lead artist (Methodologies in Body Art)

'We and the participants were learning from each other in very indirect and direct ways (language, gender politics, artistic references, ways of moving etc) and the way in which we were learning was queer - it was unfocused, lacking in shape or even tangible content and in this way shared many strategies with live art practice and queer methodology' - Jessie McLaughlin, lead artist (We Are Family FC)

'Seeing other artists experience shifts in their perspective of their work, their artistic identity and what they feel their work is for was extremely gratifying for us' - Rachel Mars and Greg Wohead, lead artists (Locating Your Own Audaciousness)

'I noticed that most of the participants talked about coming on the workshop to carve out space for themselves outside their many commitments. To talk, to listen, to belong, to simply be' - Katherina Radeva, lead artist (On Otherness)

'Our time together opened up a very real dialogue and has spawned ideas including an art trip to the Feis Ile (a whisky festival in Scotland) and the takeover of a derelict church in Florence...' - Zoe Toolan, lead artist (Whisky - The 'Spiritual' Art of Getting An Artist Out Of Their Head)

'It has made me really think about, perhaps for the first time what it means to be a mother and an artist' - Participant (GPS Embroidery)

'It clearly demonstrated that live art continues to be as relevant as any other medium that takes poverty and class as its subject and from the perspective of fighting class shame' - Claire Brumby, participant (Maybe Jumping Is Enough)

'Through my experience in the floatation tank I became sensitive not only to what I was perceiving but how I was perceiving it. This has led me to question whether my own experience of reality is the norm, and if not, is there a way for me to convey my perception of reality through my art form' - Participant (Creative Neurophenomenology of Perceptual Phenomena)

'I’m so grateful to you for giving me the opportunity to participate in DIY Help The Aged, to meet a delightful band of retrobates and to enjoy some shared fun whilst considering some extremely serious issues' - Participant (Help The Aged)

'Fantastic few days in Folkestone reimagining the economy in the shape of a uterus, reading, thinking, working hard, singing money based karaoke and squeezing in two amazing sea swims!' Calre Qualmann, participant (Marricksville School of Economics)