c.2023
4 ‘skin’ sheets cycles unbroken by location, connecting repetitive acts of living and washing laundry.
c.2023
40x48cm
Galvanised Steel
A excavation of timeless universal symbols that connect us. King lives in London with his partner Nell, a writer and their dog, Maggie.
By entering a club space are you inviting others to objectify you? Ellen Oliver’s dance piece ‘AFTERS’ delves into the complexities of the female party experience. The work explores the tension between becoming part of the experience rather than being an active participant.
Originally conceived as a group piece in Germany last year, inspired by Ellen’s time in british promoter clubs and Berlin nightlife, ‘AFTERS’ has now been adapted into a solo performance, offering a personal reflection on these themes.
Creative Assistance and Improv Performers:
Erin Cottrell & Susie Dore
Composer: Patrick Heardman
Promo Images: Cam Ivor
Costume: Alison Oliver
Originally conceived as a group piece in Germany last year, inspired by Ellen’s time in british promoter clubs and Berlin nightlife, ‘AFTERS’ has now been adapted into a solo performance, offering a personal reflection on these themes.
Creative Assistance and Improv Performers:
Erin Cottrell & Susie Dore
Composer: Patrick Heardman
Promo Images: Cam Ivor
Costume: Alison Oliver
c.2024
45/70/200 cm
This work initiates a broader body of work exploring post-humanism as a conceptual space for decolonising identity. In a reimagining of the white flag, Surrender acts as a transitional marker, urging viewers to pause, confront, and negotiate the colonial, Eurocentric binaries of violence and domination embedded in Western conceptions of being human.
Amid diasporic complexities of globalisation and creolization that fragment identity, and neo-colonial systems of borders and nations that severely restrict mobility for subaltern communities, the piece proposes a departure from being human—a symbolic shedding of skin as a liberatory act.
The flag’s shape is derived from a UV map (a digitally rendered 2D topographical projection of a 3D form) of a human head. Its surface is marked by a hole positioned where a bindi traditionally rests, referencing this ancient Indian symbol for ‘the point at which creation begins’ to suggest an opening of new possibilities. Crafted with aluminium—a non-corrosive, widely used metal rooted in extractive colonial histories yet vital to contemporary and future technologies—the work presents the material's illusion of structural strength with its extraordinary malleability, mirroring the fragility and fluidity inherent in this transitional era.
Artist’s Note:
By including themselves in the materials list (ekabo donyi & aluminium), the artist rejects human-centric hierarchies, reframing creation as a collaborative dialogue with materials. This act aligns with decolonial and post-anthropocentric thought, emphasizing reciprocity over utilization.
Amid diasporic complexities of globalisation and creolization that fragment identity, and neo-colonial systems of borders and nations that severely restrict mobility for subaltern communities, the piece proposes a departure from being human—a symbolic shedding of skin as a liberatory act.
The flag’s shape is derived from a UV map (a digitally rendered 2D topographical projection of a 3D form) of a human head. Its surface is marked by a hole positioned where a bindi traditionally rests, referencing this ancient Indian symbol for ‘the point at which creation begins’ to suggest an opening of new possibilities. Crafted with aluminium—a non-corrosive, widely used metal rooted in extractive colonial histories yet vital to contemporary and future technologies—the work presents the material's illusion of structural strength with its extraordinary malleability, mirroring the fragility and fluidity inherent in this transitional era.
Artist’s Note:
By including themselves in the materials list (ekabo donyi & aluminium), the artist rejects human-centric hierarchies, reframing creation as a collaborative dialogue with materials. This act aligns with decolonial and post-anthropocentric thought, emphasizing reciprocity over utilization.