2017
2017
Creative Non-Fiction
2017
Furniture Design supported by the David Collins Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Jazz Composition supported by PRS for Music Foundation
2017
Furniture Design supported by the David Collins Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Live Art supported by the Yoma Sasburg Estate
2017
Jazz Composition supported by PRS for Music Foundation
2017
Creative Non-Fiction
2017
Essay Films
2017
Furniture Design supported by the David Collins Foundation
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Jazz Composition supported by PRS for Music Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Furniture Design supported by the David Collins Foundation
2017
Jazz Composition supported by PRS for Music Foundation
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Essay Films
2017
Essay Films
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Creative Non-Fiction
2017
Creative Non-Fiction
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Essay Films

Beth Collar

Live Art supported by the Yoma Sasburg Estate - Shortlisted 2017

Beth Collar’s Live Art practice is preoccupied with authoritative structures and how they manifest in society, using improvisational techniques to expose her subconscious and to “find truths”.
One such structure Collar explores is spoken word, often involving experimentation with bathos and the epic form to examine the influence of media and patriarchal structures, among other things, on her identity. Performances such as Brackish Seas of the Triassic (2013), and Like Valhalla (2013) see Collar “treating objects as agents”, using spoken word to provoke them into action. Conversely, in Hand of Glory (RCA, Jerwood Space, Cubiit; 2012-15) she turns herself into an object, exploring “all of the potential references within a saturated gesture” by recording a live feed of her hand, held in front of the camera for as long as is physically possible.
Since her residency at the Glasgow Women’s Library (2014), Collar’s performances have become places to process her research into feminist texts. Her current residency is at the University of Bristol where she has contributed to their project The Figure of the Witch involving the creation of wooden sculptures that through an ancient medium explore the gender politics of the ‘frown of the furrowed brow’ in contemporary imagery.