During her residency Felicity Allen will be working to complete a video project with two anonymised artists, Clare Lite and AMAL ANON. ANON is a Syrian artist living in Damascus, Lite is living in SE England, and together they have been swapping mobile phone footage, photos and recording Skype conversations. Allen is working on making a video work to conclude the project, to be screened as work in progress at CPG London as part of The Everyday Political in July 2018, an exhibition curated by George Vasey. As it is impossible for ANON and Lite to visit each other’s countries, Allen subsequently plans to raise funds so that they can spend a week together irl in Beirut to make a final cut.
On leaving a full-time role in education at Tate in 2010, Allen developed a methodology she calls Dialogic Portraits. A current series is with the group Refugee Tales, with whom she is making visual and textual portraits of activist support workers and asylum seekers. She continues to make work that explores her concept of The Disoeuvre (a neologism she invented) which sums up her own artistic biography. To quote from her series of 15 prints, The Disoeuvre: an Argument in 4 Voices (WASL Table),
People positioned as peripheral to the production of culture have to work socially and institutionally as well as in the studio in order to make work, to change the structures to allow them in, and to educate others to help make their work, first, visible, and second, enduring.
Since 1978 Allen has been working in the studio, the social and the institutional, making a practice that combines art, writing, and education with curation.