Swollen Utopia a conversation with Sean Campbell and Morwenna Grace Kersly


TSP March will see Sean Campbell sharing notes with Morwenna Grace Kersley on how one may navigate the personal through the political in the shadow of late capitalism and the Anthropocene.

In his bookwork Tales of Tono, Moriyama uses the titular town to build a childhood home absent due to growing up an army brat, to harness the myths and legends of the place to map out an ‘original landscape’ for himself. Inspired heavily by the quote from his essay, Cambell have been photographing his own original landscape, the coastal district of Inverclyde, itself a place of myths and legends colliding with a sometimes serene, often imposing terrain.

With a background in this work, both as a localised place of personal trauma and a an extended reality, built on imbalanced power structures, privileges and oppressions Cambell will offer us an opportunity to think about how we as artists may navigate the personal through the political. As we hurtle through the Anthropocene,  dominant cultural myths are exposed as flawed, inaccurate, incomplete – how can we write the collective story of our times while desperately writing our own narrative?

As usual the conversation will open up to the audience.

Bios: Sean Patrick Campbell is an artist, photographer and musician based in Glasgow and studying at Glasgow School of Art. Recent shows include John Sommers Gallery Undergraduate Juried Show at University of New Mexico, Waiting Out the Endtimes at 5th Street Northwest in Albuquerque and Covenant at Laurieston Arches during Glasgow International 2018. Morwenna Kearsley is a Glasgow based visual artist. She graduated from the Master of Fine Art course at Glasgow School of Art in 2015,Her work is concerned with the physical and psychological implications of the cinema, the history of photography, autobiographical narratives and the hauntological perspective on our bodies, voices and homes. Using photography, text, animation and video, she tries to understand the complexity of image-making; the paradox of dis/em/bodied bodies, the paranoid presence of the lens and the inevitable nature of time folding.