🎨🎧 New @TalkArt podcast! We meet artist @StudioLenca Jose Campos. Recorded live within his recent solo exhibition ‘Leave to Remain’ @CarlFreedmanGallery #Margate. Season finale: the last episode of our current season 22, we return mid September. 📸: Joshua Osbourne ‘Leave to Remain’ is the official term used by the UK Home Office, meaning someone who is allowed to stay in the UK with restrictions and without permanent legal status. According to latest data from the UNHCR, 70.8 million people around the world have been forced from their own homes. Among them are 25.9 million refugees, over half aged under 18. In this latest body of work, Studio Lenca continues to explore his own displaced experience whilst questioning universal themes of belonging, home and lost histories. Growing up as an illegal immigrant, #StudioLenca travelled illegally overland to the USA, growing up ‘without papers’ in San Francisco. As a young adult the artist moved to the UK, settling in Margate where he is now based. In his ‘Los Historiantes’ paintings Studio Lenca continues to play with the frames of history and identity. This new series depicts the folkloric dancers that theatrically re-enact stories of colonisation and the subjugation of indigenous peoples. The work playfully references a combination of biographical anecdotes, personal reflections and national iconography. Alongside his characteristically vivid paintings, Studio Lenca collaborated with KRAN @KentRefugeeActionNetwork, turning the gallery into a working studio. Young refugees and asylum seekers worked with Studio Lenca to build large sculptural works based on the volcanoes of El Salvador. These works explore the ‘borderless’ process of making and reference the artists own problematic encounters with a colonised education system. Leave to Remain, offers a critical window within the gallery and a space for discussion. The show asks us to address Margate as a border town and who is allowed to leave and to remain. Studio Lenca (b.1986 La Paz, El Salvador) is based at @TKEStudios, Margate, UK. 🔗 Follow @StudioLenca 🖼️ Special thanks to @CarlFreedmanGallery (where #TalkArt’s @RobertDiament is Partner).
🎨🎧 New @TalkArt podcast! We meet artist @StudioLenca Jose Campos. Recorded live within his recent solo exhibition ‘Leave to Remain’ @CarlFreedmanGallery #Margate. Season finale: the last episode of our current season 22, we return mid September. 📸: Joshua Osbourne ‘Leave to Remain’ is the official term used by the UK Home Office, meaning someone who is allowed to stay in the UK with restrictions and without permanent legal status. According to latest data from the UNHCR, 70.8 million people around the world have been forced from their own homes. Among them are 25.9 million refugees, over half aged under 18. In this latest body of work, Studio Lenca continues to explore his own displaced experience whilst questioning universal themes of belonging, home and lost histories. Growing up as an illegal immigrant, #StudioLenca travelled illegally overland to the USA, growing up ‘without papers’ in San Francisco. As a young adult the artist moved to the UK, settling in Margate where he is now based. In his ‘Los Historiantes’ paintings Studio Lenca continues to play with the frames of history and identity. This new series depicts the folkloric dancers that theatrically re-enact stories of colonisation and the subjugation of indigenous peoples. The work playfully references a combination of biographical anecdotes, personal reflections and national iconography. Alongside his characteristically vivid paintings, Studio Lenca collaborated with KRAN @KentRefugeeActionNetwork, turning the gallery into a working studio. Young refugees and asylum seekers worked with Studio Lenca to build large sculptural works based on the volcanoes of El Salvador. These works explore the ‘borderless’ process of making and reference the artists own problematic encounters with a colonised education system. Leave to Remain, offers a critical window within the gallery and a space for discussion. The show asks us to address Margate as a border town and who is allowed to leave and to remain. Studio Lenca (b.1986 La Paz, El Salvador) is based at @TKEStudios, Margate, UK. 🔗 Follow @StudioLenca 🖼️ Special thanks to @CarlFreedmanGallery (where #TalkArt’s @RobertDiament is Partner).
🎨🎧 New @TalkArt podcast! We meet artist @StudioLenca Jose Campos. Recorded live within his recent solo exhibition ‘Leave to Remain’ @CarlFreedmanGallery #Margate. Season finale: the last episode of our current season 22, we return mid September. 📸: Joshua Osbourne ‘Leave to Remain’ is the official term used by the UK Home Office, meaning someone who is allowed to stay in the UK with restrictions and without permanent legal status. According to latest data from the UNHCR, 70.8 million people around the world have been forced from their own homes. Among them are 25.9 million refugees, over half aged under 18. In this latest body of work, Studio Lenca continues to explore his own displaced experience whilst questioning universal themes of belonging, home and lost histories. Growing up as an illegal immigrant, #StudioLenca travelled illegally overland to the USA, growing up ‘without papers’ in San Francisco. As a young adult the artist moved to the UK, settling in Margate where he is now based. In his ‘Los Historiantes’ paintings Studio Lenca continues to play with the frames of history and identity. This new series depicts the folkloric dancers that theatrically re-enact stories of colonisation and the subjugation of indigenous peoples. The work playfully references a combination of biographical anecdotes, personal reflections and national iconography. Alongside his characteristically vivid paintings, Studio Lenca collaborated with KRAN @KentRefugeeActionNetwork, turning the gallery into a working studio. Young refugees and asylum seekers worked with Studio Lenca to build large sculptural works based on the volcanoes of El Salvador. These works explore the ‘borderless’ process of making and reference the artists own problematic encounters with a colonised education system. Leave to Remain, offers a critical window within the gallery and a space for discussion. The show asks us to address Margate as a border town and who is allowed to leave and to remain. Studio Lenca (b.1986 La Paz, El Salvador) is based at @TKEStudios, Margate, UK. 🔗 Follow @StudioLenca 🖼️ Special thanks to @CarlFreedmanGallery (where #TalkArt’s @RobertDiament is Partner).
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🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
🎨✨ New @TalkArt podcast! We meet Precious Okoyomon @DevilInTraining_ – poet, artist, and chef – who stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu – a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive – become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation. Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohio’s Midwest, Okoyomon’s formative years were steeped in the natural world. ‘My first love is very much the Earth, the soil,’ they say in this new episode of ‘Meet the artists.’ The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an ‘organic flow,’ in their work each medium seamlessly intersects with the others to create ‘the endless poem.’ Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzu’s unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. ‘What dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,’ they explain, underscoring the cyclical nature of their practice. (Texts via @ArtBasel and @LaBiennale). #PreciousOkoyomon’s work can be seen at @FondationBeyeler Fondation Beyeler’s ‘Summer Show’, May 19 – August 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion @NigeriaImaginary at the 60th Biennale di Venezia 2024. 🔗 Follow @DevilInTraining
My little lad Rocky lost his right eye just before Christmas, but he’s been bossing it ever since 😍😍😍
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
Nice one Dublin – 🏳️🌈 thanks for having us @gazefilmfest – big pride for our film “LIFE IS EXCELLENT” @susiehall_23 @thisisjoeingham @irishfilminstitute – thanks also to @andrewhaighfilm for the fab post screening Q&A and to @thehughlane for housing the hero Francis Bacon’s studio – always a touchstone
