Live on the Drive

Live on the Drive

Live on the Drive


A Performance Project for girls aged 15-19,  led by performance artist Katy Baird and visual artist Rebecca Lindsay – Addy at the drawing shed’s project space, LockUpNumber11, on the Drive housing estate E17.

Now with NEW Blog! Documenting the exciting Live Art created by the LoT-D girls and more!

Live on the Drive (LoT-D) has been running since September 2016 and is a series of live art workshops, discussions and visits to live events. These workshops focus around discussions and creations of Live Art, and all this encompasses, including visual elements and using this to extend ideas of performance . The workshops have taken place in a range of contexts including the estate, public events such as the Women’s March, and even at Walthamstow School for Girls helping to introduce Year 10s to the project and Live Art. The LoT-D girls work collaboratively and individually to generate artwork in new and exciting ways. The LoT-D girls are at the centre of the project, including passing on their experiences and new found skills to other girls.


“I learnt to think about the ‘how’ and the ‘why’ and not just the ‘what’.”

“I loved it; it was a really different environment.”

“It was strange in a good way.” “I have an interest in performance art now and feel more confident about performing in front of other girls.”

Feedback from participants, November 2016

Silence – Attlee Terrace 2012

Silence – Attlee Terrace 2012

Silence – Attlee Terrace

In the winter of 2012 Sally Labern worked for a month visiting Attlee Terrace E17 and the site of a murder to make a performative drawing work in response to the ‘silence’ surrounding the death of a teenager:

18 year old Wahab Zaaki was stabbed to death on Friday 13 March 2009 on a stairwell at the Attlee Terrace Estate, Prospect Hill in Walthamstow. He suffered a total of five stab wounds and died on the way to hospital. A friend was with him at the time of the attack was also stabbed as he tried to protect Wahab. This friend was witness to the attack but it wasnt until March 2011 that he identified the two defendants. Two men were sentenced separately on July 6th 2012 on charges including: on one count of murder, two counts of wounding with intent, and one count of manslaughter.

For many months there was silence within the community surrounding the murder and it took the distance of time and an ongoing enquiry to get enough information together to charge individuals. Before the final sentencing Labern worked on the site where Wahab last fell to create a work marking this difficult silence and the value of a lost life. The flats are built in a quad style with many flats overlooking the place where the attack took place.

Labern used the social media site Twitter on a #hashtag ‘Lost Edges’ to write during the making of this work; although a ‘public’ site, no one person took part in this monologue connected to the long held silence within this community, mirroring the complex reasons why, when such terrible things happen within a community, the witnessing and the responsibility of witness pulls people together in a silence that conceals the possibility of ‘natural justice’.

Silence was made by pressing powered graphite for hours at a time into A2 paper on the pavement at the site, both ‘picking up’ and by the deliberate orchestration of marks that created the panels for the the installation. Many local people came up to the artist during the making of the work and Labern deliberately avoided the questioning process that accompanies much contemporary ‘dialogical’ arts practice; people brought their thoughts, assumptions and ‘received ideas’ to the conversations which were not used by the artist to dig around or stimulate a voyeurism on the ‘real and fictitious’ accounts of memory relating to Wahab’s murder. People were markedly respectful of the transparency of the artist for the reasoning behind the making of the work. At no point did the artist contact Wahab’s family.

One response that stood out above all others was the recognition that this was ‘work’ – perhaps the long hours of the artist working and the difficult conditions, and the imaginative transmission of the subjectivity of the work to its laden content, in which the community’s fragmented knowledge became a mute but potent part of this quiet but performative work. So far this work has not been shown on the estate where Labern&Lloyd run the drawing shed, but has been part of a group show in the UEL gallery, Docklands, London.

The work remains unfinished, unresolved and Labern is to return to make another in 2013 with a planned showing of the work on the estate.


Labern creates interventions closely made with non artists, where trust and familiarity can lead to invitations to take risks in art making where the creative spaces and relationships made with participants throw up ‘edges’. It is this practice that she currently refers to as ‘lost’, making works that are driven out of that space. Silence was made on such an ‘edge’; the relationship with residents on the two housing estates where the drawing shed is based, allowed the space for this work to be made.

Some[w]Here Now – Pump House Gallery

Some[w]Here Now – Pump House Gallery

Some[w]Here Now – Pump House Gallery

somewhere image

Some[w]Here Now invites artists, local people, and others interested to join the drawing shed for open conversations at Pump House Gallery in Battersea Park, exploring how artists may work collaboratively, with ‘local’ communities and in ‘public’ places, in the context of Now.Co-hosted by a collection of artists, local residents, critical theorists, architects, activists, public and mental health professionals, THE DAY OF SMALL CONVERSATIONS invites participants to talk openly about ideas of ‘social responsibility’ in regards to collaborative making and to collectively question the role of contemporary artists within opposing cultures of resilience, resistance and regeneration.
The frame will be set by the drawing shed‘s playful and critically informed Some[w]Here contemporary arts project over three housing estates in Nine Elms, and will feature video documentation, materials and research gathered over the past nine months of the project. The estates – known locally as ‘the island’ – are situated in the shadow of the Battersea Power Station Development, London SW8 close to the gallery; an area that throws into question the very meaning of public space and value of community in our contemporary society.
THE DAY OF SMALL CONVERSATIONS will be co-hosted by a number of artists and thinkers, including Sally LabernBobby LloydJordan McKenzieBarby AsanteDaniella Valz GenProfessor Adrian RentonCara CourageDr. Debra Benita ShawShahed SaleemDr Chris Wood, and Lois Keidan and Katy Baird (Live Art Development Agency). The days agenda will then be shaped by all of the voices in the room, with conversations passing between small groups throughout, looking towards future possible projects, shared actions, and collaborations. Please bring thoughts, questions, agendas and an openness to unpick.

 Amidst these conversations there will be a large communal picnic lunch provided in the park and a drinks reception at the end of the day for further conversation and informal networking. the drawing shed will also launch the Some[w]Here publication:  Manual for Possible Projects on the Horizon.

Pump House Gallery is wheelchair accessible on the ground floor only. Please get in touch if you would like to discuss access requirements.

For more information, please email: 

Mary Osborn   07792292605


6 – 8 June | 11am – 5pm
Pump House Gallery

Some[w]Here Now – THE DAY OF SMALL CONVERSATIONS follows the drawing shed’s The SoapBox Arts Lab taking place at the gallery in the three days preceding. Here the artists will be taking over the gallery for individual and collaborative making of mobile soapbox structures. These will further be used as a platform for conversations on June 9. The SoapBox Arts Lab is free; please turn up on the day to join in, or email for further information.

PHG_logo-1the drawing shed logo copy 2

PrintWandsworth logo current copy

Leena Chauhan

Leena Chauhan

Leena Chauhan

leena2 copy

LiveElse[W]here, resident artist Leena Chauhan answers questions by E17 Art Trail blogger Amy Wevill about the work she has developed during her residency and the LiveLunch event on Saturday 31st May.

Could you tell us about the work you will be showing during this year’s E17 Art Trail?

As an artist in residence and part of the drawing shed’s LiveElse[W]here I am showing a series of enlarged screen-prints of Clothing Labels that are placed around the The Drive and Attlee Terrace, covering some of the pre-existing council signage. These labels are from the inside tag in (nearly) every garment stating where it’s from and what it’s made from. My prints have been made from my photographs of the residents’ labels on what garment they happened to be wearing at the time. I enlarged the labels to increase their visibility, especially of where the garment was made, to bring to attention its origin and the trajectory of its arrival here. I screen-printed upon these photographs, layering the details tags found inside the differing garments.

A finale for our project and a place to show the works development was theLiveLunch – an event open to residents and Trail goers alike; I made food on site,Cooking with my Mama. We cooked Kenyan-Indian food and served it to the locals whilst sharing my mothers short stories of her time growing up in Kenya moving to England. Essentially, through using clothing as a focus of this project, I am engaging with sense of identity and belonging and where we (or things) are coming from.

How have you been preparing for this year’s trail? 

I have been commissioned by the drawing shed to make work for theLiveElse[W]here Project which was being actualised over the last few months. My work has acted as an instigator for developing interaction, thought and discussion. I have been working in and around the Estates getting familiar with the area and the locals; for me, the essence of the work was with the engagement of residents by having a real dialogue as an inspiration for the beginnings of the project itself. The work provoked conversations of “quality versus affordability; high-end clothing labels versus cheap labour; identity formation and clothing becoming a cultural identity; human value versus clothes carrying ‘identity’.”

Being a recent graduate from Central Saint Martins, a self-contained environment with latest gadgets and gismos, was very different to working in-situ on Attlee Estate and The Drive. I have been learning to improvise and adapt with what we have and how we can use what that is. During the Print Screening workshops I organised, along with sterling guidance from artist Joseph Kopiel, I had support from the locals: a person offered a gallon of water to aid the cleaning of the mesh screens; another resident offered homemade foods to help keep our stomachs full, whilst other parents encourage their children to partake in the process – it was moments like these that were charged with awareness and positive energy. Nevertheless, this residency has been a short period which has involved a process of gaining some trust and connections between residents and myself.

Could you tell us about an artist/ artwork that particularly inspires you? 

Can I say this I wonder…? I’ve been so very fortunate to work by Sally Labern and Bobby Lloyd who’ve both made vast amount of works both collaboratively and individually. On this journey, they’ve both helped me facilitate my project, ground my ideas and help me develop my thinking with intensive talks and contributions. I got talking to them about the some things they’ve both achieved and details of past projects that have been sensitive in approach. Watching them work, being around them, for me personally has been inspiring. Two women: genuine, real, compassionate who both mean what they say and say what they mean.

How does inhabiting a community like Walthamstow help your practice?  

When I started university, I lived near Walthamstow market, a place that reminded me of my home. It was the place I strolled when I had to adjust myself to the privileged others from university; what I understood here was how I wanted to be a positive part of this cohesion. Undeniably, the differences that occur due to class systems set an obvious bearing to our daily choices. This was the reason for which I could imagine myself working creatively amongst the crowds, not disrupting what already is, but in my small way helping to strengthen the identity of The Drive and Attlee Estates, and developing myself and my practice as an artist through this process.

What are you most looking forward to during the E17 Art Trail this year? 

I am interested to see the works of my fellow resident artists too, who have been working alongside my project. Most of all, I looked forward to the LiveLunch on Saturday 31st May. It was the first time for me to work with my mother, Minaxi, too. This is a project my mother and I have been talking about for some years! My Mum and I cooked on site, delivering the food, welcoming people whose families come from all over the world – those who both live on the estates and also visitors like us, all of which was very exciting! I guess, she was the centre of my show, as she raised me the best way she knew how, which of course has been a crucial part to the early formation of my own identity and something I wish to cherish, considering family cohesion an important part of social cohesion.

Live Else [W]Here LUNCH

Live Else [W]Here LUNCH

Live Else [W]Here LUNCH

For LiveElse[W]here, and at intervals throughout May 2014, artists Leena Chauhan and Pablo Perezzerate worked in residence in our project space LockUpNumber11, alongside artist Jordan McKenzie as co-curator – engaging residents across different spaces in sound, film, drawing, tailored-made performance in people’s homes and print. In parallel, several residents took up residency in LockUpNumber11 as a space to develop their own work and creative ideas.

LiveElse[W]here culminated in our LIVE LUNCH on May 31st, 12-3pm, during which Pablo prepared and shared Mexican food while simultaneously sharing family stories and memories, and Leena cooked Kenyan/Indian style food with her very own Mama. Attended by artists, curators, commissioners, local residents, and members of the public exploring the E17 Art Trail, LIVE LUNCH was also a space for seeing some of the work made by the artists involved in LiveElse[W]here, acting as a springboard for discussing the value of performance and visual artists working on estates such as those on which our project takes place in E17.

Feedback from a participant on the day: “When I walked down The Drive in Walthamstow yesterday afternoon after a lengthy drive of another nature, I knew from first glance how worthwhile it had been to be stuck in traffic from the scene that I was to become a part of in the coming moments. There was artistry not just in the wonderful array of colours decorating the area, but in the cohesion of colour and style of people coming together in exactly the way that I would have hoped, as an informal artist’s assistant connected with the work being produced by the drawing shed group, resident artists of this community.

Grey pillars were decorated with crimson tape, mounted with coloured lines from which hung dazzlingly produced prints in eye-catching hues, and covering the signs issuing commands to the residents about prohibitions, were prints of clothing labels from all over the world, that were worn by local residents, to draw attention to how much diversity was gathered in this small area. Fate could not have produced a more perfect day for the occasion. A lovely, warm, slightly breezy day compounded the warmth that I felt from people of various origins, artists and residents, people of advanced ages, people young and carefree enough to seemingly live effortlessly in the moment, people of all ages in-between, relaxing together after sharing a lunch that was a culmination of interactions on the estate for this project.

There is a world of art that is glitzy and commercial, that perhaps at times makes a deliberate effort to “be more accessible” that I personally feel somewhat alienated from. The artwork of this project, with which I was engaging today, was so much more than the money-making highly commercial stuff. It was real. It was meaningful to me. Pardon my wide-eyed lyrical reflections, but they are induced only because I find this so rare: it really touched me. I’m writing this partly just to capture, in the way I prefer, something of the experience, for my journal, and partly as a simple act of appreciation that I wish to share with the organisers and artists responsible for what I came to enjoy so thoroughly yesterday afternoon. So, the drawing shed with Bobby, Sally, Jordan, Pablo, Angelique, Esther, Jayne and Will and last and for me personally definitely not least, Leena: thank you, and may there be more of a similar nature to come, and take pleasure from.”

Amy Wevill from the E17 Art Trail also joined us for the LIVE LUNCH – read her blog piece here

Some[w]Here Research

Some[w]Here Research

Some[w]Here Research – 9 ELMS – Wandsworth


the drawing shed’s new project Some[w]Here Research is underway, opening up new imaginative spaces through engaging residents across the Wandsworth estates of Patmore, Savona and Carey Gardens.

Together with performance artists Jordan McKenzie and Daniella Valz Gen and designer-makers George Williams and Nozomi Nakabayashi, the drawing shed will be working in and between the three estates’ public spaces, activating these outdoor spaces within and across the estates through the visible process of making a series of mobile structures. Exploring the history of the area, including the old soap box factories and go-kart culture, and learning from older people living on the estates Some[w]Here will explore the platforms from which stories are told and conversations take place across the estates, cultures and generations, with the PROJECT BLOG – – providing further space for residents to share and explore old memories and new ideas. Rethinking, reworking, reusing, retelling, remaking.

9elms03.webSurveying the scene on Thessaly Road

9elms6.webBeautiful garden path on Savona

9elms7.webWhose in goal on a sunny afternoon

9elms13.web9elms08.webOut and about – all things mobile

9elms09.webOver the wall to Covent Garden Market

9elms11.webWatching Battersea Power Station changing before their eyes




#BasicSeven7 is an ongoing project for co-lead artists Sally Labern and Bobby Lloyd of the drawing shed and was originally funded by London Borough of Waltham Forest, Hoe St Ward Funding alongside the UCL Bartlett Wild Screens research project (see below) which allowed us to extend and deepen the use of social media as a creative tool, holding complicated conversations around the issues of work, mental health and housing, inviting personal and network responses to questions of responsibility for homelessness.

the drawing shed artists fed into project engagement through their historical experience and community contact with people living on and off the streets in Leytonstone, in Hoe Street, Waltham Forest and in Camden – so as to ask the following questions:

• Can the situated screen and online social media (twitter) and Instagram be of any relevance to particular challenges such as a community discourse on street homelessness?

• Does the use of Instagram and other Social Media as a creative tool allow the drawing shed artists to synthesise and transmit ideas related to their own critical practice and engage a wider audience as participants in major debates of our time?


Under the banner of Irregular Stage, the drawing shed  worked on two projects in London in relation to homelessness:

• Irregular Bulletin was a 6 month residency at Arlington House in Camden, with Space and One Housing, using the drawing shed’s mobile PrintBike alongside the Social media tools Twitter/Instagram with long/short stay residents, January-July 2013;

this is linked and feeds into/is fed by:

• Basic Seven#7 which took place in E17 in Waltham Forest as a series of critical and inclusive arts events/workshops/exhibitions and encounters on the theme of ‘homelessness, housing, mental health and work’, February 2013 to January 2014

many joined the conversation:

#homeless   #sitw @wordinthehand @wildscreens

the drawing shed tested out these questions initially  during March in the following four locations:

·       Tuesday 5th March 1.00pm – 4.00pm –  Streets of Leytonstone E11

·       Tuesday 12th March 9.30pm – 12.30pm –  Soup Kitchen and homeless hostel, Walthamstow,         E17

·       Wednesday 13th March 10.00pm – 1.00pm –  Islington, N1, we proposed to work alongside a         long-term Arlington House resident selling The Big Issue but inclement weather deferred.    

·       Tuesday 19th March 1.00pm – 4.00pm  –   Streets of Leytonstone E11

We continue to work on this project and earlier in 2014, we attended a day of presentations and discussion involving many partners across London, led by the Christian Kitchen, a group local to E17 who run the soup kitchen whose pitch in the centre of Walthamstow and remit to support both hungry and homeless families, was being challenged by the Local Authority. Stella Creasy MP joined the debate.

The Irregular Bulletin

The Irregular Bulletin

The Irregular Buletin


the drawing shed co-authored The Irregular Bulletin a contemporary arts project using its iconic PrintBike – a mobile pop up printmaking studio activated by it’s sponsored Brompton Fold-up and artists Bobby Lloyd, Sally Labern, and Joseph Kopiel. Space Studios and Arlington were our funding partners. Arlington provides temporary hostel accommodation and services for homeless people.

The artists consistently led and supported the workshops with Arlington residents, creating a community workshop atmosphere around the ideological concept of ‘The Irregular Bulletin’ – inspired by and rethinking the work of avant garde artists and drawing from popular culture and radical forms of poetry, [lending a contemporary take on William Burroughs Cut-Ups, John Cage ‘s Rules, Corita Kent’s Open Studio ethos]. Here the ‘making and re-making’ of rules allows us to work with whatever is brought into The Creative Space in Space Studios: Studio5 by residents taking part.

Corita Kent, John Cage and William Burroughs were working and active during at the height of the Civil Rights Movement and the anti vietnam war campaigns in the 60’s. Sister Corita’s community screen print workshop with a pop up community cafe open to everyone and this became the hub for discussion, art making, teaching, the making of new rules, and shared community actions.

the drawing shed’s exhibition of The Irregular Bulletin at Arlington on 18th and 19th July 2013 as part of The Creative Space project, took the form of placards carrying screen printed image and text created with residents as both a personal and political take on the world, alongside a pop up café during the Private View in partnership with City Dining, and the more thoughtful and profoundly beautiful series of ‘lost prints’; These are created from the residual traces left on each screen as the prints are pulled. Some of these prints on A1 archive quality tissue reflect the fragility, resilience and endurance of participants and The Irregular Bulletin as the contemporary form chosen by the artists.

PrintBike itself was transformed into a huge lightbox; The Irregular Bulletin format mirroring the ad hoc lightbox created by a resident during a workshop, and showed a series of hand screened multiple prints on foolscap tracing paper.

Paper Stencils as multiple objects of the vast number of prints created throughout this project flooded over one wall of the Creative Space itself so that visitors can get a live sense of Space Studio’s Studio5 as The Irregular Bulletin space.

'men with no work'-The Irregular Bulletin, A1 archive quality tissue

the drawing shed’s original proposal to Space for the Arlington Residency

“the drawing shed will take up residency at Arlington in Camden each Wednesday for a 6 month period in January 2013. In the Creative Space Studio  the drawing shed will be using PrintBike, its fully equipped mobile print workshop powered by a Brompton fold-up bicycle, sponsored by Brompton, to create new work with residents, with content influenced  and inspired by the work of (Sister) Corita Kent – the radical nun and avant garde artist known for her work in the 60′s around the civil rights movement and anti vietnam protests in the US. Kent’s extraordinary images were drawn from a collision of capitalist marketing on the streets and political community actions on the streets,  capturing the dynamism of the struggles and ideas of the times.

Corita Kent was a passionate teacher and set up a screen-print workshop inside the convent which was open to everyone. Kent also created the ‘irregular bulletin’ – a multi-authored publication that took various forms from posters to papers, placards and political community protests, to happenings and performances.

the drawing shed will develop and deliver a project with residents called The Irregular Bulletin with an emphasis on cutting things in, rather than cutting them out. Using PrintBikethe drawing shed is joined by artist Joseph Kopiel,  a highly experienced print-maker who will be part of the pilot phase of this project. Later in the year we anticipate Joseph Kopiel will join us, funding permitting as part of a professional development residency with the drawing shed’s lead artists to develop his professional art practice alongside a workshop programme at Arlington.”

“Consider Everything An Experiment”

The Irregular Bulletin project opened my eyes to my abilities and possibilities – it got me motivated to go out and do the creative things I’m doing. If it wasn’t for the drawing shed I wouldn’t have done my screen printing course, so it’s helped me do the things I found that I enjoy!
The Irregular Bulletin gives me space to be myself – get stuff down and into print…maybe in future I might do an Irregular Blog!
When you have peace and some space, your mind works wonders!”

” I’m very glad to be back here, I feel okay here, it’s a good space for me, I like to be around people who think like me.”

“I’ve discovered that I have an interest in art… and talent! …. I take inspiration from other people and  I gain knowledge from looking at the artists ( Corita, William Morris, Cut-out poetry-William Burroughs), and i develop ideas from things I see around me. I think a lot so I reckon I’m a conceptual artist!”

arlington 3

arlington 2

Artists Notes :

Residents will use text and screen printing in particular to transfer expressions / visual / fluid text stories of ‘residence’ informed by identity, culture and personal experiences; workshops will be a social process, and build upon an expression of flow between imagination, ambition and the commonplace in all our lives.

The Irregular Bulletins will be created over the 24 weeks, divided into 4 X 6 week projects, and will focus on celebrating difference. These ‘bulletins’ will be created in a number of formats that will be decided with participants and may therefore include:


  • News Paper – Bulletin – Headlines
  • TEXT – ‘From the Street to Poetry’
  • PORTRAIT ‘Self’ – Photocopy, photograph to cut out to make stencil
  • and PRINT, screen, mono-prints


  • a story, a Platform, a Stage
  • Signs Placards Protest
  • stories, lost and found
  • experiences, real and aspirational
  • identities, real and imagined
  • imaginative platforms – digital soap boxes, tenuous physical structures, screen printed soap boxes…!


  • OF ME / OF YOU
  • Overprinted on existing old T-SHIRTS – SLOGANS, like Westwood t-shirts, carrying ideas, poems and image: transformation, sublimation, transliteration


  • protest – STORY – individuals – RULES: made, Broken, aka John Cage and Corita Kent – Rule Number 7 = WORK (artwork or work ethic?!) BasicSeven #7


  • I AM…..and I AM NOT…..



  • in the building, in the streets – TEMPORARY LOCATIONS – Concrete Poetry, Visualisation

Groups of residents may work with an introduction to text where we shall start with famous quotes referring to Freedom, Liberty, Equality and HOME etc. cut up, play with and add to, aka Sister Corita, from graphic influences around us.

Print-Making workshops will:

  • Stimulate a process of a shared enquiry  – ongoing throughout the 24 weeks
  • Enable participants to gain practical skills – and use these to lead and enter into a dialogue together and with others
  • Create a counter culture of enterprise, making products not-for-sale: t-shirt, poster, and all forms of The Irregular Bulletin to be ‘free’ etc
  • Create dialogue between texts – inspired by sharing with the local residents PeopleLikeUs Collective in E17 who have created the most beautiful ‘open source’ poetry in the form of tweets, here at Arlington we shall use existing texts and poetry/texts created by residents.

An INDIVIDUAL and Collective FOCUS


Possible work with disposable cameras – to personalise the images and content, ‘snapshots’ will provide additional source material for the print workshop activities and underpin positive image and self esteem.


For the end of project group show we have an idea to create a focus of the The Irregular Bulletin Art works in the building – like the Sister Corita Café – we can use the Arlington Café and residents’ social spaces by working together with residents.


PrintBike is a fully equipped and totally mobile resource; It is powered by a Brompton Fold-up Bike, donated to us by Brompton and needs nothing else but the activation of artists’ and participants’ imagination to transform materials into great projects using strong ideas and a passion for  skill sharing. Throughout the project, artists Sally Labern and Bobby Lloyd will join Joseph Kopiel for each of the sets of 4 X 6 week sessions. the drawing shed are more than pleased to be able to add value to this project by raising grant funding resources to underpin the delivery of The Irregular Bulletin project.

Future Developments …. Arlington and other homeless organisations

We are proposing that later in the year The Irregular Bulletin project, with Space and  Arlington, will create an opportunity to make connections with residents through other homeless organisations as part of a drawing shed project on the wider dialogue of cultural exchange around the issues of Homelessness, Mental health and Work; it will offer a space for an exchange of voices and  explore participants’ own text through The Irregular Bulletin format, to share and disseminate ideas developed creatively with Arlington residents, with another group outside the Arlington building /area, but with others whom they may have things ‘in common’ and things ‘in difference’.

During March, April, May 2013, the drawing shed developed research as artists in residence with UCL Bartlett around a pilot project called #BasicSeven7, creating ‘platforms’ (performative happenings, screenings and physical stages) to explore and exchange ideas around housing and mental health and the importance of ‘taking [creative] agency’ in shifting the balance in how and what it is we value in ‘Home’. #BasicSeven7 is develop in its research stage over the next months as we fundraise beyond its developmental stage.

the drawing shed has been funded through HoeStWard, a local LBWF Councillor-led fund to develop this piece of work and is focusing the political framing of #BasicSeven7 around partnerships in Hoe St and beyond. Artists will be joining the drawing shed over the summer and autumn of 2013 in its new project garage ‘white cube’ space for a series of residencies for #BasicSeven7.

City of London Festival, 2011

City of London Festival, 2011

City of London Festival, 2011

Labern+Lloyd with PrintBike were invited by The Campaign for Drawing to take part in The City of London Festival in July 2011, to make mono-prints with office workers, tourists, and literally whoever walked past. Day One was very wet indeed.


Cycling to our new site at Great St Helen’s on the second day.

This second day was windy!

And the other passing enterprise on wheels needed directions and a print or two…

In the afternoon, the sun came out.

Lots of people made a lot more printing on fluorescent paper.

There were some poetic moments…

And the prints glowed.

Contested Commons

Contested Commons

Contested Commons

Public Signage dialogue, Twitter on the Drive Two, E17 Art Trail September 2011

For the past three years, Labern+Lloyd have used the existing signage that looms large and loudly punctuates the two estates, creating screen-printed text/visual posters with participants, developing skills of local people to forge deeper connections with their neighbours. These temporary Twitter-based ‘conversations’ in the public spaces on the estates (separated by a wide road) change their tempo and shift them into ‘common’ space with Labern+Lloyd as artists negotiating the content of the posters as they are made, and working with residents – children, teenagers and adults – ‘to drag the poetic through the every day’.
Project’s origins:
Twitter on the Drive Two began as a conversation the same week that the Tottenham Riots led to 46 riots across the communities of the UK. Across the duration of the drawing shed’s larger project on The Drive and Attlee Terrace estates over the past couple of years, Sally Labern and Bobby Lloyd have used the existing signage to create posters with residents, developing temporary ‘conversations’ that change the tempo of these spaces, shifting them into adhoc  ‘common’ space’ – exploring the nature of these public spaces and what happens when they are contested.Artists Sally Labern and Bobby Lloyd supported three resident Art Activators to become workshop leaders within their own communities using the disciplined format of Twitter – the Tweet using up to 140 characters to create poetry, prose, print and mehndi within the communities of the Drive, Attlee Terrace and the YMCA. Posters on the signage that punctuates the green spaces across the estates, and poems in Mehndi (henna) on participants arms and legs, came together to form the Twitter on the Drive Two – A Word In the Hand  exhibition.The Art Activators led  a series of workshops in August and September 2012, working together for the first time and to create the text for the posters exhibited as part of the E17 Art Trail, September 4th-11th 2011.This work has been funded by Arts Council England and the Walthamstow and Chingford Almshouse Charity.

Curating the exhibition

Workshopping in heavy rain


Sally holding a split poster: who are they talking to…
Karen with one of the prints

its about being noticed…backdrop of the ‘lost’ tree prints in the wind

Hoe Street community police joined in … from the shape you get ….
hanging their print up on the washing line
William with his 15 minute DJ set

‘The future will show who i am destined to be’

Mehndi poem written on the performance artist ‘Bride’s arm on her visit to the Drive during the E17 Trail –

a life story in the debris of life carried on her dress

Festival Here – July 1st, 2012

Festival Here – July 1st, 2012

Festival Here – July 1st, 2012

the drawing shed invited residents, passers-by, friends and other organisations to participate in their mini youth festival, ‘Festival Here’, on Sunday 1st July 2012 from 12pm to 5pm on the green area at the intersection of Prospect Hill and Attlee Terrace (E17 3EG).

Festival Here was led by the Young Women’s Estate-based Performance Project with the support of Roisin Feeney, performance director from The Albany, Sally Labern and Bobby Lloyd from the drawing shed, and “…Ask Freda”. The day centred around the girls’ new performative work that used film, Twitter and den-making. The girls have been using the quad spaces and streets of Attlee Terrace to explore how teenage girls use ‘public’ spaces, how contested these spaces are (who owns them?), and how they can feel safer to use local spaces / streets – redefining and examining their rights to be more visible within their communities.

the drawing shed invited artists EMILIE TAYLOR and SINEAD LOFTUS to make interventions and socially engaged works as part of the festival, while  ClayOven provided more than 70 pizzas for over one hundred local residents, passers-by and invited guests. The project was supported by Walthamstow School for Girls, Asham Homes, Waltham Forest Council and Epping Forest’s Branching Out Project. It was funded by Arts Council England and Hoe Street Community Fund.

For further information email

PERFORMANCE PROJECT. For more information Click Here

Conflict Resolution with YIAG

(Waltham Forest Youth Independent Advisory Group)


Duck House, London E11, 2011

Duck House, London E11, 2011

Duck House, London E11, 2011

The Work: Duck House  July – September 2011

Lloyd+Labern ‘re roofed’ the Langthorne Park’s Duck House in mono-printed tiles to create a temporary work for the London Borough of Waltham Forest as a part of the Fellowship Festival.

The artists created prints based upon the concealed underbelly of the park to create one side only of the roof – each image was veiled  by a suspended and ‘hand drawn off ‘  gold-filmed cellophane tile sitting over each difficult image, which could only be clearly seen by the viewer when it rained and the transparency of the cellophane revealed its story.

Images for the other three sides of the roof were created working with families from local schools and a sheltered housing scheme for the elderly.  Together adults and children collected found and discarded objects of little value in local parks. Participants initially distrusted that this process of collecting rubbish could yield a rich creative resource but were full of surprise at the beauty of some of the objects and the simple pleasure of finding. This process was supported by the artists as they went on to make mono-printed tiles for the roof on fluorescent and coloured paper.

Symbols and letters unique to particular world alphabets (pulled in from a City of London Festival workshop), allude to the multicultural nature of the communities and form the front face of the work.


This is the duck house as the artists first saw it, sitting in the middle of the pond in a park in Leytonstone, June 2011. Recalls of the MP’s Duck Island scandal immediately came to mind.

Langthorne Park, now holds a worn veneer of its carefully landscaped park, with small pockets of tired beauty which are overseen by the energies of Audrey the Park Keeper and the Friends of the Park.

It sits in the south of Waltham Forest, high levels of deprivation echoed recently by gang and other antisocial behaviour. On asking, users of the park do not feel safe to cross the park at certain times of the day and the respected ‘authority’ of  Audrey the Park Keeper is vital to safety and continued community activity in this ‘public’ space.

Concealed here in the Desire Lines that cross the park, youths hold court the outside gym as a fresh air ‘front room’, men drink in small groups, families use the play area, eastern european mums cluster with prams, teen lovers steal a space in hidden places, older people worry constantly about the ducklings dying inexplicably every day.

There is a fragility in this place; it has considerable community use/value alongside a pervading sense of rootlessness, an underbelly; It is in this contested space that the artists chose to work with the Duck House – to re roof and re frame it, to recognise and contain all the contradictions of this place.

Objects in plastic bags found in the park, to be used for mono-printing

Objects in plastic bags found in the park, to be used for mono-printing

Workshopping at a Jenny Hammond Primary school

Watching how to make a mono-print at Buxton all through school

Parent shares new Print making skills

Prints drying on floor.

Sally on the roof with the first prints after wading through the pond

Two sides of the roof holding images made by children, their parents and older people of objects found in the parks, the brighter images grouped together in contrast to the more sombre images on the right hand face.

The gold film, now transparent, reveals the artists’ images of the difficult objects.

Duckhouse starting to fade with summer sun

The duck house, faded further by September

Duck House patched up on a bright, windy October day




The PeopleLikeUs Collective led its first Live Twitter Performance as part of the E17 Art Trail in September 2012. This public Twitter writing performance has further extended this space beyond the estates and into the ether where others were able to join the PeopleLikeUs Collective in writing to the hash-tag #bestow during the recent E17 Art Trail, September 2012. See our Blog During Spring and Summer 2012, the drawing shed @WordintheHand worked with writers Jacob Sam- La Rose and Dorothy Fryd on a Twitter live art writing project PeopleLikeUs, with residents of Attlee Terrace, The Drive and Hoe St in E17.the drawing shed’s interest in using Twitter for Live writing and Open Performance is in pushing the creative boundaries of dialogical art practice led by artists in both public and community spaces, exploring innovative ways to connect communities and to build virtual relationships; The value of difference and cultural values exposed and in creative collision, has become the material fabric of a rising and responsive Community of the Imagination.

Over the spring and summer of 2012 the PeopleLikeUs Collective met regularly to write together and use Twitter as a creative space to explore, share and riff off each other in the ether.

In collaboration with the E17 Art Trail Poetry Trail organisers, we warmly welcomed everyone with Twitter on their mobile phone to join us on Sunday 2nd September, with Jacob Sam-La Rose, in a Live performance during the E17 Art Trail. On the streets of Attlee Terrace , The Drive and the Hoe Street Ward  and using the 140 characters of Twitter, we wrote on the hashtag #Bestow to embrace The E17 Art Trails Poetry Trail. Participants needed to have Twitter on their mobile phone to join us in this collaborative writing project. A full briefing  at 2pm at garage number 11, Fanshaw House, The Drive, E17 3BY was given to all participants. No previous experience of using Twitter in this way was needed, though the basics of Twitter and a Twitter name were.

At the end of the performance at 4pm, tea, flapjacks and scones were served courtesy of “…Ask Freda”, a local residents’ community group, at garage number 11, Fanshaw House, The Drive, E17 3BY.


1 – Set up a Twitter Account, Click Here

2 – Download on your mobile the Twitter App (For info about Twitter for Android Click Here, for info about Twitter for iPhone Click Here)

3 – Tweet under the hashtag #bestow

4 – Alway leave a single ‘space’ before and after #bestow or it will not be picked up within the group of Tweets and your contribution will be invisible to all of us!

5 – To read the stream of #bestow tweets, click on the hashtag #bestow


Twitter signage dialogue in Lille, 2012

Twitter signage dialogue in Lille, 2012

Twitter signage dialogue in Lille, 2012

In October 2012, Bobby Lloyd took a series of twitter signage dialogue screen-prints from the estates in Waltham Forest, East London to the city of Lille in northern France as part of the city’s annual Portes Ouverte des Ateliers d’Artistes and at the invitation of artist Phoebe Dingwall. Having exhibited the prints within the ‘gallery’ setting, Lloyd and Dingwall then took them to the streets, setting up further dialogues and new elements of surprise. Click here to watch a short film made by Dingwall in response to this intervention in the city where she lives and works.

This was the first in a series of outings for the Twitter signs, the second being to Portland Bird Observatory on the Isle of Portland in Dorset where they were installed in the lighthouse by Sally Labern in early November 2012.





Trust for London have funded a community gardener for two years (2017-2018) to join local people living on The Drive and Attlee Terrace estates in garden design & regular planting workshops!

Held in the ‘sunken garden’ area in front of Attlee Terrace estate on Prospect Hill, gardeners of all ages are invited to develop their gardening skills, plant flowers, trees and herbs from all over the world, to create a warm & welcoming garden for all to enjoy – with local children helping to record & reduce local air pollution levels.

We are delighted that community gardener Stephen Mason has joined the drawing shed team to lead on the garden development over the course of the project. Please follow its development on our Twitter, Instagram and Facebook.





In February 2018, Labern&Lloyd of the drawing shed invited residents of The Drive and Attlee Terrace housing estates (E17) to think with them about day dreaming, starting with the question, ‘do you day dream?’ The day dreaming conversations took place while walking on the estates, in people’s own homes, and on a wintry day trip to a Suffolk field (care of Top Boy Bakers’ partner E5 Bakehouse). Here the group of 14, mostly from The Sunken Garden Community Orchard gardening group and Top Boy Bakers’ baker/mentors, took part in composting, eating and walking together, all the while exploring the idea of day dreaming.

The artists have asked the questions: do you day dream differently when doing useful work, useless work or no work at all? Does language and culture impact on the way you day dream – Polish, Turkish, Tamil, English…..? The impact of early formative experiences, memory….. (Conversations were recorded by the artists alongside the taking of photographs and film footage.)

On Saturday March 17th, 5.30-8.30pm, In/Visible Fields will present a single Art Night of film projections and sound, alongside community conversations led by UCL / Wellcome Neuroscientist Micah Allen in St Mary’s Church from 7.00pm.

3 sites: the pram sheds on Attlee Terrace, The Sunken Garden on Prospect Hill and both onto and inside St Mary’s Church, Walthamstow which sits on the threshold between The Drive and Attlee Terrace housing estates and Walthamstow Village in E17.

The Day Dream Dictionary is a project by the writer Mary Paterson, developed in response to In/Visible Fields by the the drawing shed, an artists’ led organisation located on two housing estates in London, E17. The Day Dream Dictionary is part-investigation and part-intervention into the themes and experiences of In/Visible Fields. Here, the writer Mary Paterson responds to the ideas and practises raised by the project, as part of a growing piece of field research.







‘Sadaa Thakerat al Makan’ is an Artist-led Arts Project Proposal, delivered by Sally Labern and Bobby Lloyd of the drawing shed following a site visit to Doha in January 2011. It begins with the Collection of the found objects taken from the demolition of existing buildings – homes, businesses and social spaces from the Musheireb, Qatar’s earliest suburb (1951) – to make way for a new sustainable architecture at the heart of Doha (2015). The most recent residents being the migrant workers who make up the majority of Qatar’s population, who have been moved out to develop the Musheireb. In response to this ‘In between Space’ that has been thrown up as the present communities move out, Labern+Lloyd began a dialogue about ‘How Newness Enters the World’ – to reflect this cultural regeneration – as future ‘culturally sensitive’ (” middle eastern”) community spaces in the city’s Musheireb are created almost in front of their eyes.

In recognition of the lack of residential status of the migrant communities, whose presence is imperative to the Qatari ruling class for the servicing and development of the richest state in the world, Labern+Lloyd wanted to work both with the uncertainness of identity that comes from the both the assumed birth right of the ruling elite and the lack of rights of the migrant population: without equal human rights, there is no recognition of the value of diversity within a nation however rich it may be, and no space for cultural identity to develop or differences to be celebrated or recognised. The proposal of an international residency programme alongside the development of a mobile artists’ studio came out of the visit; it is ideologically different in context and intent, to the externally perceived current Qatari project of collecting and curating ‘Contemporary Middle Eastern Art’ from across the region as a means of constructing and underpinning a national arab identity for Qatar.

In the context of the new Musheireb development in the city of Doha and complementing the newly launched Mathaf, The Islamic Art Museum, The Knowledge Enrichment Centre, the proposed Cultural Forum and so on, a rigorous piece of work took place in partnership with the drawing shed during the four day site visit in January, and begun a year a half ago as an idea proposed by Isaa Al Mohannadi. The summary of this proposal is for a project with a discrete identity that feeds into, interfaces with and would take its own part in underpinning the overall Musheireb Art Strategy for Doha.

The  Artist-led Arts project sets out, at its heart, to foster and develop dialogue between the diverse communities of Doha in recognition of its migrant nature. It suggests that using the potency and inspiration of the found ‘objects’∗as a rich resource, the Project will support, reinterpret and create both a new ‘architecture’, metaphorically (and influence physically), and art works that are poetic, contemporary and questioning – where the porosity of territory, time, memory and identity are explored through art making and participation by the whole Doha ‘community’.

Where the rush of nostalgia and construct would flood in, artists could instead bring big questions to the most potent and the most (seemingly) trivial objects, poetic interpretations, decoding, ideological challenge, imaginative friction and new meanings, reflecting sentiment and not sentimentality. These would be ‘transmitted’, passed along if you like, into public spaces, with an intention of creating mostly temporary art works in public spaces, community spaces, and by doing this, keeping the conversation open …. this report was of course written before the Arab revolutions across the Middle East and in this sense the agenda for many has shifted dramatically, though perhaps not for Qatar as yet.





the drawing shed’s PrintBike work “An Assembly of Opinions” was shown throughout August across the window of the People’s Supermarket WC1, as part of the Adhocracy Festival, August 6-7, 2011 @ Rich Mix, Bethnal Green, E1 (

FOR THE CENTRAL WINDOW, Labern+Lloyd mono-printed images of food aid, barricades of white sacks, body bags, oil… as ‘one offs’ in repeat patterns on British newspapers carrying stories of world political crises …

The use of the mono print acts as a contradiction to the continual occurrence of media reporting on the ‘natural disaster’ of man made world famine, creating a work that is eerily poetic, ghostly even & draws the viewer in to read critical fragments of reportage juxtaposed with recurring  world famine & so exposing/inviting the connections.

On July 28th, the drawing shed artists Sally Labern and Bobby Lloyd took PrintBike to The Peoples Supermarket ( to workshop on the street for eight hours. Inviting members, shoppers and passersby to make a mono-print of a staple food found in the shop, while at the same time drawing focused attention to the war and famine in Somalia, the day generated an incredible two hundred prints. Yellow paper and black ink were used as a visual connection with the supermarket’s own branding and the work linked to the shop’s appeal for donations for Somalia through the DEC East Africa Crisis Appeal.





Rethinking, reworking, reusing, retelling, remaking

the drawing shed worked on a project Some[w]Here  on the three housing estates Patmore, Savona and Carey Gardens in Nine Elms, London referred to locally as ‘the island’, the land-locked social housing area opposite the now infamous Battersea Power Station site, with the new American Embassy being built on its flank, to be surrounded by an insulated, ‘double skinned’ layer of privately owned flats for a new richer community.

Our project Some[w]Here explored through the metaphor of the Go Cart and the Soap Box, both migration and the fluctuating gifts of memory in relation to early street play (imagination, resilience, survivability) and the first days of work (alienation) for current residents who have come to live in the area from all over the world.

It was this critical friction of an artist-directed discourse between older estate residents, men and women of 68 – 98 years, that informed the content of the work: contemporary go cart inspired objects and mobile Soap Boxes, built on the streets with architect-makers George Williams and Nozomi Nakabayashi whilst live/performance artists Jordan McKenzie and Daniella Valz Gen made provocative interventions, and we as lead artists created quieter works as individuals triggered by this multi-layered approach and the ‘unfixed’ organic methodologies of the collaborative works we make.

Both this very accessible ‘public’ work and the disruption of the streets created the rupture in dominant ideas that flowed into these quieter individual responses. In this liminal space, and in the case of Nine Elms, a physical in-between space too of an echo chamber within which we found a ‘Point of Resonance’,  creating performative and film-based works as individual artists – like the project’s poetic body piercing.




Following our summer residency in Bury with The Public Typing Pool, we were commissioned as part of Bury Light Night, October 10th 2014, to make a new research work, Artificial Sunshine. We flooded the street and exterior of Bury Art Museum and Sculpture Centre, Greater Manchester, with a ‘Smog of Black Light’ from 8 large UV floodlights located behind metal barricades (an aesthetic and safety choice). These mirrored the spectacle of the world’s first 8 electric streetlights that marked the beginning of Blackpool Illuminations in 1879 and now in 2014, purposefully uses the spectrum of light invisible to the human eye.

Wearing black ‘festival’ wristbands printed in UV ink, a cross-generational public shifted the barrier of the spectacle by activating the work itself in an extraordinary series of intimate encounters with both the artists and UV light, as the public themselves became the work. Each person was invited to wear a black wristband or presented with sheets of paper to hold into the black light, printed in UV ink with numerous short texts and only readable standing within the work itself, illuminating information often obscured or hidden from the public gaze – historical, political, scientific, imaginative, poetic.

For its first iteration in Bury we immersed ourselves in the ‘smog’ itself, with texts gathered from widely random threads of inter-web searches fed by daily news briefings and reports. These ranged from current scientific research on the health implications of light pollution and interruptions to circadian rhythms (our new city LED street lights impacting essential melatonin production, pernicious effects of light pollution on animals) to media or state blackouts on information about war or terrorism, international and domestic to scientific work exploring the universe with references to astronomical ‘perfect black bodies’, new stars, life in space….

Through the metaphor of Black Light, we investigated emergent collective and imaginative threads of resistance – acts of civil disobedience, scientific cooperation – so as to engage with how we hold agency or take responsibility for a new ‘civil society’. From UV exposure of human debris to the making visible of big ideas, we explored both individual and collective actions, experiments and explorations – such as the democratic naming of a new galaxy after the amateur stargazer who spotted it earlier this year, 10 billion light years away from Earth.

The artists – through the metaphor of BLACK LIGHT – investigated emergent collective and imaginative threads of resistance in forms of the social, the scientific and acts of civil disobedience in exploring how we hold agency or take responsibility for a new ‘civil society’.




Residency: TEXT FESTIVAL BURY, MAY 3 -AUGUST 9, 2014

As part of Text Festival 2014, the drawing shed, aka artists Lloyd+Labern, set up THE PUBLIC TYPING POOL: a selection of old manual typewriters in Bury Sculpture Centre for a residency spanning the Laurence Wiener exhibition; Over the months they invited the local Bury public to take part in a number of events, interventions and opportunities to slam the keys, copy those carbons, make new music, write a love letter, settle an old score, make overtures to a community, create the only page of a novel, type out an apology, make a flat plan sculpture, write a poem, type alone, write together.

Event: Twitter: #un_civil

Exploring the [un]civil in contemporary society, Lloyd+Labern worked with a group of artists and writers to construct a score for a performative text work using Social Media Twitter for Neighbour : Stranger, a collaborative live art writing project. Opening up a space in the commons of the ether, the work was a call and response that extended the enquiry beyond the physical space of the Gallery, where the collisions of experience, ideas and form could take place, and the poetry of this work hit the discomfort of the prosaic and bounced up into a mile high space. Screened in real time in Bury Sculpture Centre, exhibition visitors and artists were invited to join us in the ether, or on the typewriters in response to the emerging conversation.

The Exhibition:

the drawing shed artists Labern+Lloyd were in residence at intervals over the months of the Laurence Weiner exhibition, creating several new works in collaboration with the Bury public and through provocations with local artists. Inspired by scientist Dr Elodie Briefer’s research on the SkyLark’s song and its split-second nuanced changes in recognising both Strangers and Neighbours, the artists made a number of new visual works using the Typewriter and its Carbon Copy investigating the [un]civil in times of austerity and migration.


The Public Typing Pool – Call Out : for Typewriters:

“Iris Murdoch wrote on a Bijou Erika…..Allen Jack Kerouac an Underwood portable, William Burroughs a Remington or whatever he could get his hands on. Aleksandr Solzhenitsyn used an Erika Ten Portable, Françoise Sagan a 1950’s Smith Corona Portable, George Perec an Underwood 5, and Anne Sexton a Royal Quiet Deluxe…. Ginsberg loved an Underwood 5 or was it a Remington No5?

The Public Typing Pool will work with local groups and will be open to the public to enjoy throughout May, June, July and August! Do you have an old Olivetti Lettera 32 / 22, or a Remington or a majestic old Smith Corona ….all makes, sizes and shapes are welcome!

Bury Art Museum is making a Call Out for old manual Typewriters – if you have one you could donate to create the Public Typing Pool as part of this project to launch Bury Sculpture Centre. Your story about your typewriter can become part of the artwork…!”



Man walks into The Public Typing Pool at Text Festival in Sculpture Centre Bury; he speaks to no one and sits down at one of the manual typewriters donated by a public call out, and he writes for 40 minutes: 

‘I Loved Her’

He then gets up and walks out leaving the typed sheet, the copy and the carbon. Beautiful.
Neighbour : Stranger




Artists Labern&Lloyd “trace the curve of the sun’s rays as they just graze the surface” (James Maxwell, Physicist)

What does society keep in the dark, and how can it be illuminated? Labern&Lloyd of the drawing shed, working at Tate Modern as The Light Collectors, collaborated with scientists hosted by The Institute of Physics in November 2015. Together they invited the public to engage in an afternoon of Black Light, with open conversation and research. Hundreds of people throughout the day took part in an ongoing dialogue with top physicists and astro biologists about the science and politics of light.

Framed by an installation drawn from the artists’ ongoing research into the hidden at this critical point in history, ultraviolet light revealed the disjuncture between extra-ordinary scientific explorations across the full spectrum of light and the endemic slow violence caused by human domestic light poverty across the world.

Labern&Lloyd chose the human labour and skill of hand cutting the paper stencils over a period of 12 hours, matching the year round daylight hours experienced daily by people living on the line of the equator; the prints are screened in the same UV used by the British Security Industry to track our movements, identity and money.

The Public Typing Pool©, with its manual typewriters fitted with invisible UV inked typewriter ribbons, welcomed the public to contribute to an ever growing installation of contemporary concerns, made from UV ink texts and drawings revealed through the use of hand held Black Light torches.

Part of the International Year of Light in collaboration with the Institute of Physics.





the drawing shed would like to thank the following people and organisations for their invaluable contributions to this project:

Dr Matthew Clark, Chemist and Education Manager & Richard Ashworth, Colour Experience Manager: Society of Dyers and Colourists

Dr Sergio Ioppolo & Daniel Weatherhill: Astrophysicists, Department of Physical Sciences, The Open University

Ali Hudson: Evolutionary Biology and astrophysics student, Edinburgh University

Toby Shannon: the Institute of Physics’ Coordinator of International Year of Light

Joseph Kopiel, Artist: stencil cutting and screen-printing

University of East London: ADI, Print Studio

Tate Modern: Public Programmes, Community

Brian Rothwell, typewriter ribbons: Inkjet Stores, Bury, Greater Manchester

Simon Foster-Ogg: provider of things interesting and light-related





“…and I see the universe with widened eyes and I see I see I see”
Between February and December 2013, the drawing shed developed an inter-generational project bringing together a diverse group of teenage girls and older people who reside in Hoe Street ward, Waltham Forest E17, through a series of interlinked creative and cultural activities.
IF…ISH New Experiences saw the girls collectively engaging in the research, planning, and participation of new cultural experiences. A Volunteer Agreement, signed by each participant and the drawing shed, marked the girls’ active participation and sustained commitment to the project and highlighted the projects’ model of co-production. Throughout the project the girls documented their experiences using a range of creative tools, including writing, drawing, photography and film, to develop content for a PROJECT BLOG. This engaged process opened up possibilities for an imaginative transmission of experiences and formed the basis of a series of communicative exchanges with culturally diverse older people within their own community, who, in turn, began to share extraordinary moments from their own lives.

Do you ever go to cultural events, exhibitions etc with friends or family?
“I don’t go to many. I don’t think I have been to one recently, however I would like to go to more but I don’t have much connection to the outside world so I might need help in finding some.”
Do you like trying new things that you haven’t done before?
“I really don’t know I’ve just been one of those girls who aren’t afraid of trying new things. I find it good for myself because it boosts my confidence a lot more.”
“Yes I like trying new things because it takes me out of my comfort zone and allows me to believe in myself more and gives me confidence in things which I think I could never have done before. Prime example would be Hackney WickED Festival. I would never have gone there but when I went there the people were warming and I got a real buzz out of it.”
New Experiences
For the first new experience, on a day trip to Walthamstow Marshes the girls worked with local filmmaker Paul Fletcher to explore documenting their experiences using their mobile phones. The girls’ footage was compiled to create two short films which were subsequently screened at Walthamstow International Film Festival 2013. Watch the films here: Film 1 / Film 2.
As the project progressed the new experiences the girls engaged in included outings to an exhibition at the Hayward Gallery and a special event at the Victoria and Albert Museum, experiencing design, film, performance, photography and spoken word in an evening of activities that explored the hidden voice of women and how they express this through their creativity. Joining other members of the community in Walthamstow Town Square the girls watched a performance of Puccini’s opera La Rondine as it was screened live from the Royal Opera House, while at Hackney WickED Arts Festival they explored the Open Studios and participated in arts workshops, making Photograms and learning how to do Finger Knitting – a skill that was subsequently shared with members of the community and family members. During Words Over Waltham Forest festival the girls worked with local writer Nichola Charalambou to explore new writing techniques and creative responses to respond to shared words, ideas and objects, and joined an evening of poetry and music at Walthamstow Assembly Hall for An Audience with Carol Ann Duffy. For the final group outing, the girls collectively decided on experiencing Jonzi D – Lyrikal Fearta: The Letter & Broken Lineage, a choreopoetry hip hop dance theatre production at Sadler’s Wells, with a guest performance from spoken word poet GREEdS.

What do you think about younger people engaging with older people?
“I think it’s a good idea because older people can teach the younger generation more about what they should know. It may be difficult at first because young kids tend to be shy around older people. The benefits could be that younger people learn more things from the older people and vice versa.”
“Positives: Share experiences, different lifestyles. Negatives: Youths are known as scary toward older people”
“Challenging as some old people may be scared to talk to the younger generation as there is a bad name put out for the younger generation.”
Inter-generational Exchange
The project integrated the girls’ introduction to high quality contemporary arts experiences with exploring and strengthening inter-generational relationships, opening up the possibility of meaningful engagement and increased understanding between older and younger local members of the community. Their reflections on their new experiences and creative content shared on the Blog served as a tool for instigating discussion and knowledge exchange in wide range of situations, structured and spontaneous, group-based and one-on-one.
At a community event at Greenleaf Baptist Church for International Women’s Day the girls participated in group skill-sharing with older Afro-Caribbean women and communicative exchange with members of the Waltham Forest Somali Women’s Association, in addition to numerous one-on-one interactions with diverse older individuals from the community. The girls also shared their experiences with a large number of older community members at the Walthamstow School For Girls annual community Christmas tea party.
During the outing to the Hayward Gallery, an interaction between one of the girls and an older male employee at the Hayward Gallery that began as initial exchange of responses to an artwork developed into sharing childhood memories and experiences of darkness and light in Sierra Leone and Ghana. Listen to a recording here: – Audio Player
00:0000:00Use Up/Down Arrow keys to increase or decrease volume.

As a result of being involved in the IF…ISH New Experiences project, four teenage girls from the group also participated in the inter-generational Live Art writing project STRANGER : NEIGHBOUR. Working with the drawing shed, the national writing charity Arvon, and writers Jacob Sam-La Rose and Nichola Charalambou, the girls joined an intergenerational group for a 3-day residency at William Morris Gallery and Winns Gallery. Working individually and in groups, the residency enabled participants to experiment with writing on paper and old fashioned typewriters, and joined members of the community and a wider public in the digital ether for a TWITTER PERFORMANCE exploring the themes of home, stranger and neighbour. The participants worked with filmmaker Paul Fletcher who was commissioned to make a SHORT FILM in response to the project, and produced personal content for an anthology of the poems and writing created during the residency.

I get out of bed and open my curtains
I look out the window,
I see the morning sun say good morning to me as
it casts its fresh yellow beams on my pale
colourless walls.
The playful breeze kisses my cheek as I look up to
see the birds flying high in the blue heavens.
I look through a different window,
I see a sheet of darkness,
Large flakes flutter to the ground like ashes after
flames, each with a different story to tell.
I stood there, viewing life through my frosted
window pane.

The birth of a new species, I think.
A hybrid culture.
A hybrid race.
How does one make peace with their predicament?
When ones mother was born
In a land where education is not free
Treatment is not free, water is not free
But it is her sanctuary, her escape, her home.
She remembers the vibrancy of spices, colours, clothes
Of long pastel sunsets set upon red barren land, waiting for dusk to appear
To break her fast with the ones she loves.
The birth of a new species, I think.
A hybrid culture.
A hybrid race.
How does one make peace with their predicament?
When one is born into a welfare state
In a land where education is free
Treatment is free, water is free
Yet it is their uncanny ability to create dreams
And allow those with tenacity to chase them down
With a flurry of excitement, a pinch of hope, a slice o courage
That fosters love in my heart for my land
This is my home too.
I find myself tasked with the heavy burden
Of having to reconcile the two halves
That make up the whole of my universe.
The birth of a new species, I think.
A hybrid culture.
A hybrid race.
How does one make peace with their predicament?
I do not know. Do you?

Funded by Well London and Arts Council England, the project was supported in Hoe Street by Walthamstow School for Girls and Paul Fletcher, E17 Films.




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IdeasFromElse[W]here is an arts laboratory project led by the drawing shed lead artists Sally Labern and Bobby Lloyd and co-curated by artist Jordan McKenzie. From the project base in Winns Gallery, E17 (and throughout Lloyd Park), from June 16 – July 13 2014, artists and the public came together to collectively engage in the sharing and exploration of art-making, performance and creative ideas.

Informed by the likes of Allan Kaprow, multi-disciplinary artists and makers from across Waltham Forest, the UK and as far away as New York, joined us in opening up, challenging and extending the processes of devising, making and presenting art, with this ‘festival of ideas’ incorporating live art performance, film, live writing, dance, text, print, sculpture, sound, and new media. Provocations, invitations and responses from artists and public participation continually informed and adapted the project from the Winns project space as well as from the drawing shed‘s project space LockUpNumber11 on The Drive estate E17 and the ARTS LAB PROJECT BLOG – – which continues to develop as a document for experimentation, dialogue, and evaluation of this arts lab and the process of ‘thinking through making’.

The IdeasFromElse[W]here project space at Winns Gallery was open to the public 11am – 5pm, Wednesday to Sunday, from June 18 to July 11 2014. On Mondays and Tuesdays during the project, resident artists used the project space to play, experiment and develop their own work. At these times the artists also had exclusive access to the William Morris Galleryarchive, library and research resources.

Over 50 artists and practitioners were involved in the arts lab, including

Katy Baird     Nadia Berri     Sarah Buckle     Laura Dee Milnes     Ben Faga       Film Direction     Simon Foster-Ogg     Joseph Kopiel     Sally Labern              Bobby Lloyd    Leah Lovett    Jordan McKenzie    Justine Pearsall    RARA    Annette Robinson    Phil Sanger    Single Action Group    Site Space    Steakhouse Live    Daniella Valz Gen   Carrieanne Vivianette    Ed Woodham

In the run up to and duration of IdeasFromElse[W]here we invited Cara Courage to ask questions of and write critically on the process in the role of ‘Thinker in Residence’. This role ran in parallel with Cara’s research into the drawing shed‘s projects for her PhD studentship at University of Brighton Doctoral College, looking at grassroots urban arts interventions and the affect they have on people and place in an investigation of the phenomenon and theory of relocalism.

In addition to PrintBike, by popular demand the drawing shed brought back The Public Typing Pool, striking up letters and conversations in exchange with users of The Public Typing Pool concurrently installed alongside Laurence Weiner in the new Sculpture Centre in Bury, greater Manchester, as part of Text Festival.

Alongside the daily art-making and performance that developed organically and spontaneously throughout the month, programmed events included Film Direction’s screening of ‘A-Z of London: 26 Raw Films’, People Pavilions with the public joining RARA to build human pyramids in Lloyd Park, and performances from Single Action Group, Steakhouse Live, and Site Space

Over the course of the arts lab, artists contributed to zine boxes which were auctioned at ‘JUNK, A FUN[D]RAISER’ at Winns Gallery on Thursday 10th July. A fundraiser to support the drawing shed‘s future projects, the evening also included film and live art performance, bringing artists and the public together to celebrate the arts lab in its final few days.




Started by boys living on the estates, our fabulous baking & mentoring project, now for boys aged 12-16, will be supported by adult men who will train as mentors & encourage boys from the estates to develop their baking skills, learn to sell what they produce and share their culinary creations with families, friends, neighbours & the wider community.

The project was launched in January 2017 with baking workshops led by expert East London bakers at Today Bread bakery and café on Hoe Street. Men and Boys – this project is for you!






Top Boy Bakers is an exciting and innovative baking and mentoring project for adult men and vulnerable boys aged 12-16, living in and around The Drive and Attlee Terrace estates in Walthamstow. The men and boys will participate in a programme of bread and pizza making workshops led by Alex Bettler – a talented local baker and founder of Today Bread in Walthamstow Central.  The men will also be trained as mentors and provide on-going support to the boys to ensure they make the most of their new baking skills.

We would like to hear from men aged 25+ who have some baking skills or an enthusiasm to learn, and who are interested in becoming positive role models to the boys. We are also seeking a professional male trainer to deliver a series of mentoring training sessions.

Please see the brief for the Mentoring Trainer below. If you or someone you know is interested in delivering the training or becoming a mentor, please get in touch with Clare Moloney, Community Development Coordinator,