Go Inspire Magazine - Volume 4

VOL 4

VOL 4

FOUNDERS NOTE Dear Readers, Welcome to the vibrant canvas of our fourth volume - which is dedicated to the creativity, resilience and brilliance of women in art.

Art has always been a powerful agent of transformation. It echos the diverse voices and stories that live in our world.

In this issue, we pay tribute to the female artist. Those whose visionary works have not only adorned galleries, but fuelled revolutions, challenged norms and inspired change.

In our featured article, we explore the transformative power of art to spark conversations, drive social change and amplify the voices of those often marginalised.

We dedicate this issue to the trailblazers and the relentless dreamers. May their art ignite our spirits and pave the way for a more inclusive and inspired tomorrow.

by Marina Sardanopoli

CREDITS Produced by | GoInspire UK Cover Artwork | Abbi Bayliss Illustrations | Bess Roche Editor & Design | Laura Pink Interviews, Production & Copywriting | Chelsea Abbott Go Inspire Founder | Marina Sardanopoli Contributors | Darby Brown, Rasha Barrage, Aya Karlieva & Catherine Pestano.

CONTACT Media | goinspireuk.media@gmail.com Mgmt | goinspireuk.management@gmail.com Enquiries | info@goinspireuk.org goinspireuk.org

CONTENTS MADE FOR WOMEN, BY WOMEN

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FEATURE: SHE IS AN ARTIST BECAUSE SHE CAN CHANGE THE WORLD

by Aya Karlieva.

21 FEATURE: CREATIVE ARTS TO

03

SUPPORT WOMEN THROUGH THE MENOPAUSE TRANSITION

by Catherine Pestano.

INTERVIEW: HANNAH WITTON

23 INTERVIEW: SAMPADA GURUNG

Owner of the Slightly Curious Studio and The Great Pottery Showdown contestant, Sampada Gurung, tells us about everyday life in the world of ceramics.

Youtube Content Creator Hannah Witton gives us an exclusive look into her exciting new career change.

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FEATURE: THE THRILLING PERKS OF NON-FICTION READING

by Rasha Barrage.

07

09

FEATURE: HOW CAN HUMAN RIGHTS BE EXPRESSED THROUGH ART AND WHY IS IT IMPORTANT?

INTERVIEW: NAOMI & NATALIE EVANS

by Darby Brown.

30 INTERVIEW: ABBI BAYLISS Get to know our Vol.4 cover artist.

33

We spoke to Natalie and Naomi, founders of the largest UK anti racism platform ‘Everyday Racism’.

15 INTERVIEW: FIONA MORLEY

Chaiya Art Prize winner Fiona Morley tells us about what pushes her to create meaningful art.

02

GO INSPIRE: VOLUNTEER WITH US Join us for some exciting opportunities with our inspiring community of women.

@goinspire.wimbledon goinspireuk.org

INSPIRING WOMEN INTERVIEW

HANNAH WITTON

Since 2011 Hannah Witton has been on our screens talking about all things womanhood. From sex advice, relationships, disability and her pregnancy journey, audiences have relied on Hannah’s fun, colourful and realistic YouTube content. Go Inspire had the opportunity to talk to Hannah about her career up to today, where she faces a rather big change.

Interview: Chelsea Abbott

Photos: Laura Pink

Go Inspire: Can you tell us a bit about you as an introduction to our readers?

I encourage everyone to pause and lead with curiosity.

Hannah Witton: I feel like I’m writing a dating app bio and I’m out of practice! I’m Hannah, I am an online content creator - I’ve been making stuff for the internet for over a decade, mostly around sex, relationships, lifestyle, disability and now parenting.

In my content and in life, I’m generally quite nerdy, silly and honest about things - from relationships to money to books and TV. I also love the colour yellow.

GI: Great! Let's start with how you have got where you are today; what has changed from Hannah Witton in 2011 to Hannah Witton today?

HANNAH WITTON

HW: The Hannah Witton who started making YouTube videos in 2011 was a bored teenager looking for an outlet and a way to connect with people. YouTube and social media were still in their early days and it just felt like this really exciting vibrant place where you could be creative, experiment, make friends and build a community.

Fast forward to today and this has been my full time job for 8 years. As well as YouTube, I’ve made podcasts, written books, done TV and radio, built a small team to help with content creation, and fostered a community online full of nerdy, thoughtful and lovely people.

And then last year, 2023, was the year I actually made the really difficult, but long time coming, decision to make a huge career change. I could feel myself running out of steam with the sex and relationships content and I wanted to leave on a high and pursue new things. So far I’ve felt like my whole career has just been riding this wave and kind of falling into it by accident and just letting things happen. This was the first time I truly felt like I was making a decision.

GI: What significant moments have been real game changers in your career so far?

GI: Career change - when did you make the decision to stop your sex ed content - and what will your work look like in the new year?

HW: At the beginning of 2012, under a year since I started posting videos I made my first sex ed video, that definitely was a huge game changer as it sparked the beginnings of building my brand and niche around sex and relationships for the next 12 years.

HW: So I made the actual decision internally, as in, something just clicked and I realised what it was that I had to do in the Summer. I sat with it for a while, telling friends and family and seeing how it felt (it felt good) and then I told my team and that was when it became real and we started making plans for the end of the year and closing this chapter.

In 2014, after I’d left university and was doing YouTube part-time, I had my “Do I Look Like A Slut?” video about slut shaming go viral (it was shared on Upworthy - what a throw back!) and that definitely helped to propel my channel further.

In the new year, I’m really looking forward to not rushing immediately into the next thing and taking time to rest and take this transition gradually. I’ll still be uploading lifestyle videos about slow fashion, parenting, books, TV & film, and work on my “More Hannah” YouTube channel, whilst I begin to research and explore what I want to do next, which is working as a project manager and mentor for other creators. I have a lot of knowledge and experience in this industry and I have always been very organised - me and my team have all our systems and processes in place - and I would love to help other creators with that kind of thing so they don’t get so bogged down in that, and can just enjoy the creative side of things.

2017 was a big year for me as it was the year I first ever hired someone - a video editor - to help me with videos and my first book, Doing It! was published.

2018 was a weird and difficult year but I would say still a game changer because it was the year I had my stoma surgery. When I shared my experience with chronic illness and disability online it was met with such an overwhelming amount of support and love from my audience. That was the year I really started learning about disability justice, especially in how it intersects with sex and relationships, and I really felt like my personal understanding grew, as did my content that year.

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GI: What are you most looking forward to about your change in career path?

I hope that I’ve built a bit of a reputation so far for being honest with fellow creators about things like rates, brands, schedules, strategies, money etc. that I will continue doing that to help people, especially new, emerging creators, to navigate this space.

HW: I’m looking forward to diving back into the creator landscape. I feel like at the beginning of my journey on YouTube the community was so small and I was so involved, but then as time goes on, YouTube and social media gets bigger and you’re focusing on your own thing, you lose sight of the cool stuff other people are doing. I love talking about this industry and I just want to get stuck in and nerdy with other people about it. I’m also excited (and nervous) about turning a good portion of what I do inwards - so instead of public facing, it’s client facing work. I’ve never really done much of that before so it’ll be a learning curve but I enjoy that.

GI: What inspires you in your everyday work?

HW: This might sound strange, but myself? The creator industry is still so new and ever-evolving, there are limited blueprints on how to navigate this kind of career long term, because no-one has really been doing it for more than 15 years. There are infinite ways to go about it and from the beginning, I really feel like I’ve been carving my own path, because that’s the only option. And especially when I got pregnant and then navigating illness, maternity leave and parenting as a freelancer/content creator/small business owner there’s no rules. You’re making it up as you go along and calculating risk on your own. And then making a decision like I have to completely step away from two massive projects that are so tied to my online personal brand and identity, is so huge, and I didn’t have any examples of people making this kind of move to learn from. Not to get all corny but I’m really proud of myself for everything I’ve built and achieved and for making the decision for myself that it was time to move on to something new.

GI: What do you think draws people to your content? How do you think these methods could help you with your new work?

HW: I think people have liked my work because I’m dare I say it…approachable? I’ve always been very open and honest in my content (whilst also holding my own personal boundaries about what I share), and I think people have been drawn to that, especially when it comes to topics like sex, disability and money that are treated like such taboos.

GI: You’ve done a lot of work focused on sex and relationships, to end these questions, what is the number one bit of advice you would give to our readers?

I really value openness and transparency among creators in our industry, and I think that will help me in this new work.

HW: Oh my goodness - how to summarise 10 years of knowledge in one bit of advice? The pressure! I think my advice would be to never stop asking questions and being curious. We all hold so many different strong values around sex and relationships received from all different places and people at different stages in our lives. Being your own person is about figuring out your own personal values, which might be different from what you were taught at school, by parents or in movies. Think you shouldn’t masturbate when you’re in a relationship ask yourself why? Think you’re broken because you don’t enjoy penetrative sex - why? Who told you that? And always being curious will help when you meet people and try to have relationships and friendships with people who are inevitably different to you and may have different values. We often jump to judgement first, but I encourage everyone to pause and lead with curiosity. @hannahwitton hannahwitton.com

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FEATURE

HOW CAN HUMAN RIGHTS BE EXPRESSED THROUGH ART AND WHY IS IT IMPORTANT?

BY DARBY BROWN

Freedom from slavery and forced labour. Right to liberty and security. Right to education.

Protection from discrimination. Freedom of expression.

Sound familiar? I hope so. Because of the Human Rights Act of 1998, you’re entitled to all of these. Human rights are the basic rights that belong to you, me, and everyone else on the planet. But what does this have to do with art?

Well, art has often been used as a tool for political change. Just look at Picasso highlighting the horrors of war in his painting Guernica. Or Barbara Krueger and the Guerrilla Girls advocating for feminism in the eighties. The modern term for this kind of stuff is artivism (art + activism). The term first came about in 1997 to describe the Chicano art movement, which was led by MexicanAmerican artists wanting to establish their own artistic identity. Now, it’s used for anytime that someone uses art to advocate for human rights–such as with us at Skaped. We’re an East-London community-led Artivist organisation that encourages young people to engage with community building and social change through the creative arts.

We love seeing all the different ways artivism can look. From a quilt advocating for gender equality to a painting opposing racism. Perhaps a zine about identity and self-care or a mural promoting empathy and compassion. One of my favourite examples of an artivist is Favianna Rodriguez, who uses collage to address topics like migration, gender justice, and racial equity. Just like art in general, artivism can really be anything. And what’s great about this is that anyone can do it.

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Now, you might be asking ‘why?’ What does art bring to the discussion around human rights?

What does it do that normal forms of protest can’t?

Well, for one, art is a non-polarising way to advocate for social change. Walk into a museum with a group of friends and pick a piece of art to discuss. You might notice that everyone will have their own response or interpretation. This ambiguity creates space for open dialogue.

Disagreements become discussions rather than arguments. From there, bridges can be crossed, communities formed, and relationships built, which goes a long way in promoting social change.

Art can also be a therapeutic way for individuals to process emotions around human rights. We live in a world where we’re told to diminish our feelings (sadness, anger, etc.), but art is a space where you’re free to feel and to process those feelings. You can even learn more about yourself through it.

Another great thing is that art is accessible.

For anyone a bit unsure of how to even engage with social justice, art can be an approachable way to get started. It can also be a bit easier to engage with for anyone who might be turned off by posters and megaphones.

If artivism sounds like something you’d like, I’d encourage you to try it out for yourself.

You could start with just making a list of things you care about and want to advocate for: Mental health? Racial equality? Gender equality? Then, pick one and make a list of why you care about it. How do you feel about it? What do you want to see change?

Once you’ve done that, make a piece of art demonstrating why you care about that topic. You could paint, draw, collage, photograph - you can really get creative here!

And if you want to learn more about artivism, I’d love for you to get involved with us at Skaped.

We put on free workshops and programmes for people to practise artivism, including our artivism programme. However you go about it, we’d love for you to join us in the artivism community– exploring human rights through the arts together. @skaped

Image pg 7: Erin Earp. Pg.8: Leyla Pizzolato.

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INSPIRING WOMEN INTERVIEW

NAOMI & NATALIE EVANS

You may know them from their book club, or perhaps have used one of their many resources - maybe you've even heard a speech by them.

Authors, activists and founders Natalie and Naomi run the UK’s largest Anti Racism platform, and have gladly offered some time to chat with us about what ‘Everyday Racism’ does.

Interview: Chelsea Abbott

Fashion: Latchspoke

Photos: Laura Pink

Go Inspire: Can you start by telling us a bit about Everyday Racism?

Naomi & Natalie: Everyday Racism is a platform and organisation that started in 2020. It’s purpose was to provide a space for Black People and People of colour to talk about their everyday experiences of racism, specifically from a UK context. We felt at the time there wasn’t much conversation about racism in the UK, it was so often referred to it as an American issue, and even though that rhetoric hasn’t completely changed we feel people are more open to the understanding that Racism is very much here in the UK and we have a lot to learn from our history. Everyday Racism has significantly grown in the past 3 years. We are now the largest Anti-Racism platform on Instagram in the UK and are award winning. We also provide antiracism training for schools and companies. We have written two books ‘The Mixed-Race Experience (published by Penguin, 2022) and ‘Everyday Action, Everyday Change’ (published by Hachette, 2023). We also run a book club that focuses on amplifying and spotlighting authors from the global majority and we are working on a campaign ‘To make racial literary compulsory in schools’.

GI: How did you both come around founding it? What was it like creating something like this?

A few months later the murder of George Floyd happened and we all know what happened happened next - people realised they can't just say they are not racist, they need to be actively anti racist.

N&N: Myself and Naomi are Sisters and we grew up in Margate, Kent in the 80’s and as two Black Mixed Race girls we experienced a lot of racism and microaggressions. There were not many people who looked like us, whether it was at our schools, clubs, friends and even our family. Racism was rife but something we always swept under the carpet and the times we did say something we would be met with gaslighting or be the ones made to feel guilty for accusing the other person of racism. It was a very difficult thing to navigate. As we got older we started reading more about racism and started reflecting on our own experiences of everyday racism. One day we were chatting and we just thought how good it would be to have a space where people who experience racism could share their experiences; we thought it would be so healing for people to know they were not alone, we knew it would have helped us growing up if we didn’t feel so isolated all the time (even though we are Sisters we are 6 years apart so we didn’t even have each other to talk to until we were older). We thought about calling the platform ‘Everyday Racism’ but didn’t know what that space would look like. Fast forward to 2019, Natalie witnessed a incident of racism on the train from London to Margate. She ended up speaking up during the altercation and filmed the whole thing.

Sadly this wasn’t anything new but when speaking to Naomi about it we both said to each other ‘Why didn’t anyone else say anything?” The train was full and not one person said anything apart from the two people who experienced racism. After that the video was shared online by a mutual friend, it went viral and at that moment we knew we needed to set up the platform.

GI: Who, or what has been your biggest influence to create everyday racism?

N&N: There are so many people who have paved the way for people like us to do the work we do and we are so grateful. Some people we have to give our flowers to are; Angela Y Davis, Audre Lorde, Bell Hooks.

In the UK we have loved the work of Benjamin Zephaniah, Akala and Afua Hirsch. There are so many incredible people out there doing so much more than us; Dr Shola Mos-Shogbamimu, Kelechi Okafor, Munroe Bergdorf, Caroline from Afrori Books, Samantha from BookLove. The list could go on!

GI: Could you tell us a bit about your new book Everyday Action, Everyday Change?

N&N: This is a children's book aimed at 8 year olds upwards but we know people who have read it with their 5 year olds and even adults who have found it helpful! The book is all about how racism and prejudice shows up and how we can help fight against it. It's a practical guide for children and young people to either read themselves or read with family and friends. In the book we look at different types of prejudice such as Racism, Homophobia, Transphobia, Sexism and Ableism and we have brought in some friends along the way to share their own experiences.

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We then look at practical tips that we all can use to help make the world a better place, these are things we can all do no matter what our age or circumstance. So we encourage young people to look at their values and how to be allies to marginalised communities. It’s the book we wish we could have had when we were younger and we are so proud of it. The feedback has been wonderful.

GI: What have been some of the challenges you have faced so far with all the projects, books clubs, and courses you have done?

N&N: I think some of the main challenges are having to deal with people who are so against what we do. Social media is a wild place and because we have such a big platform we get some horrible DM’s and messages but we have learnt to navigate that now. In the early days we felt we had to engage with everyone who messaged us but we realised it didn’t help and took up a lot of our time and energy so now we just block and delete and it works really well! The other thing for us is making a living from what we do, it’s not about making lots of money but we have to live and pay our bills! Natalie quit her job over a year ago now to work on EDR full time as we were unable to keep up with the demand, so we have to make sure we are making a wage from what we do. I think people assume because we have a big platform we make lots of money but we don’t make anything from Instagram, it’s mainly from the antiracism training we deliver. We currently offer 4 courses; Intro To Anti-Racism, which is an introductory course into anti-racism. It’s perfect for companies who want to get their staff to the same level and understanding of how racism shows up. Influencing Your Sphere is a course for those who have done the intro course or who feel they have read the books, listened to the podcasts and know racism exists but want to know how to make lasting change. Recharge and Reclaim is for Black staff and prioritising self care for Black employees. Finally The Anti-Racist School is for teachers, support staff, governors and even parents to look at how racism shows up in the education sector.

GI: What are some of your upcoming projects that you are particularly looking forward to?

N&N: In 2024 we really want to focus on our campaign work to make racial literary compulsory in schools’.

Naomi has been a teacher for over eighteen years now and has never had anti-racism training. We just feel this needs to be compulsory for all schools in England, Scotland and Wales, so if they haven't implemented it, why can't we? This will be a huge focus for us this year. We are also in the very early stages of our 3rd book which is exciting and we would love to start a podcast so if anyone would like to help us start this please reach out! We can’t wait to continue our antiracism training for the year and see what's in store. @everydayracism_ & @everydayracism_bookclub everydayracism.co.uk

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FEATURE

SHE IS AN ARTIST BECAUSE SHE CAN CHANGE THE WORLD WOMEN IN REVOLT! - FEMALE FEMINIST ARTISTS OF THE 70S - 90S IN BRITAIN. B Y

A Y A

K A R L I E V A

Oppression leads to internalised anger and

What this exhibition can teach us is that women

anger leads to self-expression. Creating art is the

hold so much power and influence to change the

rawest form of self-expression, therefore women

world. We must take it into our own hands to

have always projected their anger from being

educate and make changes in areas of life

oppressed for centuries into art. Art is a

important to us and the future of women. The

conversation, a monologue and a statement. It

hardships women went through between the '70s

can change minds and the future of female lives.

- 90s have made life better for women now, and the hard work and change women make today

Now until April 7th, 2024, you have an

will naturally influence the betterment of women

opportunity

for the future.

to

visit

and

experience

the

WOMEN IN REVOLT! ART AND ACTIVISM IN THE UK 1970-1990 exhibit, at the Tate

The exhibition features a plethora of different

Britain in London, showcasing the art of

utilitarian magazines self-funded, produced and

various female artists in the UK who have made

published by female collectives like Women’s

commentary on the sexist, patriarchal and

Report, FAN and Women Now, to name a few,

oppressive England they lived in between the

that brought news, discussions and events

1970s - 1990s. Women pushed for equality,

focused on women’s rights and women’s lives.

liberation and rights in the workplace and

These were stories and important information

outside. The second wave of feminism in the UK

not covered by mainstream UK media. A

went underway in 1970 when the National

magazine is a portal of free expression that is

Women's Liberation Conference took place in

accessible for all to be educated and influenced

Oxford and in that same year, the Equal Pay

by. Magazines are a women’s revolution.

Act was passed.

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If art comes from a personal space within yourself, it is enough to be considered important. This exhibition highlighted various female artists; from painters to sculptors, to filmmakers, writers and photographers. The UK has had a considerable amount of diverse female artists who are all unique in their approach and voice. Whether they were part of the LGBTQ+ community, of South Asian background, sex workers or factory working mothers, Women In Revolt! showcases work from and about these groups of women.

It comes as no surprise that patriarchy had pushed women into the corner with no choice, freedom, support and safety. Women are multidimensional and we can blend roles of the housewife, mother, sexual being, creative artist, hard worker, and money maker, whenever we want. We can embrace our femininity and sexuality without the fear of being attacked and vilified and also aim to be financially independent and leaders in the work field. Women since the beginning of time, have had a long list of expectations and roles.

Creating art personal to you and your reality ironically has the power to touch the lives of women who are similar to you. Sometimes it does not have to have a big headlining message that the whole world can digest. It can be detailed, abstract or mysterious that only those who can relate or have the depth to follow will be able to understand.

Art doesn’t have to be so literal and in your face, it can be subtle.

Like the work of Lesley Sanderson. Time For Change, 1988, is a self-portrait of the British - Malaysian artist. It is an exploration of her mixed ethnic and cultural identity. Once again we see a nude woman, vulnerable yet powerful and it is mirrored by another self-portrait of herself clothed in traditional Malaysian dress. It is a self-portrait of a self-portrait. One woman looks at the other and the other looks at us. It is a confrontation of male fetish of Asian women, racial stereotypes, male fantasy and the nuanced relationship of one's non-western identity while living in the West.

The large painting is simply beautiful with its use of colour and shading.

Art and politics go hand in hand in the exhibition. It is a brilliant space to explore. From agitprop, to introspective self-portraits and abstract film, one can learn the immense effort women have made on the landscape of equal rights, sexual liberation, working rights, housewife/mother equity, LGBTQ+ awareness and South Asian feminism. @karlievamedia

(first image) Women in Revolt! at Tate Britain, London, 2023 © Tate (Larina Fernandes). (second image) Lesley Sanderson, Time for a Change 1988. Collection of the artist. Photography by Neil Conroy.

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INSPIRING WOMEN INTERVIEW

FIONA MORLEY

Chaiya Art Prize winner Fiona has spent years of her life experimenting with art. From exhibits in London and Arts Fairs across the world, to working at home on her beautifully detailed sculptures, we spoke to Fiona about her life creating art.

Interview: Chelsea Abbott

Photos: Laura Pink

Go Inspire: Can you start by telling us a bit about yourself and what you do?

This was quite liberating even though I had lost my work room to my girls bedrooms, and so I worked in any space I could find, frequently in my own bedroom, and wire was to be found everywhere in the house, frequently getting stuck into our feet.

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Fiona Morley: I grew up in rural Herefordshire until I was 18 then left to study in Edinburgh at the College of Art. I loved that city and my time there.

However events drew me back down to Herefordshire and eventually to Brighton where I now live with my husband and two girls. It is here where I work as an artist from my garden studio. I work sculpturally in thin wires which is very much like drawing in space.

GI: Do you have anything specific that helps you focus from challenges and distractions?

FM: I am an easily distracted person, so I work alone.

I never get lonely as I am happy in my own company, I do think sometimes that I miss out on the ideas and inspirations that come from being around people, especially other artists. But I do listen to plenty of podcasts and music, these keep me focused. When I am really struggling with concentration or other upsets, a walk - ideally in nature, usually sorts me out. As does some time meditating, this really helps to ground me and slow my mind down and put things into perspective.

GI: How did you get into drawing, and then eventually move into sculpting?

FM: I have been drawing ever since I can remember. In the 80’s while I was young there were no media distractions and myself and my brother had to create our entertainment. Drawing was the activity I involved myself in the most, always featuring people and faces. I found in it a place where I could totally focus and that brought me a lot of peace and fulfilment. Years later at Art college I had my first opportunity to work three dimensionally in the foundation year. I fell in love with this immediately and I was encouraged into the sculpture school to complete my degree. After experimenting with many materials eventually a friend in the jewellery department gave me a spool of binding wire used in the jewellery making process to experiment with. I quickly realised that this material produced lines in space, like a drawing lifting up from the paper, and so my love of drawing and working in three dimensions came together to create a new method of sculpting, producing the delicate forms that I still create to this day.

GI: On your site you mention about creating your art through different challenges “recently working through the challenges of keeping my practice ticking over whilst also being a mother of two” - could you explain a bit more about this?

FM: By the time my first child came along in 2008 my work was doing very well in a London Gallery and many international Art Fairs. However, it quickly emerged that my time for my Art practice was reduced to hardly any time at all due to the demands and care of my new born. Family lived far afield so there was no extra support. However I did feel strongly that I wanted to be as much involved in my children's early years as possible so the decision was taken for my partner to support us all financially during this period.

GI: Tell me about your inspiration for your art? What themes come from your art - and is there anything you want someone to feel or understand when they look at your work?

FM: Whilst people are my biggest distraction they are also my biggest inspiration. It sounds very broad to say that our human experience is my inspiration but I do spend a lot of my time thinking and learning about our psychological selves, how we think about ourselves, how we relate and behave towards ourselves, others and to the world we are part of.

Over time, and as the girls grew up and went to nursery, I began to start a new body of work free from the demands of galleries and shows.

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I believe we are becoming so disconnected from our essential selves and all life on earth - I am sure that this disconnect brings about depression, anxiety and the sabotage of our planet, whereas the concept of non duality, the ‘one’ nature of all things interconnected resonate deeply for me which is why you see animal and plant life intertwined in faces or human type forms to symbolise this.

I very much recognise the transient nature of all things, our bodily forms, nature, things, art, even our thoughts and emotions. I hope to capture this in the ethereal nature of my work as it appears somewhere between something and nothing. I feel it is important that this state of things is always kept in mind. There is nothing we can hold onto in life, and though this may sound bleak it is really the most liberating concept. We can also see life in this form for what it is; precious. And we can be truly grateful for it.

I also hope that aspects of my work share a commonality with people, and that they may see something of themselves or somebody else within the faces and forms. These connections make it meaningful for both myself as the artist and viewer.

GI: Has there been a specific moment in your career or in your life that you are particularly proud of - and how did you get there?

FM: I think my proudest moment in my career was winning the £10,000 Chaiya Art Prize in 2021 which is an Art prize with a focus on spirituality. This came after a long period of creating new work but still being heavily involved in the demands of being a Mum. It gave me confidence that my work still had a place in the world despite me feeling that I was out of the art world. Since then I have also been awarded the full ‘Developing your Creative Practice’ grant by the Arts Council - this enabled me to re-create my work on a much larger scale and fit for outdoor environments. This opens up a whole other extended, and yet to be fully explored, branch for my practice.

I know it may be a cliche but you have to find a way to believe in your work, and cope with frequent self doubt.

Persevere, the bad times and doubts always pass eventually.

GI: What advice would you give to people starting out in their art career?

It is so important not to be afraid to fail, or explore any possibilities.

FM: I think in these times art careers don’t necessarily need to be the traditional artist /gallery combination, although this can, and does still work, well for many artists.

When you have mastered both yourself and your craft, whatever it is, everything else will follow.

The world is changing very fast, including the art world and new possibilities and collaborations are out there and you should be alert to alternative ways of making your art career work for you.

@fiona.morley

fionamorley.com

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WITHIN LONDON & SURROUNDING AREAS

FEATURE

CREATIVE ARTS TO SUPPORT WOMEN

THROUGH THE MENOPAUSE TRANSITION

BY CATHERINE PESTANO

October is Menopause awareness month, with World Menopause Day on 18th. It affects everyone born with a womb, to varying degrees, being sometimes easy, and often not. More of us are starting to have the opportunity to hear more about the symptoms and strategies that may help.

However, much of the time this can be focused on immediate relief from symptoms, understandably, when these can be tough for many going through this potentially lengthy process.

Another area needing space and room for expression is the whole world of feeling, about the changes we are experiencing and the process of moving through life’s phases. The expressive arts are wonderful for this, even if you have never tried much in the way of writing, painting, dance or musical activity. Crafts, the wide range of making methods, is another potentially rewarding pathway. The use of metaphor is common in the arts and this perhaps time of harvest, of turning inward going quiet like the land before the next new fruitful seasons; ideas like this may help us on our journey. I ran an Arts residency held at TURF arts in Croydon with creative arts and design partners. We found that women dropping into our arts sessions really valued the permission to use the tactile art materials – crayon, pastel, finger paint, tissue paper, cut ups - to help their thoughts and feelings take shape.

Together we made art, sculptures, collages, small affirmation cards with beautiful photo images, created simple zines with rage and regrets and talked, sharing stories.

Allowing our voices freedom is powerful and healing at this time, whether through stories, singing or songwriting or other forms of writing arts. Menopause representation in writing can often be mainly of white straight able-bodied experience which does not necessarily help, as our diverse experiences, pressures and oppressions can compound the impact of the menopause for many of us. And this is just in the factual materials, in print and the media.

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A simple activity like cutting up magazines and making a collage of images that speak to you in some can be a simple unpressurised activity, helping to focus your intuition and connection to self. Perhaps words or images of your own may

I partnered with South London micro publisher Arachne press to co-edit a creative anthology on the Menopause, launched last October. We ran three workshops to increase the diversity of representation and achieved 44 strong final pieces of poetry and creative writing from a good range of people ncluding LGBTQ+ contributors, disabled and neurodiverse poets and global majority writers.

come to you and you can begin to set these down.

Many women like to find movement that brings them joy, and this can include easy dance.

Or making a comforting music playlist and singing along can help self-soothing and deescalation of distress.

There is something validating and life affirming about seeing the extremes of feeling and experience laid out by another human being

Finding places to connect with other women can be interesting and illuminating. Menopause Cafes are becoming more common, no speakers just sharing, with online versions available too such as

– this self-recognition is what the arts can offer in their many forms. Videos of some of the contents are freely available on the Arachne site.

Menopause THE Anthology is slim and makes a great gift!

South London Menopause Café. My working life has been spent in mental health social work, yet this topic didn’t feature in any training. I now practise a kind of grassroots community arts social

So perhaps after reading this you feel interested in exploring the arts but are unsure where to start?

Midlife is often very busy with many socially constructed duties. Spending time in nature can also be calming and nourishing, allowing our small feelings voice inside to emerge.

work offering workshops, mini retreats and support to women and other people going through this, in London and further afield, using creative methods and circle time sharing to nourish and offer restorative space for small groups. My understanding of diversity enriched these services. Join us!

Catherine is offering Go Inspire readers a 10% discount on book purchases, to receive a diversity & links sheet for Menopause resources please email creativecroydon@gmail.com.

@CreativeCroydn Illustration (pg. 21):

@thebesstime

Book image courtesy of Arachne Press Limited.

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INSPIRING WOMEN INTERVIEW

SAMPADA GURUNG

Sampada Gurung is an illustrator and ceramist born in Nepal but now based in London. After graduating from Falmouth University with a BA in illustration, she was drawn to ceramics and started developing a professional reputation in that field. She eventually found herself as a contestant in Channel 4's The Great Pottery Throw Down - Season 3.

Interview: Chelsea Abbott

Photos: Laura Pink

Go Inspire: Firstly please tell us about you and what you do?

Sampada Gurung: I am a potter and the founder of The Slightly Curious Studio based in North London. My work primarily involves creating unique ceramic pieces, ranging from functional ware to more artistic, sculptural forms. I also teach pottery, sharing my skills and passion with others who are interested in this craft.

GI: What inspires you to create?

SG: My inspiration comes from a mix of sources, including nature, travel, and the rich history of ceramics. I am particularly drawn to the way pottery can blend art and utility, and I love experimenting with different textures, forms, and glazes. The tactile experience of working with clay and the endless possibilities it offers are major driving forces in my creative process.

GI: Tell us about The Slightly Curious studio in North London?

SG: The Slightly Curious Studio in North London is my personal workspace and a creative sanctuary where I focus on my ceramic projects.

It's fully equipped for all aspects of pottery, from wheel throwing to kiln firing. While it's primarily my artistic haven, I also open it up to share with those curious about pottery. Here, I run classes and workshops, welcoming anyone from beginners to more seasoned enthusiasts. The studio embodies a blend of personal creative exploration and community teaching, making it a unique space where learning and artistic development flourish.

GI: What do you like most about running your own studio and hosting events?

SG: The best part is the sense of community it builds.

I love seeing the joy and satisfaction on people's faces when they create something with their own hands. Running my own studio gives me the freedom to experiment and grow as an artist, while hosting events allows me to share my love for pottery with others and witness their creative journeys.

GI: What does a normal day look like for you?

SG: A typical day involves a mix of activities. I usually start with some admin work, followed by time in the studio either creating new pieces or refining ongoing projects. I might also spend time preparing for classes or workshops. Interacting with students or clients is a regular part of my day, alongside managing the operational aspects of the studio.

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GI: Tell us about The Great Pottery Throwdown? What was it like?

GI: How can people get into pottery? Do you have any advice?

SG: Participating in The Great Pottery Throwdown was an incredible experience. It was challenging, exciting, and immensely rewarding. The competition pushed my creative boundaries and allowed me to meet and learn from some amazing potters. It was a unique platform to showcase my skills and gain exposure in the pottery community.

SG: For those interested in pottery, I recommend starting with a beginner’s class or workshop. It's important to get hands-on experience with clay and understand the basics. Be patient with yourself and don't be afraid to make mistakes – that's how you learn. Also, try to connect with a community of potters or a local studio where you can find support and inspiration.

GI: What was your favourite part of that experience?

SG: My favourite part was the camaraderie among the participants and the opportunity to learn from the judges. Each challenge was a learning curve, and I cherished the feedback and insights provided by the experts. Also, being able to share my work with a wider audience was extremely fulfilling.

@sampadagurung sampadagurung.com

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FEATURE

THE THRILLING PERKS OF NON-FICTION READING

BY RASHA BARRAGE

In a world brimming with stories of adventure, time travel and romance, the allure of fiction can be hard to resist. In moments, we can transport ourselves to lands filled with whimsical characters, childhood fancies and captivating conversation. Yet, within the vast library of literature, there exists another treasure trove of experience that’s often ignored: non-fiction books.

It’s about the beginning Fictional stories are unpredictable and keep you guessing about their end. But they nearly always make sense. Authors carefully craft their stories to ensure the plot, characters, and events fit together in a logical and coherent structure. Reality doesn’t have that luxury. Real life is unpredictable, chaotic, and at times, seemingly nonsensical. As Mark Twain put it, “Truth is stranger than fiction, but it’s because Fiction is obliged to stick to possibilities; Truth isn’t”.

When you start a non-fiction book, you probably have a sense of how it ends, such as a memoir by an actor who starred in blockbuster movies, or historic records of a civilisation that no longer exists. What you might not know, and what non-fiction writers invite you to discover, is the unexpected start of the story. Maya Angelou’s I Know Why The Caged Bird Sings and Elizabeth Day’s How to Fail: Everything I’ve Ever Learned from Things Going Wrong are examples of books that reveal the hidden and often hideous truths that catapult people to transformation. These discoveries can spark your own creativity because they allow you to spot connections and realise new possibilities in your own life.

The thrill is in the detail 27

Non-fiction has suffered the strange fate of being defined by what it isn’t – it’s not a product of imagination. It is planted in the reality of facts and figures. This label is perhaps its greatest burden because great non-fiction books are anything but dry. They reveal a vast tapestry of knowledge that can be just as enthralling and eye-opening as the best-selling fiction books.

Let’s take introversion as an example. It’s a topic that’s rarely discussed, despite the common bias against introverts. The book Quiet: The Power of Introverts in a World That Can’t Stop Talking by Susan Cain challenges the “extrovert ideal” and shakes us out of our assumptions about different temperaments.

Likewise, palaeontology is often simply associated with big dinosaurs. During my last trip to the Natural History Museum, I almost squealed when I saw the 147-million-year-old Archaeopteryx fossil. It’s amazing not due to its size or age, but because it transformed our understanding of dinosaurs, the evolutionary path of our planet, and ourselves. That’s not something you can appreciate from reading articles or watching YouTube videos – the details are in books written by people utterly obsessed and devoted to their subject.

Six minutes a day Beyond the knowledge you gain, reading is good for your health. The article A chapter a day: Association of book reading with longevity (2016) shows that people who read books live longer than people who don’t. Best of all, a 2009 study by researchers at the University of Sussex found that just six minutes of reading can reduce your stress levels by 68%. It lowers your heart rate and eases tension in your muscles faster than other relaxation methods, including drinking tea or listening to music. Non-fiction books are ideal because they’re designed to be read in short snippets. With Londoners being twice as likely as other Britons to read on their way to work or college, reading non-fiction during your journey could help you de-stress. Books about self-care are especially helpful at the start of your day, such as Ready for Anything: How to Build Resilience and Cope with Daily Stress by Dr Samantha Boardman or Presence: Bringing Your Boldest Self to Your Biggest Challenges by Amy Cuddy.

While non-fiction writing may lack the creative freedom of fictional storytelling, it still involves a dazzling dance of ideas and perspectives. Choosing a subject matter that interests you can uncover a true landscape that is often bizarre and awe-inspiring in equal measure. @rashabarrage Illustration:

@thebesstime

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INTERVIEW: COVER ARTIST

ABBI BAYLISS MEET OUT ISSUE 4 COVER ARTIST, ABBI. A BRISTOL BASED ILLUSTRATOR AND VISUAL ARTIST WHO YOU MAY HAVE SEEN POPPING UP ACROSS EXHIBITS IN THE UK. THE GO INSPIRE TEAM ARE EXCITED TO SHARE THIS INTERVIEW TALKING ABOUT ABBI’S CAREER AND HER INSPIRATION BEHIND THE POWERFUL COVER ART.

INTERVIEW BY CHELSEA ABBOTT.

Go Inspire: Tell us about you, and your artwork?

GI: What inspires you to create?

Abbi Bayliss: I am a digital illustrator and visual artist. I’ve exhibited at Tate Britain with Tate Collective, Bristol Light Festival’s Banksy installation, The World Reimagined nationwide globe project, the RWA, Lush UK and had a regional exhibition tour of my Black Portraits Project exhibited across the South West to Carnaby street. I’m a published illustrator of two children’s books, been commissioned by the BBC, Watershed, Exeter University and have written podcasts for the National Trust, earning my title as one of Bristol’s most influential people under 30.

AB: I find the best inspirations come from when you least expect it. Sometimes it might be an object, how a photo is framed, my nan’s front room, learning about a new artistic process or hearing somebody talk about something they’re passionate about. I let the visuals of my artwork take their own shape as I don’t confine myself to a medium, so most inspiration comes from that surrounding my subject matter of history, joy and connection.

My artwork celebrates black joy and culture. I'm passionate about telling narratives from past and future generations, and sharing histories through arts education.

GI: What was your inspiration for your cover work for Issue 4?

AB: I love playing around with collage, mixing the old with the new. I’ve created the cover as an extension of my ‘Halo in her’ hair series, where I use vintage black hair adverts to emphasise and celebrate black beauty and creativity. This style of mine was partly inspired by Ellen Gallagher, as I repurpose these images with pop art aesthetics, whilst maintaining a modern context.

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GI: Your work has just been shown in the RWA Annual Open Exhibition - tell us about the work being exhibited (‘Generational Joy’) and how you got there?

For this I designed and created a sculpture (image below) that was exhibited in Swansea city centre and Trafalgar Square, educating people on Swansea’s foundations in slavery and what it means to have these conversations generations later.

AB: I’ve been working closely with the RWA for over two year’s facilitating creative workshops for families. From this I was encouraged to enter the Annual Open, a show I've been to every single year. With over a thousand entries and this being my first time entering I'm thrilled.

My piece ‘Generational Joy’ is a digital fabric print, reflecting the stories and comfort that my grandparents home radiates through the medium of collage. Moving from Dominica to Bristol in the late 50’s, my piece is a culmination of their homeland in the Caribbean and their new found home where their kids and grandkids would grow up. It’s a collage of anecdotes and memories, with every image having a story. I really wanted to capture the sense of security and home using authentic 50s newspapers and family photos. I’m incredibly proud of this piece.

GI: Have you got anything coming up that you are particularly excited about?

AB: At the moment I'm focusing on quality not quantity. I’m part of two exhibitions at the RWA; our annual open and ‘Also Artists’ our staff exhibition. I’ve recently been commissioned as a heritage artist for the Courts in Bristol that is being fully restored and reimagined. I’ve also started selling work in stores with a wonderful shop ‘East St Emporium’ which is full of inspiring artists!

GI: What themes do you like to portray in your work - if any (art, books etc)?

‘Generational Joy’, Abbi Bayliss. Fabric digital print.

AB: Over the last year I've come up with my own visual language where everything I collage, paint or collect has to have a meaning. There has to have a purpose for everything on the page whether that’s to balance colours, reference a piece of media, imitate an artist or reflect a story. For example, my piece ‘Generational Joy’ is a reference to Richard Hamilton’s domestic collages. I love artists and musicians who leave easter eggs for their audience. I aim to incorporate this for a level of fun and to hold a deeper, sentimental meaning.

GI: Tell us about some of your past projects you are most proud of?

AB: My favourite projects have to be The World Reimagined and the Bristol Light Festival. For the BLF I was commissioned to create an animation that was projected onto the side of a building on top of Banksy’s ‘Well hung lover’. This was so exciting as I had so much I could play with considering the size of the building and the audience it attracted. The piece ‘Neighbors’ explores life at home and how people stay connected and afloat in tough times. In Summer 2022 I worked on a nationwide art education project with the world reimagined, transforming how the UK understand the slave trade and it’s impact.

@designsbyabbi Images: Courtesy of Artist.

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