The show ventured to another Kentish destination: Margate. The seaside town home to the Turner Contemporary and Tracey Emin. I had shown my previous work ReFraming at the Crate Space and had been recommended Limbo, which is right next door, to show this work, as they do private hiring out of their gallery. I had a small contingency fund and thought this was a great opportunity to work with the neutral, naked context of the white cube gallery.


Of course it was not that neutral. There were sensory complications. There was the smell of damp accompanied with the necessary humidity and also a marvellous echo. It made my throat a bit dry but I loved how I had to be aware of my voice in a different way this time. I was joined by musician Paul Cheneour on the flute, for an improvisational performance. We both tuned our instruments alone and together and worked with the echo. It sounded great once the tempo was established. I had to speak a lot slower than normal and I liked the fact that I heard what I said before my audience. The sound seemed free somehow, had a life of its own, that I could only manage, not control.




This piece really feels like it is doing it’s own thing, something I only wished for but could not have anticipated. I feel like I orchestrated factors and also worked as an emotional archeologist but everything was already there I feel. It was about discovery. It was about relationships. It was about transformation. I like to think I took the energy I got from Asha’s performances and interviews and channelled it through my own artistic eye to create this independent offspring, that has in turn attracted a musician to play alongside it.


Writer and poet Simon Partridge sent me his feedback on the first performance in Dover:



ASHA is a mirror self seen more deeply though the camera and framed by a cascade of words that struggle with meaning as much as art.   I like the ambience of differing cultures given a similarity of thought and intention to their lambing of voice. Korinna speaks nicely with a strong and passionate brush.   The smaller ornaments are highlighted by a strang(er) logic which only half hears the balance of the vocal equation.

Korinna is not afraid of conflict except in miniature which sparkles like a ring of poetry. 

 The adoption of native dress (sari) is well calculated as a cultural clue in a family of addresses. We can see the cloth bringing out raptures from her videos.  A bit like a harsh landscape seen through ragged Eagle wings.  What does all this work predicate?

That is the point – the works stand as stereoglyphs for the South African freedom movement.

As much as freeing her own ideas and eagling images full throttled against the high winds of emotion. There is a new voice among the broken eggshells of the ever burning words.

Written after an epic introduction to Korinna with living art at The Louis Armstrong at Dover Kent Tuesday 27th August MMXIII AD




*Photographs by Emilie Kengmo Chappatte*

When we ended we felt we wanted more. Paul and I are talking about taking this project further, making it longer, adding more movements to it maybe. It’s like a young bird flying all over the place. It has a beautiful energy and I am looking forward to seeing where it will fly.