Friday 7 July 2017 Heather Phillipson is an internationally-acclaimed poet and multi-media artist. It is a rare example of her work that has no textual or oral element, yet it is representative. Food is just one way Phillipson's poetry continually reminds us that we are creatures of consumption. Her work has been exhibited as part of the 32nd Sao Paulo Biennial 2016 ; the 14th Istanbul Biennial 2015 ; Performa 15 2015 ; the Zabludowicz Collection, London 2015 ; and the Biennial of Moving Images, Geneva 2014 , among others. The text, which has since been published separately in numbered parts, explores the tanglings of human and animal, real and virtual. Phillipson again addresses the social and nonbiological strictures placed on our bodies, including their physical manifestation: from the rules and rituals of eating to the wearing of clothes.
Shortlisted for the Fenton Aldeburgh First Collection Prize. Read more of his work at. Eating, drinking, sex; these acts are points of contact between the body and the world. We do this in our legitimate interest. Her pamphlet was published by Faber and Faber in 2009, and her text Not an Essay by Penned in the Margins in 2012. In 2014 she was named a Next Generation Poet by the Poetry Book Society, and in 2015 she was Writer in Residence at Whitechapel Gallery.
Levity and a likeable, direct voice make this innovative and entertaining summer reading. Its title is a pun —for the poem is concerned both with the interconnected character of knowledge, and with the interactions of family, at once abstract and everyday. Handle with care: this book is not for those who like their poetry safely earthed' -Mark Ford. If you have concerns about how we have used your personal information, you also have the right to complain to a privacy regulator. Her poems observe the ordinary world stagger.
Surely one of the most influential poetry endeavours of recent years, the volumes are a house party of poetries, expanding rather than defining the borders of poetry. Photography is heavily evoked: Polaroid manufacture the archetypal instant and Rolleiflex, by contrast, are synonymous with studios. She makes the world feel nearly new, filled with meaning. Sometimes she is a comedy turn. Instant-flex 718 Bloodaxe, 2013 was shortlisted for the 2013 Fenton Aldeburgh First Collection Prize and the Michael Murphy Memorial Prize. She completed her undergraduate degree in Fine Art with Aesthetics at the University of Wales Institute Cardiff now Cardiff Metropolitan University , going on to study drawing at Central St Martins, and subsequently earning her PhD in Fine Art practice from Middlesex University in 2008.
Rhythms run in and out of her work like loose threads, rhyme schemes are adopted and discarded at leisure. Our narrator is present as her dog is put down and reads online about the shooting of a police dog. Falling between prose and poem, Not an Essay, a 64-page fragmentary text published in December last year, addresses Deleuzian ideas surrounding the body as object. Instant-flex 718 is published by Bloodaxe Books, £8. Phillipson is a trained violinist and pianist, and this diverse mixture of skills, experiences, and influences have led to the production of a range of multimedia work and installations — in video, sculpture, and music, alongside more conventionally published writing. It seems likely that Phillipson's work will continue to become simultaneously subtler, brasher, more personal and more overtly political — in whatever form or medium it may reach us. Her first full-length collection, Instant-flex 718, was published by Bloodaxe in 2013.
In 2009, Faber and Faber published her first pamphlet, in their new poets series. The short collection, idiosyncratic and witty, was warmly received. I need to get out of these wet leggings and into a dry Martini. She hosts videos online which combine moving and static images, music, sound and spoken word. You have the right to ask for a copy of the information we hold on you, and the right to ask us to correct any inaccuracies in that information.
Her deadpan tone encompasses the whole gamut of registers, from hi-falutin' to colloquial. Heather Phillipson has approached the work of poetry with a synthaesthetic sensitivity to the diverse and complicated meanings of artistic form and expression across disciplines. Meanwhile the fly's foil, a drone, will look back at the onlookers, filming the audience so they become pieces of the piece. Phillipson, whose writing complements her art practice, works through, in a series of not-always comfortable juxtapositions, the idea that our flesh and bones are alienated and indeed separated from the cognitive, social self. The fragmentary pieces are free to suggest their own connections. She received an Eric Gregory Award in 2008, a Donut Press mentoring award and a Faber New Poets award in 2009, and a Grants for the Arts Award from Arts Council England in 2011. The poet is a plasterer, entering the spits and drips with urgency.
It might be simplest to think of it as a 'whole' composed of 'pieces', since the tension between pieces and wholes is a preoccupation: We are in malformed pieces, melted together. On screen the poem demands interaction from the reader, the familiar, physical action of scrolling. Her work quite deliberately troubles forms of meaning and their boundaries across these different realms. Issuing from the body-mind's grisly interwedge, Heather Phillipson's poems are a protest against well-stitched seams, an off-loading of intellectual baggage, a shout from the deep-ish channels of fear. They conduct a weird, addictive verbal electricity that can both jolt and elate. The Sun still rises and sets.