[sic] scripture is an investigation into modes of reading, writing, speaking and listening to scripted texts. The intention: situations where you encounter different identities and perform the ambiguity of not knowing. Through performing, I have come to understand that I am trying to find ways to reach a polyvocal position – polyvocality performed alone, my identity shifts in research and writing; and performed in groups, in workshop scenarios.

I am an artist who works in performance, video and writing. Who teaches, but does not use that word. The teaching I do occurs at public organisations in the arts, health and welfare sectors of the UK. Here creativity is used holistically and as tool to ignite discussion on social issues. This Master has let me work out how to position myself when the art-making I facilitate is abused, used as a buffer for social injustices and domination over our bodies, as opposed to art that challenges injustice. Responding to and allowing for the body is an act that I draw from feminist pedagogy. Counterdiscourse is a way of thinking that opposes an institutionalised discourse. This word is important to me. Queer pedagogy infuses my work as a countering, contradicting and changing force.

My workshops evoke polyvocal moments in reading, speaking and listening exercises. They roam between informal and formal feelings. Participants range in age from five-year-olds to my parents. In between are close friends, peers, colleagues and strangers. Settings range from studio spaces, offices, video calls, a living room, classrooms and in my writing.

In [sic] scripture, decisions involving tone, pace, repetition and references have been made for you, the reader, to think about how words reach you and how they slip from your mouth. The edit, the cut, the montage, has become my methodology off the page too. The form and content of my work is inextricably intertwined. I make scripts from my references. All speak from a marginalised position, sing in a minor key. Performing their subjectivity, when reading their voice as your own, diffuses and diffracts representation. Scripts allow us to speak from a polyvocal position.

External critic: Övül Durmusoglu (curator, writer and researcher working in the intersection of contemporary art, politics, critical and gender theory, Berlin/Istanbul)