© 2009 - 2015 WPP.

In Spring 2024 the Wild Pansy Press will be opening a new project space - The Writers' Room - in London N1, hosted by the Florence Trust.

The Writers’ Room will be a site for intense full-time residential periods (or more spread out, part-time residencies) at the intersection of fine art and literature - be that of art writing, memoir, auto-fiction, science fiction, fan-fiction, zine culture and including sound art, broadcasting and spoken word as forms. The space will be available as a working studio, but can also be reimagined for outcomes like exhibitions, publication launches, performances, screenings or symposia. The Writers’ Room is at its core a working space, with scope for intimate and wider public-facing engagements and growth, valuing connectivity across demographics and practices. WPP offer practitioners working with text, image, voice and recording to find respite in the space to build on projects or create something new, imagining and transforming through the power of language.

In the long term, we hope to encourage exciting new modes of production and thinking, and alternative modes of distribution - of knowledge and open-ended thinking, of expansive and sensory imagery. This might include new and emerging technologies but also long-established modes of communication such as the printed book, the spoken work and social encounters – in new ways and brokering new partnerships between different kinds of artists.

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WORKBOOKS is a series of publications by individual artist teachers sharing ways of learning through making.

The first was Spatial Listening by Dr. Alex de Little, originally published in 2019 in partnership with the Royal Academy of Art on the occasion of their Confronting Boundaries project. The resulting book was designed to be a template for further collaborations. (http://www.alexdelittle.com/portfolio/spatial-listening-publication/)

The second of the series is INSTRUCTIONS FOR ART and takes verbal instructions as its starting point; this leads on from the Artists’ Writing & Publications Research Group’s 2019 Symposium RTFM: Artists’ Publications as Instructions, Scores and Manuals. The aim of this publication (and the series) is to gift a simple methodology to any teachers, artists, students or otherwise interested individuals so that they can use it, adapt it and expand it and gift it in turn.

As with “Spatial Listening “, the second of the WORKBOOK/BOOKWORKS series comes out of many hours of workshopping and testing with a wide range of participants – including under-graduate and post-graduate students, gallery visitors, school and community groups. Further publications in the series are planned which look variously at innovative forms of group conversation and approaches to painting and drawing. The WORKBOOK/BOOKWORKS series are printed in short runs so that work and commentary made by readers/users in response to them can be added into the publication in subsequent editions as well as into an on-line archive for each publication.

ISBN 978-1-9006867-86-7 A4 32pp Spiral bound. Price £5.00 plus £3.00 UK* p+p.


For non-UK postage Email: Wild Pansy Press

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Tracery – Venice and the Lakes Interlaced
by Déirdre Kelly

For press release click Here

28 pages full colour, soft cover
Published by the Wild Pansy Press, University of Leeds in association with Brantwood Trust, April 2023

Foreword by Howard Hull, director Brantwood House

Presentation texts by Dr. Chiara Squarcina, Venice Civic Museums Foundation, Michelle Lovric, Novelist.

Essays by Gianluca Solla, University of Verona and Christopher Taylor, University of Leeds.

ISBN: 978-1-900687-88-1

Edited by Chris Taylor

Printed by Marigraf, Italy

Project Design: Nadia Ragazzo

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Saltwort is a collaborative work between Judith Tucker (paintings) and Harriet Tarlo (poems) developed from long-term fieldwork on the Tetney Marshes near Humberston, Northeast Lincolnshire. There we developed a fascination in the extraordinary salt tolerant plants of the saltmarsh, their aesthetic appeal, their cultural history, their agential powers and their relationship to each other. The title, Saltwort in the singular, gestures towards this unique ecosystem as a singular being, not just a series of individuals, and our work attempts to convey this. The saltmarsh plants also help us to think about conservation issues in the face of the climate crisis. Such bioregions have been under threat from as early as Roman times when they first began to be ‘reclaimed’ from the sea for agriculture and human settlements. Modern developments, climate change, sea level rise and hard sea defences erode them even further, threatening this habitat. Through their low-lying, low layering land-building processes, “pioneer” plants like samphire and cord grass are capable of establishing sedimentation and new saltmarshes. They might help prevent further erosion of the east coast of the U.K. This is another reason to celebrate these plants.
While many flower and saltmarsh sources have been consulted, we should like to acknowledge these texts which have been key to identification and understanding, and from which words and phrases have crept into the poems: Gerard’s Herbal (1597, Revised 1633); Stephen P Long and Christopher F. Mason, Saltmarsh Ecology (1983); Jonathan Oldham and Carol Roberts (illus.), The Field Studies Council Guide to the Saltmarsh Plants of Britain; Adam Bruce, Salt-Marshes through The Seasons (2003) and the mysteriously authored site, https://wildflowerfinder.org.uk/
This book was completed as part of Hideaway: poems and paintings from the Saltmarsh 2021-2022, a cross-disciplinary art and poetry project supported by an Arts Council National Lottery Project Grant.
By the same artists, with Wild Pansy Press: sound unseen (2013), behind land (2015), outfalls (2017), neverends (2018).
Further discussion of this work can be found in the authors’ creative essay on Samphire for The Mind of Plants: Narratives of Vegetal Intelligence, ed. Ryan, Vieira and Gagliano (Synergetic 2021).

Edition of 250
Price £25 including UK postage.

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