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Fiona Glen

–– writer –– artist –– editor ––


~fresh work out with ~ CWYR zine, Strings ~

Projects
++
  1. Shapeshifter: Tracing the Cultural Octopus
  2. Mycoglossia with Nina Hanz – HVTN Press
  3. transient guardians – Magical Octopus
  4. Meat Dreaming – Sticky Fingers
  5. Slimy, Sticky, Sweet – Aww-Struck + SPAM
  6. Ground Up – ICA x BBC New Creatives
++ OTHERS

Workshops, Courses + Programmes
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  1. HUM MURMUR MUTTER – Camden Art Centre
  2. Attendant Writing – LOT + Glengall Wharf
  3. Inside Your Mouth – Camden Art Centre
  4. Gut Feelings – TACO!
  5. Playing Houses – Flat Time House
  6. *immersions – Al Ma’amal
++ OTHERS

Poetry
++
  1. Unflock – Strings
  2. Wriggler + Squid – Brilliant Vibrating Interface
  3. As Silica – Dark Mountain 24
  4. On Alberto Balsam – Broken Sleep anthology
  5. Boundless + Transmission – Pollination
  6. Yeast + Headtail – Tentacular Magazine
++ MORE

Essays 
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  1. Being is a tender strength – Prototype 5
  2. Leaves, Alive and Otherwise – Still Point
  3. Heal Underfoot – Simulacrum
  4. Turning – Letters to the Earth
  5. Welcome to Elsewhere – NOIT Journal
++ MORE

Experimental Writing
++

Mark
Installation view, Allison Katz, Artery at Camden Art Centre, 2022


Inside Your Mouth Are Mountains 


A three-week experimental art writing course commissioned by Camden Art Centre, London, in early 2022. IYMAM encouraged participants to experiment with a more physical type of writing, as we wrote from objects, artworks and bodily experiences.

The course explored voicing the material and translating the sensory into text, using techniques from embodied, associative, experimental, and ekphrastic writing. Everyone was invited to share their work, feed back on others’ writing, and support one another to try new avenues. Sessions drew on Allison Katz’s exhibition, Artery, and encouraged participants to write in dialogue with the artist’s paintings.

Across the three three-hour sessions – respectively focussed on objects, artworks and bodies – we considered writing as a bodily act and the body as a thinking entity, moving from cerebral and ‘disembodied’ visions of writing and into our senses, and taking a craft-based approach to writing. How can we use text like a visual medium, and in conspiracy with visual art? How can our writing move  towards involved correspondence with artworks?

At the end of the course, I compiled a zine of our texts, which you can read and download here, on Camden Art Centre’s website. The course title is taken from ‘to speak of flying’, a poem by Maia Elsner.


Writing Objects
Writing Artworks
Writing Bodies



Feedback from participants: 

“The course expanded possibilities and was nourishing and generative. Fiona creates a very supportive atmosphere which feels precious, and really helped me to flourish.”

“I loved everything I learned, including new ways of looking at art, and how to write from painting and dancing. Fiona was a wonderful teacher. I wish it was a long-term course!”

“It was a privilege to participate. The course was considered, ambitious and expansive. I’ve been introduced to so many writers and projects.”

“Fiona was amazing. I appreciated the pronoun check-in and the wonderfully open atmosphere. I loved being freed from the idea of writing as cerebral, and encouraged to write differently.”