Bruised Ecologies (2024), Fine Art Giclée Prints, printed on Hahnemühle Photo Rag, 29.7 cm x 42 cm

Is it time? (Video, 2023), 13.44 minutes in length) emerged from collaborative Zoom meetings, and workshops between Anna Walker, Pepa Ivanova, Carol Liadler, and Siobhan O Neill, in 2022. The voiced memories (in order): Carol Laidler, Anna Walker, Pepa Ivanova, and Siobhan O Neill. The footage is from a Zoom meeting of a workshop by Siobhan O Neill, and Pepa Ivanova's walk through her home town in Bulgaria. It was recorded, assembled and edited by Anna Walker in 2022.
Somewhere Over The Rainbow (2021). My parents' arrived separately from Ireland to the UK in 1954. They didn't talk much about their arrival here, but constantly referred to Ireland as home. Throughout their lives, they held onto the notion of 'returning' to the motherland. For both of them migration offered an escape from difficult social circumstances as they followed a long tradition of Irish migrant labour. Their expectations like so many others were at odds with the realities of post war Britain, but despite having the choice to do so, they remained here in the UK and died in Birmingham with the request that their ashes be strewn in Snowdonia somewhere along the route they drove from Birmingham to Holyhead to catch the ferry to and from Ireland. They like so many others were caught in a place of in-betweenness. A liminal place of disconnect, reaffirming the homelessness or lack of 'home' embedded within the breath. Sometimes consciously, most of the time unconscious—passed down from generation to generation.
When we look away, 2021
Breathe Wind Into Me: 20.56 mins (2019). Multi-channel moving image and sound installation. Mahmoud Darwish wrote about exile not as a geographic state but something he carried within him throughout his life. In his poetry, he explores his identity as a stranger, remembering through the landscape where the water symbolises hope, revives his spirit and brings life to the riverbed. His words touch upon the traumatic repercussions of inescapable exile—of a people without their land: a river without water, or a land without trees. This work is an exploration of the traumatic repercussions of being exiled from one’s homeland. The displaced, unable to return, live a life of fragmentation and dislocation.
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​Walk and Walk, PhD research (2015), 4.26 minutes, is a sound piece, which uses the echoing voice, repetition of language and word games to explore the concept of flashbacks and anchor the fragility of remembering a traumatic event. Overlapping language begins to make audible the idea that memory is not linear and doesn’t arise from a straightforward remembering, rather it meanders, wanders and repeats.
The Dead, a Sound Piece for 'ARTIST ROOM. Gerhard Richter - Plymouth City Museum & Art Gallery, 2015-2016. Made for '48 Portraits.' I started exploring how the names felt in my mouth, the difficulty of their pronunciation. Alongside my voice, there are the layered recordings from exhibition openings at the Tate and the Berlin Biennale. The echo, whispers and delays are reminiscent of the first line of a Billy Collins poem: "The dead are always looking down on us, they say."