Huffing Post Contributing Writer
2014 - present
Culinary Cultures: Cooking in a Hackney Estate
Food, memory, heritage and place
Monday 25th November, 7pm-9pm 2019
Tate Modern, Bankside, London, SE1 9TG
This event will discuss the possibilities of food, from exploration of cultural identity, to strengthening community cohesion and encouraging civic participation. Panellists will think through the role our culinary cultures have to play in our sense of belonging and as a means by which to reconnect with our heritages and pasts.
Our panel includes: founder of The Supper Club Arawelo Eats, Fozia Ismail, food writer Jojo Tulloh, multidisciplinary architectural designer and artist Sahra Hersi and researcher in in food politics, culture and history Dr Mukta Das. The discussion will be chaired by artist and editor of Cooking in a Hackney Estate Rose Gibbs.
Cooking in a Hackney Estate is a community cookbook with recipes collected from the residents of Mountford Estate in Hackney. The cookbook reflects the diverse culinary cultures of the neighbourhood, bringing together food traditions from many parts of the world.
The inspiration for the cookbook Cooking in a Hackney Estate came from the creation of a community garden on the estate which enabled residents to grow fruit, herbs and vegetables particular to their own food tradition that might otherwise be hard to procure. The garden also provides residents with a means by which to reconnect with their heritage and their past and share those culinary and horticultural traditions with each other.To find out more about Mountford Growing Community please visit the website: www.mountfordgrowingcommunity.org
Rose Gibbs’ practice seeks to create the kind of art world of which she would like to be a part: reconfiguring the grounds upon which participation in the cultural landscape is made possible by building networks, organising discussions and collaborating with others. She founded the community organisation Mountford Growing Community on the estate where she lives.
Fozia Ismail runs the Somali supper club Arawelo Eats. The supper club is a platform for thinking, researching and exploring racism and British identity via the medium of food. In 2019 she was one of OFM’s Top 50. Fozia is UWE Research Coordinator for Creative Economy Unit and City Fellow for Arnolfini.
Jojo Tulloh is an award-winning food writer and pamphleteer. Author of East End Paradise and The Modern Peasant (Fortnum & Mason Food Book of the Year 2014). Her independently published pamphlets have considered Elizabeth David’s marginalia, Patience Gray, Dorothy Hartley and the previously untranslated recipes of Marguerite Duras.
Sahra Hersi is a multidisciplinary architectural designer and artist based in London. Her practice explores shared spaces, the public realm, collaboration and community engagement. Her work is often born out of engaging with local communities and the spaces they occupy.
Mukta Das researches teaches and writes about Chinese and Asian food culture, mapping the way cooks, ingredients and tastes have travelled on ocean currents and on desert roads for centuries, and how this past is understood by present-day chefs. She is a Research Associate of the Food Studies Centre at SOAS, University of London.
Artlicks Magazine ISSUE 24
This issue of Art Licks responds to the title of 'Interdependence', exploring ideas of artist community, supports, reciprocity, and networks.
This issue of Art Licks magazine responds to the title of Interdependence. Coinciding with our annual London festival, the Art Licks Weekend (17-20 October 2019), both the festival and magazine explore ideas of artist community, support, reciprocity, and networks. Art Licks #24 invited a selection of artists participating in the 61 festival projects to develop their work and ideas for print and give further opportunity for discussion around Interdependence. Rather than acting as a festival guide, their contributions to the magazine give further insight to their broader practices.
Grassroots projects have often been described as ‘independent’ but this implies being in isolation, outside of the system; and this does not fully reflect how people are now working today. Instead, artist projects and practices positively depend on community and rely on exchange and support from one another. It is about collectivism; trusting one another as forms of production and art making.
We want to ask: what is most important when working together? What is it to care and what investment does that require? What structures need developing for sustainable outcomes?
Contributions to the magazine acknowledge the importance of support, care, and friendship as structures for working.
Contributing artists and writersRosie Abbey, Holly Argent, Joanna Brinton, JJ Chan, Nina Davies, Mark Essen, Jack Friswell, Rose Gibbs, Sarah Howe, Jennifer Ipekel, Merve Iseri, Campbell Mcconnell, Mariona Otero, Sean Pearce, Eda Sarman, Georgia Stephenson, Carla Wright, Holly Willats
Editor, Holly Willats; Design, Margherita Huntley; Copy Editor, Max Alletzhauser; Printed by The Pale Green Press
Your CopyArt Licks is stocked throughout the UK, Europe and the US. You can also order a copy of the £6 magazine by emailing us, or using the Paypal link.Subscribe to Art Licks for £18.
Collaborative Gestures: Marlene Smith, Barby Asante and Amy Tobin
Talked co-curated by Rose Gibbs and Catherine Long
Saturday 19th October 3-5pm
The Women's Art Library, Goldsmiths University, London
With a focus on collectives that are rooted in feminist principles, this event will consider the value of collaboration and collectivity in the light of market driven individualism. The discussion will consider the value of collectivity as a form of resistance providing vital sites of critical engagement and support in the face of prejudice. The presentations will offer the opportunity to think through what art work is and can be, and consider practices that emphasise active engagement with others and process rather than product. The panel will explore collective art practices where their value relates to communities rather than commodities and where art is a tool for building community and bringing people together.
With presentations from founding member of the BLK Art Group Marlene Smith, artist and educator Barby Asante and curator Amy Tobin, this panel discussion brings together a range of voices to create a space for dialogue, interwoven associations and learning between generations.
The discussion will consider whether short-term strategies, devised to lay bare the painful aspects of society where gender and race continues to shape lives and dominate both economic and cultural spheres, can prove to be effective strategies for achieving long-term goals.
The panel discussion accompanies the exhibition Material Gestures, which presents artworks by Practice in Dialogue – a group of artists who have been meeting over the last five years to provide each other with peer mentoring, collaboration and support – alongside archival material from women artists’ collectives of the 1970s and 1980s.
Barby Asante is a London based artist, curator, educator and occasional DJ. Her work is concerned with the politics of place, space, identity and the histories and legacies of colonialism making work that is collaborative, performative and dialogic. She has created works that consider migration, safe spaces to gather in cities antagonistic to one’s presence and how one maps the self as a contributor to narratives of society, culture and politics. Her artistic practice explores the archival, makes propositions, collects and maps stories and contributions of people of colour using storytelling, collective actions, and ritual, to excavate, unearth and interrogate given narratives. She resists the idea that the stories of "Other-ness" are alternatives to dominant given narratives, but are interruptions, utterances, presences that exist within, that are invisible, unheard, missing or ignored. By making these narratives visible, asking questions and making proposals she is interested in what these possibilities offer as we examine our present and envision our futures.
Marlene Smith is a British artist and curator, and one of the founding members of BLK Art Group. Smith was instrumental in organising exhibitions such as Black Art an’ done: An Exhibition of Work by Young Black Artists(1981) and An Exhibition of Radical Black Art(1984), which blazed a trail for future Black and Asian art. She was director of The Public in West Bromwich. She is UK Research Manager for Black Artists and Modernism, a collaborative research project run by the University of the Arts London and Middlesex University.
Dr. Amy Tobin is a lecturer in the Department of History of Art, University of Cambridge, Curator of Exhibitions, Research and Events at Kettle’s Yard, Cambridge and a Fellow of Newnham College, Cambridge. She finished her PhD at the University of York, UK, in 2017 with a thesis on art and feminism in the 1970s. Her research is published in journals such as British Art Studies, MIRAJ and Tate Papers, as well as in the edited books Collaboration and its (Dis)Contents, (Courtauld Books Online, 2017), Other Cinemas: Politics, Culture and Experimental Film in the 1970s (IB Tauris, 2017), Feminism and Art History Now (IB Tauris, 2017) and A Companion to Feminist Art(Wiley Blackwell, 2019). She is also a co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (Penn State University Press, 2018) with Jo Applin and Catherine Spencer and The Art of Feminism(Chronicle and Tate, 2018) with Lucy Gosling, Helena Reckitt and Hilary Robinson. Amy is currently working on a monograph on feminism, art and sisterhood.
Chairs: Rose Gibbs and Catherine Long
Footage is available by request. Please do get in contact if you would like to view this talk. Due to unforeseen circumstance Barby Asante was not able to participate.
Tate Britain: Who's Holding the Baby?
Women's art collectives past and present
Rose Gibbs presents a talk on childcare, care work and feminised labour and reflects upon the legacy of the Hackney Flashers in the context of current 'empowerment' feminism.
Speech Matters: Violence and the Feminist Voice - commissioned by ICA
The Subtle Abyss: Visual Representation and Feminist Art Practice
commissioned by ICA blog co-writen with Catherine Long
We Are Anti-Capiphallists:
Panel Discussion ICA
Feminist Practices In Dialogue Publication No. 1
Written and Edited by Rose Gibbs and Catherine Long
Limited edition publication with art works made for the page
The Tate, Whitechapel and ICA, South London Gallery, Banner Repeater bookshops
Contributing Speaker on BBC 100 Women Debates
BBC World News and BBC World Service Radio: Women In Leadership 01.12.15
Women Working Collectively, What is your value?
Discussion about past and present women's separatist art collectives ICA
Circumnavigating the Patriarchy:Women's Collectives
commissioned by ICA
Hierarchies and Empowerment Feminism
(what kind of feminism is this?)
commissioned by We Are Orlando 01.04.15
for SSEA Spring School
Early humans have been spoken of as hunter, gathers - a term that centres the action of the men in the groups. But the first symbolic gestures, the first marks we made as humans were marks in red to signify menstruation. The symbolic menstrual marks were made to bring the group together around women, to guard against isolation and privatisation, to ensure collectivised childcare and support for nursing mothers.
Born underdeveloped, with their heads too large to be self-supporting human babies are uniquely vulnerable, their carers more in need of care.
This presentation looks at the evolution of human behaviour, where the care of mothers is the driving force behind social structures, promoting triadic rather than the more usual dyadic carer/infant relationships seen in much of the rest of the animal kingdom.
The presentation draws on the work of radical anthropologists Camilla Power and Morna Finnegan;
Considers Donald Winnicott’s notion of the ‘good enough mother’ and his influence on the post-war welfare state in providing those mothers with the support requisite to that task; (Sally Alexander)
Looks at The Women’s Budget Group’s Care Economy – an economic model that argues for a care economy as best practice for government budgetary policy.
SSEA Spring School
The inaugural SSEA Spring School presents a weekend of lectures, discussions, workshops, and an exhibition, bringing together visual artists, meditators, historians of medicine, anthropologists and activists to explore the theme of ‘kinship.’
Ideas of kinship and genetic relatedness have a troubled history. They have acted as a spur to ethnic essentialism and violence; but are also central to groundbreaking investigations in sociology and anthropology - investigations that invite us to imagine new forms of friendship and solidarity by asking us to reconsider who, or what, we consider to be ‘family’.
Following Donna Haraway and Marilyn Strathern’s critical examinations of the boundaries of kinship, race, gender and species, this weekend will critically explore familial relationality as both an ambivalent cultural theme and as a mode of interdisciplinary practice. Combining intellectual, visual, textual, sonic, and curatorial creative practices through participatory discussion, we aim to examine and expand kinship’s limits.
Jenny Bangham (Historian of Genetics, University of Cambridge)
Frederika Tevebring (Comparative Literature, Warburg Institute)
Karen Jent (Reproductive Sociology, University of Cambridge)
Paul Gwilliam (Artist and Founding Curator at Luna Elaine)
Llew Watkins (Artist and writer)
Lizzy Laurance (Musician and Artist, Goldsmiths)
Alexander Page (Artist)
Miriam Austin (Artist)
Boris Jardine (Poet)
Rose Gibbs (Artist)
SSEA IS a collaboration founded in 2016 between artists, academics in science and technology studies, and spiritual practitioners.Their long-term aim is to provide free, interdisciplinary education at the intersection of science studies, contemplative practice and the arts, grounded in an exploration of alternative forms of social organisation. SSEA is currently Lizzy Laurance, Miriam Austin, Boris Jardine, Jenny Bangham, Alexander Page, Paul Gwilliam and Matthew Drage.
Image Credit: Miriam Austin
The Role of Culture in a divided Europe
Impulse Academy – Dusseldorf – Art Under pressure
Keep It Complex delegate
Manifesto for Artistic Freedom
Co-edited with Katalin Erdödi and Julia Tirlea and collectively written with the participants of the Impulse Academy
Woman Up! Podcast
Rose Gibbs talking to Amy Dignam and Susan Merrick for Woman Up! Episode 6
Getting Your Hands Dirty - (or Real Work Is Boring)
Art, Politics and Cultural Policy
Essay and podcasts series looking at the role of culture in our political climate, commissioned by KEEP IT COMPLEX
Feminist Art: Access, Activism and Representation
Feminism in London Conference
This session will address important issues in the creation of feminist art: access, activism and representation. We will explore the difficulties accessing the art world and the struggle to be taken seriously as artists, and on the application of feminist art in reframing justice for victim-survivors of rape. Speakers: Daniela Pilcher, Sophie Doherty, Carmen Aleman, Rose Gibbs
Cultural Democracy 2: Writing the Manifesto
The World Transformed,
Labour Conference Festival, Brighton
In the summer of 2017, inspired by the upheavals of the general election and the decisive role played by cultural actors in widening participation and reducing the Conservative majority, a group of TWT activists set about creating a space where the relationship between cultural creativity and the processes of social and political transformation could be deepened.
Specifically, we set about creating a space that is participatory and inclusive, one that challenges received notions of culture either as a decorative addition to the social and political system or as a preserve of the elites, and that instead understands culture as universal and essential – something we all do all the time to make our lives meaningful.
We looked to design a process that would recognise and begin to redress the basic political problem that cultural means, like other kinds of power and wealth in our society, are so unequally distributed, and we came to the idea of a process that would put the tools of both participatory democracy and the social movement to the task of creating a popular cultural policy.This led to collectively re-writing the Cultural Policy Manifesto - an ongoing and inclusive process - read more here:
Commissioned by Hysteria Magazine
Feminisms Radical Periodical
Oxytocin Birthing the Future
Oxytocin Birthing the World Conference,
Oxytocin; birthing the world’ follows ‘Gender Generation; The creative process in art & Design’ as the second conference this academic year at the Royal College of Art that places the Maternal at the centre of its research. ‘Oxytocin’ brings together top practitioners in women’s health and wellbeing with artists, theorists and curators with a view to finding collaborative strategies for working together in the future within both fields of art and health. It is part of the School of Fine Art research strand that concerns health and wellbeing. The day is tightly packed with many live performances interspersed with academic presentations and discussion, introduced and chaired by Hermione Wiltshire, Senior tutor in the Photography programme in concert with Dyana Gravina, founder of Procreate and Sarah Dufayard.
Snap Broadcast Bartender,
Lloyd and Wilson,
SNAP Pre-Election East Street Arts, Patrick Studios
Guest Bartender: Alaric Hall
Guest Drinkers: Rose Gibbs, Jessie Jacobs, Sanchez Payne, Jack Simpson, Onno Bokhove
‘No Quick Fix’
Status Quo Art Licks at Studio RCA
no quick fix presentations & in conversation on ways of working together to create positive and anti-discriminatory platforms
with Holly Willats from Art Licks,
Fozia Ismail from Matatu Kitchen,
Rose Gibbs from Keep it complex - make it clear,
Hettie O'Brien from Keep it complex - make it clear & Migrant Species
Image Credit: Keep It Complex Migrant Lovers
Beyond Us Versus Them
The Role of Culture in a Divided Europe
Populism, extremism and Euroscepticism: To what extent can the cultural sector counteract these increasing divisions, which can be understood as an internal threat to the European project? What new forms of cultural cooperation would such a role require? This event will continue last year’s stimulating discussion at the “European Angst”, organised by the Goethe-Institut in Brussels, as well as ifa’s previous event on the role of culture in the European Union’s external relations.Keynote: Adam Broomberg, Artist, “Hands Off Our Revolution” Venue: Representation of the State of Baden-Württemberg to the European Union Rue Belliard 60 - 62 B-1040 Brussels The public conversation will be followed by a “100 years ifa” reception with DJ Dunya and and saxophonist Vincèn Robin. Registration until 26 April 2017: http://www.ifa.de/en/events/beyond-us-versus-them.html
Future Imperfect Symposium
University of Plymouth
Let’s Talk About Motherhood
A Workshop for the Support of Mothers and Carers
These workshops explore what it is we need when we mother. Mothering can be seen broadly in terms of care with the intrinsic understanding that all humans are vulnerable: this care might be for a child, a friend or a parent, with these caring roles changing over the course of our lives. In the ‘West’ the family has historically been constructed within the paradigm of a bourgeois society, it is mainly framed as a nuclear, heterosexual, 2 parent family. It is conceived within a liberal, capitalistic, individualistic frame, within the terms of private property, owning a home, and ‘having a wife/husband/child’ eg ‘my wife’, ‘my husband’, ‘my daughter, ‘my son’. This model sees the divide of the public and private sphere, where the home is the place that caters for the base needs and maintenance of the work force – ‘real’ work that takes place elsewhere. The ideology underpinning this division shapes our businesses and institutions, which are set up with out regard for the exigency of parenting an infant or caring for the elderly. In this model carers are separated off from one another, isolated within their nuclear unit – it is no surprise then that many women socialised to be productive members of this ‘public’ work force – might find their first encounters with new motherhood some what shocking. The workshops map out the ways in which we need others for our support particularly when we care, to acknowledge the dependency between human beings and enable intergenerational exchange of life stories. They provide the opportunity to give voice to the simple but vital needs we face when we mother and begin from the premise that there is very little public knowledge or recognition of those needs. Jonathan Herring argues that ‘we are all vulnerable and rely on others to provide for our needs. To divide society up into those providing care and those needing care disguises the vulnerability that we all face.’ Hannah Arendt says that vulnerability is the human condition. The workshops are a point from which to learn, augment and share this knowledge so that we might be an inspiration for one another. They provide the opportunity to facilitate relationality between mothers/carers.The workshops challenge the idea of the human contained in the language of liberal equality, that of the abstract, autonomous subject of Western classical philosophy. This model has been sustained by the ideology of patriarchy and it hinders and flattens the experiences of women and even more so those of mothers, which is why it is important to ‘talk about mothers’.
These workshops are for women who are mothers, for fathers who 'father/mother', for LGBTQ+ people who 'mother' hence for everyone who is the primary carer of a vulnerable infant/child or disabled or elderly person.These workshops are part of a collaborative project between Researcher in Law and Human Rights Sara Paiola and artist Rose Gibbs, and was devised by Sara Paiola and first developed by Sara Paiola together with Alex Martinis Roe as part of Our Future Network. Women’s Art Library, Goldsmiths University
Restaging the Collective: A conversational Review of Sharon Hayes In My Little Corner of the World Anyone Would Love you and Alex Martinis Roe's Our Future Network
with Rose Gibbs and Laura Castagnini For UNprojects Australia
Are We Our Own Audience?
Symposium: Contributing Speaker, MotherHouse, Iklectik Art Lab 01.10.15
Gender Generation Conference:contributing artist and speaker, concluding discussion chair
The Royal College of Art 08.09.16 - 09.09.16
Artists Who Mother: Talk and discussion V22 Summer Programme 25.08.16
Contributing Speaker: ProCreate Project
Artist-Mother at Women's Art Library Goldsmiths University London
Artist Talk: Women sculptors as a forum for dialog concerning dissent and 3D art
During 2015 Box will conduct a series of talks with focus on sculpture. For the first one, London based artist Rose Gibbs, curator Sofia Landström and artist/curator Josefina Posch will discuss their mutual interest in the complexities of “Women Only Shows”. Taking as a point of departure Posch´s upcoming networking project “Sculpture HUB” that focus on Nordic women sculptors, the talk will progress and expand into a discussion concerning dissent, models of resistance as well as Gibbs and Landströms curatorial/art collective “The Temporary Separatists” and their upcoming project “Views All My Own” that explores women only collectives.
Feminist Practice: then and now
Join us for an evening of conversation between artists Rose Gibbs and Su Richardson and Dr. Alexandra Kokoli, specialist in feminist art history and theory. The event will explore the changing landscape of feminism, the role of the artist and the position of women artists from the 1970s to now.
Alexandra Kokoli will set the scene with an introduction to the work of Su Richardson and Monica Ross, both of whom feature in Birmingham Show, and will contextualise their work within some of the broader concerns of feminist art practice. Following this Su Richardson will join Alexandra for an informal conversation about her practice. Su was one of the founding members of the Birmingham Women’s Art Group in the 1970s and has been a practicing artist since then, recently showing ‘Burnt Breakfast and other works’ an exhibition curated by Alexandra Kokoli.
Rose Gibbs will then present a talk and performance in response to two texts, the first of which, by Monica Ross, was one of the starting points for Birmingham Show, with the second, written as a response to this, by Caroline Gausden and Alexandra Kokoli. Rose uses sound, participatory performance and sculpture as part of her art practice, which is informed by an engagement with writing and activism. Each of these strands deals with the possibilities of consciousness-raising and considers how subjectivity shapes the cultural landscape.
CoHabiting Contemporary Art,
History and Feminism Symposium
Day and Gluckman
Contributing Speaker (paper here)
The Old Courthouse Brighton 10.01.15
Taking Up Space - Women Only Shows
Curated and Chaired by Rose Gibbs for The Contemporary Art Society and The East London Fawcett Group at Central Saint MartinsCollege of Art and Design
Women artists are still woefully under represented making up only 30% of gallery artists. In the 70s women decided that the solution to their lack of representation was to curate women only shows. These days all too often people balk at this idea because these exhibitions are seen as arbitrary and ghettozing. But what if they are a way of getting work seen? As Lynn Hershman Lesson says in !WOMEN ART REVOLUTION: "History is fragile it clings to the most obvious evidence that remains".
This discussion thinks through what is at stake for our culture in a situation where men continue to dominate on the basis of prejudicial favour of their sex, rather than their merit, and talented women and their works remain unseen and uncelebrated.
Iwona Blazwick OBE- Director, The Whitechapel Gallery
Sonia Boyce MBE -Artist
Caroline Douglas- Director, Contemporary Art Society
Ann Gallagher- Curator and Head of Collections Tate Britain
Professor Hilary Robinson- Dean of Art and Design, Middlesex University
Vanessa Jackson- Artist
Elizabeth Neilson- Director of The Zabludowicz Collection
Jennifer Thatcher- Art Critic
Read Rose Gibbs' Huffington Post blog on Women Only Exhibitions.
Artists Who Mother
MaMSIE (Mapping Maternal Subjectivities, Identities and Ethics) is a network based at the Department of Psychosocial Studies, Birkbeck, that creates spaces for interdisciplinary conversations about motherhood and the maternal more broadly. The MaMSIE blog endeavours to create a space for critical debates surrounding the maternal, and explore the unique site it occupies at the potent intersection between scientific possibilities, psychosocial practices and cultural representations.
ELF are delighted to present a workshop event with an esteemed panel of artists at Rich Mix Cinema and Arts Centre, organised and chaired by Emily Pope. Our panellists will be Sonia Boyce, Kerry Campbell, Rose Gibbs, Sarah Maple, Hannah Perry and Hannah Sawtell. More information on each artist can be found below.
Art School: a breeding ground for insecurity, or a great place to foster creative talent? Either way, on leaving you need to pay the rent. The recent art audit campaign launched by ELF somewhat depressingly revealed that 31% of artists represented by London galleries are women. When pitched against the Guardian’s statistic that 61.7% of Fine Art undergraduates are female, the inevitable question remains: to what extent is this disparity a product of an entrenched gender imbalance within the art world, and what can female graduates do to combat this inequality? This fundamental question will be posed in an event in which debate and discussion will be balanced with advice offered to graduates by a number of female artists who are defying these statistics in London today. Formulating an artistic practice, and becoming involved with today’s arts scene can be a daunting challenge for graduates. Especially if you are working two jobs, attempting to cram your materials into a tiny shared flat, and still trying to read theory on the tube. At a time when the market is persistently being described as ‘over-saturated’, how are those female artists who are currently succeeding in London managing it? On the panel, artists with differing perspectives will consider their practices, how they forged an artistic career, and how contemporary ‘success’ is, and should be, defined. The workshop will consider issues such as gallery representation, public funding, pop up spaces, performance, teaching and juggling part-time jobs. It will generate a constructive debate through which arts graduates can consider practical ways in which to harness their careers. The discussion will be followed by a participatory Q&A from the audience.
The Reproduction of Motherhood
Curated and organised by Rose Gibbs and Hannah Philp
Alison Stone - Professor of Philosophy, University of Lancaster. Author of serveral books including An Indtroduction to Feminist Philosophy, and Feminisim, Psychoanalysis and Maternal Subjectivity. Associate Editor of Hypatia:A Journal of Feminist Philosophy
Camilla Palmer - CEO of Your Employment Settlement Service, author of Maternity and Parental Rights, fee paid Employment Judge, and member of the Equal Treatment Advisory Committee
Ivana Bartoletti - Chair of the Favian Women's Netowrk and founder of its magazine Fabiana. She works for the NHS, is aUnison member and activist and stood as London MEP for the 2014 European elections.
Lisa Baraitser - Reader in Psychosocial Studies at Birkbeck, University of London. She is a psychothereapist and author of the award winning monograph Maternal Encounters: the Ethics of Interruption. She is co-founder of MaMSIE (Mapping Maternal Subjectivities, Identities and Ethics)
Leonora Wood - A freelance arts producer and consultant with expertise in cultural strategy, fundraising, marketing and event production. She founded Winkley Studio, a friendly and innovative co-working space in Bethnal Green
Katie Glass (Chair) - Columnist and feature writer for The Sunday Times Magazine
Commissioned by Hysteria Magazine