Escape from the King

Above is a short video clip showing an excerpt from a three hour game that spontaneously erupted when a group of boys, aged about 8, encountered Sheepwoman at Buddhafield festival in the summer of 2011. 

I had been asked by a friend to perform a number of promenade performances during the four day festival in the Blackdown Hills, Somerset, England.  I have written about another performance I made during the festival here; http://globalsheepwomanresearchlaboratory.blogspot.de/2012/05/girl-and-golden-thread.html

My approach to "performing" at this time was to be completely spontaneous and open to whatever happened. So as soon as I put on the mask, I set off in my 'white sheep' costume in daylight, which was in stark contrast to the black sheep I had performed at night previously and of which I have written in the above post.  
I was quite taken aback however, when fifteen minutes into my performance and just having flirtatiously gate crashed a meeting of musicians in a marquee, I found myself standing in a field surrounded by a small gang of boys armed with sticks and swords.

Within minutes of encountering Sheepwoman the boys seemed intent on attack, my vision inside the mask is extremely limited and I could feel their presence all around me.  I started to feel like a vulnerable animal under attack, as for the boys somehow the presence of Sheepwoman seemed to bring out an instinctive, archetypal urge to attack, and kill the sheep or sacrificial lamb.  Within perhaps ten minutes of the "game" beginning the boys formed themselves into a hierarchy with a self appointed King, who from then on made decisions and gave orders as to whether Sheepwoman or "the sheep" could live or die.  

I tried a number of tactics to deal with the boys who lashed out at me and hit me with their sticks and plastic swords. I charged at them which sent them all running away very fast, but soon they were back, surrounding me on all sides.  I used body language to show I was not a threat, I oscillated between confrontation, negotiation and escape.  I found a kindly looking mother sitting next to a fire pit, I sat at her feet and sought her intervention on my behalf.  

"But why do you want to kill the sheep?" 
"Because I'm the King!"
"But look she is so gentle and kind" said the mother.
"No!" shouted the king "We will kill the sheep! The sheep must die!!"
"But you can see she has a kindly face, feel her soft fleece"
"No! shouted the king, "She is a white sheep, we don't like white sheep!" 
"I'm the King and we will kill the sheep!"

So I got to my feet and started to run again.  The mother could not protect me from the boys.
I searched for a way to escape their taunts and threats of violence. I ran into a marquee where a tango class was taking place, Sheepwoman dodged through the dancing couples with the boys making chase and chanting "Kill the sheep! Kill the sheep!" 

As I scarpered out of the tango class I hurled myself onto the ground landing on a stall selling sheepskin rugs.  I felt like a hunted animal, whilst the sheepskin rugs provided a soft landing, I was painfully aware of the slaughter that had taken place to provide these wonderfully warm and cosy rugs. I was seriously mistaken in thinking that the sheepskin salesman would provide some kind of protection to Sheepwoman!  After a few minutes of rest amongst the fleeces he pushed me away - disturbed by my presence.  So the chase began again as I fled from the marauding King and his minions.

In the scene above Sheepwoman imagines she can get away from the boys by hitching a lift on a Land Rover.  She did not get very far and the boys seemed to think that getting onto the bonnet of a vehicle was flouting the rules of the game.  Sheepwoman continued on up the hill with the boys in tow, occasionally stopping for breaks for us all to catch our breath, perhaps after several hours victim and predators had made a bond.

The King decided as we all rested amongst some straw bales that if I was in a marquee I could live, if I was on a stage or on a carpet I could live, but if my feet touched the grass then I would die.  So the chase continued across the grass and muddy fields in and out of cafe's, tents and marquee's as I sought the protection of the adults. I found a band playing in a cafe and sought a few minutes solace on the stage at the feet of the drummer who protected me for a little while and as the rules seemed to get more complex as to whether "the sheep" could live or die.  Later the king decided that as I was a white sheep that perhaps he might let me live after all.  

The performance or game ended when the gang of boys followed Sheepwoman all the way back to her camp. There I finally took off my mask and immediately the dynamics shifted between us.  As Sheepwoman, or as "the sheep" I had genuinely engaged with the fear of a hunted animal despite the fact that I was being chased by such small boys. Without my mask the King diminished in his power and he could no longer threaten me. Now I was a grown woman and he was a young boy and he told me that of course he did not want to hurt me, that it had just been a game.   For the boys I think it was a day they will always remember to play for hours with an adult willing to 'play' for so long, and that the figure of Sheepwoman was genuinely quite scary and threatening to them.  Somehow the figure of Sheepwoman brought out an archetypal drive to scapegoat, or slaughter the sheep in the boys' imagination.

With thanks to Keith Fisher who made this video clip.

Rebirth?

In September this year I was invited by Charlie Jeffery and the Pistoletto Foundation to make a new work in response to the theme of 'rebirth'.   31 artists were invited to make an image on this theme for a group exhibition entitled "1:1" opening in Slovenia next week.  Each work will be presented as a poster, containing the word 'rebirth'.  See these links below for further details.  

http://www.mg-lj.si/node/1122 

http://www.rebirth-day.org  

Playground on Fire at the Old Fire Station, September 14th

On Saturday September 14th Sheepwoman had the pleasure of meeting a real life size Mexican Doll, during a day of performances, talks, concerts, open studios and installations throughout the Old Fire Station, Oxford. 

The Mexican Doll is the work of Veronica Cordova from Mexico City, she is currently undertaking a Phd at Oxford Brookes University.  Here the two are seen together happily watching Sheepwoman's film "There is a Monster in the attic".   The day was organised by the Playground Team who organise monthly artist platform events in the attic of this recently renovated building.  See http://www.theplayground.org.uk for more details.

Earlier Sheepwoman was seen reading James Hillman's book "Pan and the Nightmare".  The Oxford Improvisors performed at various points throughout the day also in collaboration with the dancer Macarena Ortuzar.  See labels for more details.

Sheepwoman's film could be seen throughout the day in the dance studio.

D.r.e.a.m.a.r.e

Quite often Sheepwoman is mistaken for a horse.

Sheepwoman in Berlin January 2013

Perhaps due to the rather large structure of her head and nose? Or perhaps because she has the ability to embody wild instinctive energies and unconscious drives?

Detail from large charcoal drawing.  2012

  With this in mind I am initiating a new project entitled D.R.E.A.M.A.R.E

Short "dream recall" performance, ACUD, Berlin 2013.

Dream Research Every-night And Making Art Relevant Every-day.

  

Sheepwoman working in The People's Supermarket, Oxford March 2013

D.R.E.A.M.A.R.E is a branch of Global Sheepwoman Research Laboratory that will draw on 20 years of dream research, and will include performances and collaborations with other artists, musicians and film-makers.  Watch this space for future collaborations, research, images and text.  

Drawing from a dream.  2012

Still from video "There is a Monster in the Attic". Berlin 2013

Thank you to Sergui Klein and Eugene Bal for the conversation that catalysed D.R.E.A.M.A.R.E.

Images from Homebase Residency Final Show 6th, 7th, 8th July

Sheepwoman's mask and costume.

Sheepwoman watching over my bed.

Props from Sheepwoman's film 

Film running on a loop in Sheepwoman's studio

Audience viewing Sheepwoman's film, with two felt sheep on the wall behind.

A small sheep watches over three props from the film.

The images above show the final installation I made at Homebase Lab Berlin, after living and working with 18 other international artists for three months.  Sheepwoman's new film currently titled "There is a Monster in the Attic" made in collaboration with Joao Vilnei and Aixa Sacco, and featuring Elena Dhal, Rafael Machado, Jimmy Treverton, James Budd Dees and Adrian Brun was shown on a television on a loop as part of an installation comprising of Sheepwoman's mask and costume and the props from the film.  

Partying in the attic.

Plants in the greenhouse tended by Philippa Jeffery and Diego Zavala during the three month residency.

Photographs taken by Christoph Neumann.

Catalogue Pages

Back in Blighty

After spending 3 months in Berlin, Sheepwoman and I are now back in England for a little while.  A number of new projects and collaborations were made during the last three months, not least Sheepwoman's first short film which was made in the last three weeks of the Homebase Residency.  

Many thanks to Joao Vilnei and Aixa Sacco for working with me in the making of this film, it could not have happened without the context of the Homebase residency and the wonderful people I met there.  Thankyou to Rafael Machado, Elena Dhal, Jimmy Treverton, Adrian Brun and James Budd Dees for willingly giving their time and responding inventively to the props we gave them.  Many thanks to Chris Dooks who gave permission to use his music for the film.  

Video still of "The couple with the Sausage" Adrian Brun, James Budd Dees and Sheepwoman

The film is currently being edited for a second time and will be screened in a number of locations in the autumn, see this blog for more details.

On set without the mask    

"I'm not crying"

The final trailer for Sheepwoman's new film "There is a monster in the attic".  The first "uncut" version is currently being screened in Sheepwoman's Boudoir at Homebase Lab, Berlin during a weekend of open studios, screenings, performances and parties.

 In this trailer we see a toilet roll pour it's heart out to Sheepwoman.  

Advice from a seasoned actor

During the shooting of Sheepwoman's new film "There is a Monster in the Attic", Sheepwoman was very fortunate to receive some invaluable tips from a seasoned actor.

"How can a person be an egg?"

Short trailer in which Sheepwoman communes with an egg.

"It's easier to work with wood, than it is with people".

Short trailer for the new Sheepwoman movie.  Here Sheepwoman listens and converses with a piece of wood.  

A window is a window, an eye is an eye and a soul is a soul.

Short trailer for the new Sheepwoman movie to be premiered at Homebase Lab Berlin this Friday 5th July.  



In this scene Sheepwoman consoles a window. 

Das Unmogliche Haus

This weekend Friday 5th, Saturday 6th and Sunday 7th July will see the opening of Das Unmogliche Haus (The Impossible House) the final presentation of work by artists here at Homebase Residency, Berlin.

Sheepwoman will be showing her new film, made in collaboration with Aixa Sacco and Joao Vilnei.  

She will also be making an appearance and it will be possible to book a session of  "Sheep Pyschotherapy" with her, for both individuals, couples and groups.  

Photograph by Aixa Sacco.  Set Design Philippa Jeffery, Joao Vilnei and Aixa Sacco

http://homebaseproject.org/blog/hbbv-festival/

Sheepwoman at Suicide Circus

Sheepwoman hit the dance floor at Suicide Circus, Berlin last night and danced till the sun came up.  Watch this space for future collaborations with these legendary party people.

http://www.suicide-berlin.com

Acting Lessons

Sheepwoman takes a break during the shooting of her new film and listens to a piece of wood for some acting advice.  


 Photograph by Aixa Sacco, 

New Collaboration in Progress

Sheepwoman is dancing in her pyjamas on the set of her new film.   Written, produced and directed in collaboration with Aixa Sacco and Joao Vilnei here at Homebase Residency, Berlin.

Watch this space to hear more about this brand new, collaboration.

Sheepwoman at K77 Hoffest 22 June 2013

If you were to look carefully amongst the party revellers last night, Sheepwoman could be seen handing out golden thread to the children and adults celebrating 21 years of artistic community living on Kastanienallee.

Home to LichtBlick Kino, a ceramic studio and dance studio famous for it's history of contact improvisation, and to the large group of people who have made this place home over the past twenty years. 

The many young children were very gentle with sheepwoman, stroking her face with leaves, and handing her rose petals in exchange for golden thread; a midsummers exchange.

Thankyou you to Leopold, Nina and Richard for inviting Sheepwoman to such a special place, a shining example of Berlin communal living and a place that has withstood the many changes  and challenges the squat scene has been through since the 1990's.

Sheepwoman was very touched by the beautiful young man she encountered, he gathered up her golden thread and gently wrapped the thread around her hands, momentarily caught in her web as the moon shone down, and the music played.  If only she could see him again!

Thankyou to Aixa Sacco for taking these photographs.

You do not know it yet, but what is missing from your party is Sheepwoman with a golden thread.

                       

For magical moments at your party contact philippajeffery@gmail.com

Rot Beige

This photograph taken by Christoph Neumann documents a rehearsal for "Seven" a new piece in development whilst here at Homebase Residency, Berlin. 

"Seven" was made in collaboration with Joseph Patricio in response to an invitation to make a performative work in the basement of the old Engelhardt brewery on Thulestrasse in Pankow.  The performance was shown during the month of performance art in Berlin.

 

The work  attempts to take the audience of one on a journey across a threshold and into the world of the collective unconscious.  

Selected by a guide in a sheep mask, seven people one at a time, are led through a dark tunnel, sweeping the way with a broom, sheepman crosses a darkened room leading to a smaller inner sanctum.    

A woman seated on a white chair at a white table holds a black book in her hand and invites her guest to be seated.  A candle lit encounter takes place, the sharing of stories perhaps real, perhaps imagined.  Stories of life and death are shared:  a woman who had been living with a dead body in her house for 21 years.  The discovery of a secret room and a very thin man with the key.   A visit to Einstein's laboratory which causes the body to break down into sub-atomic particles.  The ability to spin straw into gold,  the size and weight of the soul, and the sheep cafe were amongst the stories, shared and encountered in the dark basement.

The Alchemistic Cabaret

 In a tangle of red thread sheepwoman was seen last night at the alchemistic cabaret.

New Drawings at Homebase Lab, Berlin

I have started the first of a new series of drawings in my studio here at Homebase Lab. 

My drawing seeks to merge my night time dreaming adventures with my waking hours; encounters, conversations, impressions both visible and invisible from the experience of living communally with 16 other artists here in Berlin. 

The drawing is constantly shifting, like an animated facial expression.  Fellow resident artist Elena Dahl has started to photograph this process for me as the work shifts and changes.  I hope we will create an animation from this collaboration.  

I seem to be pointing to the "Sheep Cafe" a place I visited in a dream last April.  

Seven

I am working on a new site specific performance in collaboration with Joseph Patricio here at Homebase Lab, Pankow Berlin.  

This new work is devised for only one audience member at a time, and involves a journey, a crossing, an intimate encounter.  During the course of the conversation it is not clear if the stories are real or imagined. The piece aims to take the audience across a threshold into the subterranean world of the unconscious.  

The piece will be shown for the first time during an evening of performances, installations, and encounters this Tuesday 21st May as part of MPA Berlin.  

The performance is for a small audience of only seven people.  Will you be one of the lucky ones?

Swedish Wolf

In search of seeds for the garden, and for a bicycle, Diego and I wandered through the city of Berlin.  We followed our intuition and our feet and after several hours we found ourself in a Scandinavian quarter not far from our home at Homebase in Prenzlauerberg/Pankow.  On Kopenhagener Strasse we discovered a bicycle shop named "Wulf" and in the window was a sheep skull.  

On close inspection you can see that I am wearing my "swedish wolf" bag.

Homebase Residency, Berlin April 2013

Sheepwoman and I and settling in to our new home at Homebase, an international site specific residency exploring the notion of home, located in the offices of an old brewery in an area between Prenzlauerberg and Pankow, Berlin.  

My studio is one of 18 studios in the building with a corridor so long that I need a scooter to get to the bathroom.  My studio overlooks the garden where I will be working with Diego Zavana Aldana to plan and establish a kitchen garden, creating a relaxing social space and growing  fruit and vegetables for the kitchen, the weekly cafe and for the resident artist community and it's neighbours.

We started work in the garden today, digging over soil that had long been frozen during the winter months. We found some strawberry plants and potted them up for safe keeping, whilst we were serenaded by our neighbour Johnny Zabala on guitar, singing blues and Captain Beefheart songs.  

More pictures to follow.

Portrait of the artist as a Sheep

Thankyou to Agnieszka Badger for taking this portrait of Sheepwoman and I during a photoshoot arranged by Mim Saxl at Studio Blanco, Oxford.

The People's Supermarket, Saturday 16th March 2013

Sheepwoman really proved her worth on Saturday as she spent the day working at the People's Supermarket on the Cowley Road, Oxford. Sheepwoman was very well behaved and did her best to stock the shelves with fresh fruit and vegetables.

Unfortunately Sheepwoman was caught on CCTV unselfconsciously stuffing her pouch to the brim with delicious carrots. Ingrid, the head chef (who prepares wonderful meals from any excess fruit and vegetables that would otherwise go to waste) saw exactly what was going on and with a firm hand demanded the return of the stolen goods and put her to work serving customers.

Sheepwoman did her best to provide a good service, although trying to kiss the customers was perhaps a little forward.  She accurately weighed and priced these delicious leeks, but then ran away with the money fortunately Sarah tripped her up in time and gained control of the situation.  In an overenthusiastic attempt to make amends Sheepwoman grabbed the leeks and ran away up the Cowley road, her action was sadly misconstrued as she simply wanted to offer a free delivery service, stealing the leeks couldn't have been further from her mind.  However, having previously run away with a loaf of bread, some delicious Oxford cheese and several pounds of carrots, Ingrid decided Sheepwoman could not really be trusted in a customer facing role. 

Ingrid set Sheepwoman to work answering the telephone, dealing with queries and placing orders. Sheepwoman's inability to speak did not help matters and after she inexplicably managed to place an excessively large order for carrots, Ingrid was beginning to wonder why on earth she had invited Sheepwoman to help in the shop. Sheepwoman was ordered to update the members information, as there are now over 500 members of the supermarket, the ruffled Ingrid hoped that this would keep Sheepwoman quiet and busy for several hours.

 

Unfortunately Sheepwoman had carrots on her mind and within minutes was back to her old tricks. 

Luckily the beady eyed Ingrid caught her in time to prevent her from filling her pouch.

Sheepwoman was marched to the till and ordered to pay for the stolen carrots and cheese.

A volunteer was asked to make sure the goods were paid for in full and to check that no more carrots were hidden about Sheepwoman's person.

Despite her shortcomings Sheepwoman proved to be a great help on a busy Saturday afternoon in The Peoples Supermarket.  Perhaps if she can learn to stock the shelves nicely, not get into the trolleys (and demand to be pushed round the shop whilst grabbing crisps from the shelves), not frighten and chase children out of the shop, or climb onto the bonnets of customers cars, if she can curb her insatiable appetite for carrots, not tap dance when she should be stock taking, or run away with leeks and loaves of bread, perhaps she will return once again to The People's Supermarket as a useful and productive member of the team.  

Photographs taken by Mike Bingham, thankyou to Ingrid and Sarah for having faith in Sheepwoman's abilities as a customer service assistant.