My project “Photos I’ll never take” is featured in the Stylist online.

Here is the link to see the article. I’m delighted to be in the article and have some recognition of my work.  They have featured a few of the artists appearing in fertility Fest 2018


Meet the artists exploring the invisible struggle of infertility

Infertility is a subject that many of us struggle to talk about – but a group of artists and photographers wants their work to start difficult conversations.

Around one in eight women in the UK will have difficulty conceiving – yet many of us struggle to talk about infertility. Too often, the subject is met with unhelpful breeziness (“It’ll happen as soon as you stop trying!”), judgement (“Well, you did leave it quite late”) or – perhaps worst of all – awkward silence.

However, a new community of artists and photographers is trying to break the silence around infertility by exploring the subject through their work. These artists include Tabitha Moses, who had her daughter via a donor egg after experiencing miscarriage and unsuccessful IVF, and Tina Reid-Peršin, whose photographic and video installation project Photos I’ll Never Take is reminiscent of a family album – with the role of a child played by a doll.

Work by these artists will be on display at this year’s Fertility Fest, the world’s first arts festival dedicated to fertility. Fertility Fest’s founder, Jessica Hepburn – a former Stylist Woman of the Week – was inspired to ask contemporary artists to exhibit at the festival after visiting Frida Kahlo’s Blue House in Mexico City, and being struck by how the groundbreaking feminist artist explored themes of infertility in her work.

Scroll down to learn more about the artists, their experiences and their work.

Tabitha Moses

Moses’ work is inspired by her experiences of miscarriage, unsuccessful IVF and pregnancy via a donor egg, and this series of portraits reflects the stories of a selection of patients at the Hewitt Fertility Centre in Liverpool.

Using colourful cotton and decorative line, Moses embroidered traditional and non-traditional symbols of fertility – including fertility goddesses and a pair of lucky knickers – onto gowns worn during IVF treatment. She also gathered information about the things people use to help them conceive and embroidered them onto the gowns, such as syringes and empty medical bottles.

Tina Reid-Peršin

Reid-Peršin has been working on her ongoing project Photos I’ll Never Takesince 2011. Through a series of photographic and video tableaux, she explores her feelings about the family she’ll never have, using the concept of a fictional family album to try and convey the sense of grief that accompanies her situation.

In place of a child, she uses a shop mannequin and involves her husband, family members and friends in the creation of the photos.

Gina Glover

Glover’s project Life in Glass was developed during an artist’s residency at the IVF clinic at Guy’s Hospital in London, and draws on the photographic archive of Nobel Prize-winning IVF pioneer, Professor Robert Edwards.

Through her work, Glover aims to enhance the experience of the clinical environment, drawing upon images from the outside world of nature and combining them with scientific images of embryos and sperm.

Sophie Ingleby

Ingleby’s photographic project SEED explores different aspects of fertility treatment through a series of portraits, conceptual and documentary images. SEED Collection is a series of portraits taken minutes before egg collection, while SEED Stories uses clinical imagery from a couple’s treatment cycle to express an experience of having fertility treatment.

Each of the images in SEED represents a key stage in IVF when the statistical chance of having a baby can be measured. The size of the images change as the chance of having a baby fluctuates, representing the physical and emotional rollercoaster of having IVF.

Foz Foster

Foster’s artworks celebrate the lives of his three children lost through miscarriage, challenging the perception that miscarriage happens only to women.

Called Labour of Love, his body of work acts as a double-edged sword between the joys and despairs of an expectant father. Pain will not have the last word is a 76 ft scroll painting exploring the everyday experiences and joys of being a dad.

Isabel Davis and Anna Burel

Conceiving Histories is a collaboration between Davis and Burel, a literary historian and visual artist respectively. The duo produce creative and fictional reworkings of the archival materials of ‘un-pregnancy’, the word they use for the time before diagnosis of pregnancy or infertility.

Fertility Fest runs from 8-13 May at the Bush Theatre, London.

Images: Courtesy of the artists and Fertility Fest 

Webinar- “We are worthy”

Will be taking part in a webinar today. As part of the “We are worthy” summit.   Its from 5pm to 6pm. The event is run by Nicci and Andrew Fletcher, who publish a magazine called- “The childless not by choice.”

Here is the link for the webinar-

Here is the link for Fertility fest 2018-

More good news regarding my artworks

Its just been confirmed that the funding has been awarded to Fertility Fest for next year. Well done to Jessica Hepburn!  This means that I will definitely be doing a workshop with The National Theatre – week commencing 26th February 2018, and also a talk in London about my work on May 12th 2018, for Fertility Fest. I’m delighted!  I will have to finish my photo album of “Photos I’ll never take” and possibly also my romance books video. Its good to have a deadline. We will be planning the workshop over the next couple of weeks, so I’ll know more about that soon. M&B003coverweb

Finished my first two public speaking engagements

Yesterday, I completed the second of two public speaking engagements. One in Birmingham and the other in London at Fertility Fest

A festival looking at assisted reproduction and creative responses to the experience. I was showing my work “Photos I’ll never take” and  speaking alongside Katie Barlow and Jodie Day, at the dour sounding session- Facing involuntary childlessness. I couldn’t imagine anyone coming into our session, when its such a depressing subject. Amazingly we had a full room both times. I was very impressed with Katie Barlow’s film and Jodie Day’s talk. It was great to share the session with them.
It was such a pleasure to take part in this event. Also very interesting to see how different, the same two events could be. In Birmingham, I was surprised to find that after I had shown my work in a slideshow, I couldn’t speak immediately afterwards, because all I could hear was crying from the audience.  In London, instead of crying, I got applause and lots of people came to talk to me afterwards. Same show, different response. Very interesting.
I was much more nervous for the London talk and also feeling quite emotional. Although I don’t know why. So, I took advantage of the Quiet room, to calm down beforehand. A space with trained counsellors, away from the emotions the day was bringing up. I told the counsellor that I couldn’t imagine anyone choosing our session. She told me that it had been her first choice and that two of the counsellors were coming to it. They had had to ask permission to go, as it might be too many counsellors away from the quiet room. This was great to hear.
It was also lovely to get such great feedback from the two events. However, there is something very difficult about concentrating on one’s failures. It was the first time that I had discussed my personal situation with strangers. Normally I refuse to discuss my situation and concentrate only on the art and art issues, but this event was about sharing. It was quite hard, very difficult not to think I had shared too much. Hard not to imagine being judged.
Also, there is some difficulty for me in showing my work to others in a similar situation. On one hand it was very supportive, but the work is intended for those who don’t know what its like. It’s meant to ask for empathy, but when the viewer already has the experience, is it damaging? Or is it healthy? I also have four of the photos on a wall in the theatre and I heard one person say, as she went past,  “I can’t look at those”.  I suppose it depends on what stage in the assisted reproduction process a person is. To face childlessness, when still trying, is probably not a great idea. It was also hard for me to be at a festival where some people have been successful. However, one thing we all have in common is that we have all had to at least face the prospect. of being childless.
It was great to attend other sessions, there was some great work at the Festival. Jessica Hepburn worked very hard to bring the festival about. Great idea and very well done. I’m hoping some of the contacts and offers made will come to fruition.

Exhibition details. Fertility Fest


I will be a Guest Speaker in Fertility Fest talking about my projects “Photos I’ll never take” and “The death of hope” on these dates and venues:

Birmingham                                                                                                                                              Saturday 28th May 2016                                                                                                                Birmingham Repertory Theatre, Broad St, Birmingham, B1 2EP

London                                                                                                                                                             Saturday 11th June 2016                                                                                                                                      Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP

I will also be exhibiting some of my work from “Photo’s I’ll never take” in The Park Theatre for about five weeks. See the Fertility Fest website for more information

Details of Private View and exhibition with Uncertain States

uncertain states

14 November – 5 December 2014
Private View: Thursday 13 November 6:30 – 9:00 pm

Uncertain States is pleased to announce the Fifth Annual Exhibition UCS 2014 at The Bank Gallery.

The exhibition is a selection of photographers that have contributed to the quarterly Uncertain States broadsheets over the years. This years artists include Adrian Hardy, Agatha a. Nitecka, Ania Dabrowska, Cat Stevens, Charlie Fjatstrom, Christina Reid, David George, Fiona Yaron-Field, Franscico Gomez de Villaboa, Heather McDonough, James Russell Cant, Josephine Coy, Karl Ohiri, Martina Geccelli, Mick Williamson, Mish Amikoff, Radoslav Daskalov, Richard Ansett, Rebecca Sainsot Reynolds, Richard Sawdon-Smith, Robin Grierson, Roy Mehta, Spencer Rowell, Susan Andrews and Tracey Holland.

The Bank Gallery, Central House
59-63 Whitechapel High Street
London E1 7PF

Opening Times:
Tue- Fri: 11 am – 7 pm, Sat & Sun: 12 pm – 5: 30 pm.