“Performing Alchemy” and the sixteen-strong GAL Collective organically emerged from a yearlong series of open workshops called HOWL, held at Nottingham Gallery Guerilla Art Lab (G.A.L). Rachel Parry conceived GAL so non-conforming artists could come together. A Safe Space for the Intersectional and Neurodivergent where otherness and identity is celebrated. A different approach was needed. Members are holistically supported to freely explore lines of inquiry inside their practice or to just exist alongside everyone; to breathe with or without labels in order to thrive as artists. Initially led by Rachel Parry and Annette Foster, a cooperative style was encouraged at HOWL. Knowledge, skill-sharing and positive feedback sessions were paramount to nurture and honor the whole person and build in resilience for each artist while learning performance semantics. Processes used were nothing new (Heuristic, Jin Shin Jyutsu, Trans-personal Psychology, Butoh, Contact Improvisation). We drew on the experiences of those who attended and became centred on our own Awkward Displacements. We group-choreographed micro-actions arising from our own self-soothing and idiosyncratic impulses: Right hand clasping then rubbing shoulders. Winding hair. Palm on face. Tapping. Interlacing fingers. Shallow breathing. Swaying. Going to ground.

LiveArt pieces also emerged from each artist incorporating Movement, Dance, Noise, Projections, and Impermanent Installations. We used base materials to ground ourselves: WOOD, PAPER, METAL, AIR, WATER, EARTH, MEMORIES, LOVE, COAL, DOUGH, ELECTRICITY, BLOOD, TIME. And we developed a mantra to guide our work: MAKE, REPEAT, LOOP, EDIT, KEEP, ADAPT, DESTROY. We combined everything, forming a Durational, Post-Fluxus, Dada, En-mass Happening. Semi-scored and conducted by Rachel Parry while artists self-curated an auto ethnographic journey through learned aural signifiers and Noetic Balancing.

After Meditative Grounding Activities to center and unite the Collective, we dispersed, mapping the white gallery into personal sacred spaces to inhabit. Artists freely moved between spaces, amassing personal energy before interacting with or alongside others. They could break and transition to audience. Or signal to leave if feeling overwhelmed. Equally, spectators were invited to be amongst us and encounter our techniques. Remnants and residues were worked on by all unless ritually signified as “revered objects.” We continually transformed and distorted. Installation(s) viewed as singular or unabridged, with or without associated bodies.

Our Awkward Displacements anthropomorphised over two days. Safely excorcising inner-self into actions and objects, which We transmuted via a visual archeology of our lived bodies. Blank gallery space oversaturated into something else. Into Other.