Creative Lab at the Whitechapel Gallery
Responding to Lygia Clark & Sonia Boyce's Exhibition as part of the Inclusive Curricula and Education for Sustainable Futures Bursaries at Kingston University.
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Through photography as performance, we explore the physicality of our bodies in relation to space, objects, and materials. This approach bridges the concept of embodied experience, as articulated by Lygia Clark and Sonia Boyce, prioritising personal engagement over the symbolic status of objects. The Creative Lab becomes a space for dynamic exchange of concepts and methodologies for MA and BA students at the Whitechapel Art Gallery, with a focus on themes of play, disruption, and revelation, while highlighting group dynamics through photography, ephemeral installations, and performance art. The collective work is framed as activist art, recognising the intersection of education, the environment, culture, and fostering a sustainable ecological perspective.
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Creative Lab Programme:
· Photography as Performance: Exploring embodied experience through photography and performance.
· Mineral Sounds in the City: Using the body as ecological activism in urban spaces.
· Exploring Air – Bodies in Space: Transforming air into a sensory experience.
· Exploring the Lines – Folding onto Space: Rethinking the permeability of spatial boundaries and human interaction.
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MA Students’ collaborators: Anna Jannepalli and Shubham Kakade
· BA Students’ collaborators: Shona Goolab, Dylan Ford.
· Students’ collaborators: Shimyah Clarke-Douglas, Denis Colebourne, Benjamin Martinaud and Guy Rofe
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Supported by the inclusive curriculum and education for sustainable future bursary by Kingston University 2025-2026 and the director of participation at the Whitechapel Gallery
Academic Year 2024 - 2025
Academic Year 2025 - 2026
Photography as Performance responds to Joy Gregory's Catching Flies with Honey, bringing together MA Photography students for a series of Creative Labs at the Whitechapel Gallery. Working with reused materials, performance, and installation, participants explored identity, memory, material culture, and sustainability through embodied photographic practice.
Everyday objects and the body became sites of historical and cultural inquiry, prompting critical reflection on postcolonial narratives and contemporary consumption. The resulting exhibition celebrated transformation, collective dialogue, and ecological awareness, positioning photography as a socially engaged medium connecting artistic practice to questions of responsibility, belonging, and sustainable futures.
Through photography as performance, participants investigated the physicality of the body in relation to space, objects, and materials. This inquiry connected embodied experience with Gregory’s conceptual concerns and unfolded through three Creative Labs structured around two core themes:
Portraiture: History and Memory
The Object: Traces of a Journey
These themes reflect Gregory’s engagement with postcolonial histories, identity formation, and material storytelling.