My art practice is THE NETWORK…
The following 3 points summarise the three learning outcomes of my MA.
I’ve been enabled to take a long hard conceptual look at the last 2 years…
…the rest is all storytelling…
1. Realisation
Over the course of my MA journey, I have developed a body of work that reflects a deepening understanding and systematic enhancement of my knowledge and of my practice.
My focus is climate chaos and its intersectionality with gender identity and ableism.
My practice, which I term ‘THE NETWORK,’ evolved from an initial, broad ambition to ‘Save the Earth’ into a focused autoethnographic art practice.
I have connected my lived experience as a non-binary, queer, crip artist with my geopolitical and environmental concerns.
This evolution is documented extensively across my blog and ‘manifested’ in my manifesto, culminating two years of autoethnographic art practice and research.
https://mxdp.blog/2025/05/18/abstracted-materialism-a-manifesto-for-a-network-of-kindness/
My intital conceptual engagement with game theory provided a strategic framework to understand the political dynamics of climate change.
It was my art process methods, of material exploration, including gel plate printing, and digital and physical collage, that have processed the complex scientific and emotional realities.
These explorations evidence a continuous, rigorous engagement with both critical theory and creative practice, demonstrating a layered understanding that informs my art activism.
2. Process
My final Grad show is a physical representation of my devloped autoethnograpic practice:
https://mxdp.blog/2025/05/19/lvmh-this-earth-maison-award-2025-the-grad-show-20502100/
My process has developed into a dynamic interplay of autoethnographic research through creative material experimentation, and collaborative community engagement.
I have actively sought opportunities to expand my practice beyond the studio, with participatory projects, running workshops, and developing the grassroots festivals of BorthFest and Gwyl Cariad.
These initiatives became real–world laboratories for testing ideas about identity, connection, and resistance through art.
My practice development is ongoing. I am now on a UAL-SU-sponsored course at NODE. This blog talks about a homework assignment; it also demonstrates the discovery on my MA of a newfound need for ambiguity:
https://mxdp.blog/2025/05/20/queering-an-exhibition/
I think the exhibition would be so good you wouldn’t need the paintings…. ooohhh!!!
Critical self-reflection is central to my process. I have documented moments of challenge and growth, from grappling with complex theoretical concepts to managing the emotional impact of climate knowledge and personal loss.
I have embraced the tension of out-of-place identity and physicality, using that discomfort to fuel creative inquiry. Techniques like gel plate printing and abstract material process painting, animation and digital exploration, applied with a massive dollop of raucous humour, have helped me bridge intuition and logic.
My physical practice offers me a visual language for exploring the intersections of gender identity, ableism, and climate crisis.
Collaboration has been both a method and an outcome of my practice. Building networks with other creatives, activists, and communities has allowed me to situate my work within broader social movements, while embracing and democratising digital platforms.
The KindPinkNet platform is now in development to sustain and expand these connections globally.
3. Communication
Reflecting on my overall progress, I recognise that my MA journey has profoundly transformed both my art practice and personal development.
I have grown more confident in articulating the intersections of my identity, art, and activism, and more strategic in building sustainable community networks.
This has involved balancing creative vision with pragmatic concerns such as funding, institutional engagement, and collaborative leadership.
Looking forward, I have crafted a constructive plan to continue my personal and professional development. This includes:
- Expanding KindPinkNet as a global digital and physical network fostering creative kindness and climate awareness.
- Continuing to develop grassroots festivals and workshops that serve as inclusive platforms for community-driven art.
- Pursuing a PhD to deepen theoretical understanding and gain institutional support, while remaining open to impact through direct action and public engagement.
- Maintaining rigorous documentation and reflective practice through regular blogging, archiving, and research partnerships.
- Seeking sustainable funding and partnerships to support both artistic projects and digital infrastructure development.
In embracing adaptability and rejecting binary thinking, I aim to sustain a practice that is responsive to the rapidly changing geopolitical and environmental landscape.
My work has become deeply committed to connecting diverse voices, challenging oppressive systems, and using art as a catalyst for social and ecological change.
The WHY is probably the most startling realisation of my whole MA… It’s heavy going, but it is the naked truth…
https://mxdp.blog/2025/05/12/why/
Life is a journey…
…this is a rollock through my MA story…
I make art by using people as my brushes. I paint existential self-portraits as a cross-disciplinary storyteller.
This practice cultivates my sense of the world through my experiences as a non-binary queer crip.
I have been enabled by my MA to weaponised art to create a network of kindness in a world of chaos.
To represent and connect with creativity, and to resist the void…
I came to CSM wanting to ‘Save the Earth’.
It was bold, ambitious, and some might say foolhardy plan… but someone has to try…
I wanted to arm the world using art to make a difference, but I didn’t know how.
I started to understand the concepts of situated knowledge and embodied learning.
I began to understand that art, however I chose to employ it, would be forever framed within my lived experience. I found I could and should understand, my lived intersectionality with my practice focus on geopolitical climate chaos.
My exploration of gender identity and my experience of ableism was a way of intimately connecting with the political and human fallout of climate change as art action research. This, along with an understanding of queer temporal theory, eventually developed into an autoethnographic art practice. None of that happened quickly or without a massive amount of work and self-reflection, but I think it started here:
https://mxdp.blog/2023/10/18/how-i-embrace-creativity-creating-space/
I saw the immense opportunities afforded me by being an MA student at CSM, and I got stuck in! I applied for a residency with the Feminist Internet; they gave me a job instead!
I sat in a room at the CCI—UAL in Peckham with some of the most creative minds from around the planet.
I was in awe of tales of digital creative activism, social media documentation of African mass political assassinations, and how game code had been smuggled out of Hong Kong by democracy activists. The code was assembled into a playable game, enabling the outside world to see what was happening under oppressive journalistic blackouts.
I started to see mass migration and human connection as underground fungal rhizomes. I began to see how emerging technologies and democratising social media platforms could be weaponised. I started to think of game theory as a way to create political resistance.
Saving the Earth could be seen as a mathematical framework of interactions among rational and irrational decision-makers.
Brace yourself – I am now going to talk about Game Theory (Maschler, Zamir and Solan, 2020).
https://mxdp.blog/2025/05/24/sexy-games/
My head hurt, and whenever I found any answers. I often didn’t like them. It was too bloody horrible to put into words. But I could ‘art’.
I wanted to brain scrub with art…
Back at the CCI, there were tech funders from Silicon Valley, university professors from around the globe, a cross-dressing AMAB coder who was worried about coming to an event named ‘feminist’ because of TERF discrimination, PhD students from the RCA and CSM.
I felt like the dumbest person in the room, which was tricky as I had to host two online reading groups with this lot.
I can tell you that was a steep learning curve.
I had with me two sketchbooks of Gel mind scrubbing prints; the Dick and Pussy sketchbooks. On their pages, I asked people to write their contact details… I had formally started the Network.
You have to start somewhere.
I was using Gel plate printing as a mind scrub. It was a way of resolving the problem of connecting my creative mind with my controlling logical mind.
It was necessary to deal with the overwhelming gut feeling when reading the science that the Earth was F*cked.
I also used it to explore the intersectionality of my gender identity and ableism.
All of this made me feel lost and alone:
However, my expressions of frustration and my language of artistic communication was expressed with animation:
https://youtu.be/GWtYkc_guXA?feature=shared
I continued with the network, not fully knowing why it was important at this stage, in this blog post:
https://mxdp.blog/2023/10/20/infantilism-and-space-made/
I talk about meeting a printmaker called Jess. Eventually, Jess and Sally (who saw my work with Borthfest, also mentioned in this blog post) would go on to form Big Wave CIC.
The Monday night lectures have been a big deal for me, and it’s been a shame that there has been an ongoing tech problem in the last couple of terms. CSM needs to employ more young tech savvy students for this type of tech issue. Honestly, they would get it sorted!!! (I am perpetuating the myth of age/tech more of that later)
I loved the lecture by Jenkin van Zyl. They inspired me to be bold within my practice, as if I needed that impetus, yet I can be surprisingly sensitive under this bluff exterior!
I have become a Gorilla Queer Artist. In the above work I bastardised the dull version of a AI generated illustration used in the Van-Zyl post.
Is my human art more valid?
Actually, I do like this one better… its a collaboration…
Ooooh, look, I am starting to get what the NETWORK might be here in this post:
https://mxdp.blog/2023/11/01/tentacular-what-is-an-artist-community/
You can see AI-generated images and AI animation on my blog and in my practice.
I use AI agents in my never-ending funding and proposal writing these days.
Why, oh why, as an artist, would I even consider this sacrilegious act?
Because, as we go hand in hand into this brave new world, we can take 500 years of Western art and science with us if we choose… better still, let us take thousands of years of world art and indiginous knowledge with us, too…. then we, as creatives, could combine it with emerging technologies to connect the world and form a network of kindness… cherishing the Earth’s precious nature within a barren galaxy…. oh hang on, I am getting ahead of myself…
I talk more about the complex intersectionality of my developing art practice. It goes on a bit, so skim-read it to save your sanity:
It’s interesting to note that Tate has nicked my idea of speculative identities. Honestly, I’m sure I pinched that idea from a Monday night lecture or, in AI terms
…scrubbed it from my accumulated knowledge…
In this blog…
https://mxdp.blog/2023/11/10/hu-cow-titty-milk-dairy-rebellion/
I was still under the misguided belief that somehow my art could help change consumption behaviours, reduce our carbon output, and minimise climate chaos.
I explored the ironic idea of humans as dairy/beef cows, which started the HU-Cow project… this might feed in to a future sexploration when I might try to re-lactate… spoilers… The HU-Cow work went on to form and inspire my first-year show.
Trigger Warning: Mx Farm Hu-Cows; Titty Milk Dairy Rebellion (The Film 18++) you need to log in to view and might not be able to see it on a work computer!!!
https://youtu.be/fNs2G2INXn8?si=HPSLjLABFkJ043C5
By the time of the interim MA show, I had started to see the NETWORK as a network of kindness. I made badges for my course and friends who came to the show. You can see all the badges in the 5min film.
After the show, I cracked on with the next set of identity flags..
https://mxdp.blog/2024/04/12/fsting-the-oil-companies-ftoc/
This time, the working title was ‘Fi*ting the oil companies’ FTOC, which was not appreciated by everyone in the unit two assessment.
They thought the shock-jock title would lose the message.
I get that, and the Titty Milk Dairy Rebellion saw its original YouTube channel cancelled. (Probably didn’t help the gorilla posting of Hu-cow stickers all over the world, well done class mates!!!)
It does, however, constantly amazed me that the death of a beautiful and possibly unique planet is less shocking than a fetish kink…
If you are in the fisting know, it’s actually a very sensitive kink that needs the utmost respect to practice.
What is interesting is that FTOC is created by a crip artist.
This feeds into one of the fundamental aspects of crip theory that crips often tackle difficult, often seemingly sexualised subjects.
When you deal with your degraded physicality, you have to think outside the ‘box’.
All bets are off when you are pissing yourself on a daily basis.
I didn’t know about crip theory at that stage; I was embodying my autoethnographic research. But, I was about to find out all about crip theory and queer temporal theory…
https://mxdp.blog/2024/03/31/trans-visibility-day-intrapsychic-easter-reading/
I don’t think this book changed my art practice as much as enable me to understand it…
Eventually, eight months later, a new title was found: ‘Sticky oil.’ Still, by then, I knew no one wanted to know about oil companies manipulating food packaging and how they convinced us to use mountains of plastic to use up low-grade sticky oil.
People would probably be more interested in an ‘Only Fans F*sting channel.’
The latest science says we have already altered the planet’s climate balance and that there is no stopping climate change… more of that later…
If you thought that was a lot of work (and it was), what happened next was ridiculous…
Did I hear ‘BorthFest’…
….a grassroots arts festival that came about through the rejection of ableism and the privilege of the white cube…
https://mxdp.blog/2024/05/19/borthfest/
The NETWORK works BorthFest became a monster…
Over the summer, I returned to my day job of tattooing and continued to grow the NETWORK.
I began to find out about the Global Majority.
In this post, I mention Sally and what would eventually become Big Wave CIC, and I believe this was my first inkling that the NETWORK needs Global voices. It was also the start for me to look at how the future world will look. I have so much to learn.
https://mxdp.blog/2024/07/30/full-on-walk-in-my-shoes/
This post formally recognises Big Wave CIC.
https://mxdp.blog/2024/08/19/animation-and-animated-the-space-is-good/
and how it would become a part of my art practice, something I could not have imagined at the start of my MA.
It also talks about the workshop I am still working on with Clem Crosby!
There is a nice bit of material science here, which I actually enjoy more than the painting.
https://mxdp.blog/2024/10/07/tides-of-love-workshops-and-bursary-from-the-arts-council-of-wales/
The real point of the above post is that I was thinking about what Big Wave could be. I applied to the Arts Council of Wales for funding to grow connectivity within creative communities. I also got funding from the Welsh National Assembly Government to run art-based Climate Conversation Workshops.
This was an important little blog; it was one of those moments, an epiphany…
https://mxdp.blog/2024/10/17/ooh-that-was-intense/
By now, I was well into writing my PhD proposal.
I am a time-limited opportunity and I like to stay ahead of the game.
I didn’t fully understand that Temporal turn at this stage, but I would soon.
In many ways, I want to do a PhD because I have learnt so much through art education and it has changed me, not just as an artist but as a person (I know now that’s indivisible)
Even while finding a PhD supervisor, I learnt about the MAPA (Most Affected People and Areas of Climate Chaos) and my own art practice of autoethnographic research. I was becoming self-aware as an artist.
https://mxdp.blog/2024/11/03/my-hair-is-a-gender-disruptor-autoethnography-art-research/
My MA paper was written as near of a style as I could to a flight technical manual that has mated with a long-form academic essay. I aimed to produce a queer temporal understanding of art as an agent of change.
https://mxdp.blog/2024/11/03/temporal-queering-of-art-a-comparative-study-of-pablo-picassos-guernica-1937-and-dan-edelstyn-and-hilary-powells-bank-job-2018-19-as-agents-of-change/
I was horrified to hear from my cohort that they didn’t want their papers to be seen. They had not understood that anyone would read them outside an examiner.
I WANT people to see my research; otherwise, what’s the point…
I began to realise that, as artists, we all see our practices in very different lights. That was an important realisation.
I have learnt that these blogs have a horrible habit of foreshadowing future events…
Being part of the NETWORK can be very pleasant, and this post and its little IG Reel was an example of my blog witchcraft:
https://mxdp.blog/2024/11/18/set-sail-an-adventure-in-printmaking-collage/
I thought I was done travelling the world, but I’m not sure I am.
The voodoo continues in this post
where we expect the unexpected… your blood will run cold…
What I thought I was doing here is prepping social media algorithms for Gwyl Cariad, Big Wave’s Grassroots pilot festival. A festival aimed to bring art out of the white cube, away from the crafty, arty audiences. To place art and creativity directly in the winter streets, shops and institutions of the Welsh university town of Aberystwyth.
Instead, I was to learn about complex relationships, implementing strategies for festival management, people skills, working arrangements, funding strategies, health and safety, who you can trust, who trusts you, and how nothing is as it seems.
https://youtube.com/shorts/JQDAKMite_w?si=r53PyhSy8upBEeZp
To butcher the Top Gun, quote, ‘My art practice writes cheques that my body cannot cash.’ (Art can hurt, finding ways to ‘do’ art is often THE challenge for a crip artist)
Here in this post, I talk about one of my favourite workshops I have run. They want me back, and there is more to do with this work:
https://mxdp.blog/2024/12/04/workshops-and-tech/
I didn’t get the R&D funding for this next post, but it did give me a future art project; it is a biggy…
https://mxdp.blog/2024/12/04/immersive/
This next blog post was more foreshadowing; I haven’t sold the cats yet…
https://mxdp.blog/2024/12/05/film-feedback-loope-the-miro-board/
…it helps to understand how I reflect on my art practice, but this bit is crushing to read right now…
‘I wonder how Dee supports herself to be always in such warm energetic caring mood?’
– ‘That’s my husband, Dwain. The Royal Marines have a credo of cheerfulness in the face of adversity, OMG I need that when it is really bad; he takes the piss and makes me laugh.’
Are you feeling the ground rush yet???
Here it comes… in this post, things were heating up with the festival and in the hot tub…
https://mxdp.blog/2024/12/24/in-other-news-good-gawd-i-am-busy/
I was so happy here, in my life, in my artwork…
https://mxdp.blog/2024/12/27/i-am-in-love-with-my-collage/
I loved my collage too, it was so much fun…
…my health not so much… liver and heart failure again…
I was in trouble. My heart meds were not controlling my blood pressure.
I had lost 2cm in height as my spine degrades which meant my sciatica was back with a vengeance.
Yes, I was once again in the shit…
Still, I was enjoying my animation… I called it ‘Sticky Oil’…
This might now become something else… Nothing is as it seems… you can see part of it in my 5min film…
I felt at this stage that the vlog studio would be my future…
https://mxdp.blog/2024/12/27/the-vlog-studio/
I was still doing workshops and working the NETWORK in preparation for Gwyl Cariad:
https://mxdp.blog/2025/01/06/climate-conversation-workshops-and-overview-of-current-practice/
I was so excited; Gwyl Cariad was coming together, and it was all about to kick off…
Oh, Gwyl Cariad was an even bigger monster than BorthFest… Artists, businesses, events and swathes of volunteers…
Then it happened….
At 9.30pm on January the 14th, my husband suddenly died…
He was 47 years old, and a massive plaque forced its way through his heart, and it ruptured…
He died instantly; he didn’t suffer long enough to cry out… for my son and me, it was another two hours of CPR, defibs, and adrenalin shots… until the paramedic turned to me and asked, ‘Do you know what is happening.’ and I replied, ‘Yes, my husband has died.’
.._. .._ _._. _._
I could scarcely acknowledge what had happened… I briefly mentioned Dwain’s death in this post. At this stage, I was in aircraft emergency mode, detached, and running the checklist.
To a certain extent, I still am.
I let out only what I believe I can cope with and what I can control.
https://mxdp.blog/2025/01/23/gwyl-cariad-the-festival-of-love/
But for my family and myself it was only the start:
https://mxdp.blog/2025/02/02/the-art-of-rising-lessons-in-resilience/
It was, in the truest sense, a Temporal Turn:
https://mxdp.blog/2025/02/10/the-onion-a-temporal-turn/
During Gwyl Cariad’s development strategy, I wrote a document discussing how key players needed backup because any of us could go down during the festival and that Gwyl Cariad should not rely on key personnel but be autonomous.
More voodoo…
Gwyl Cariad continued: so did I …
https://mxdp.blog/2025/02/02/gwyl-cariad-aber-week-one/
Gwyl Cariad made BorthFest look like a sticking and glueing class. It was huge, but it reached critical mass and ran…
https://mxdp.blog/2025/02/11/ooooh-whats-in-the-box/
I was on the end of the phone, on WhatsApp, putting my twopenth in. Sometimes, I was right, and sometimes, I was wrong. We all kept saying it was a pilot, but Hell’s teeth, it was a big one!
The above shows Big Wave and Isaac at the projection. This was my first outing with Prof X, the powerchair, and it was difficult to manage my emotions.
What I could do is think about post-festival feedback metrics.
…And think about why a cis man and a gay man had decided that non-binary boobs that are mainly bound flat should be staged suspended in a kink wonderbra… that says everything really…
https://mxdp.blog/2025/01/20/gender-traitor/
The post above talks about the boobs… not about their staging because sometimes you have to let your art go…
This post sees me having a little pity party…
https://mxdp.blog/2025/03/02/rivers-never-run-straightsurvive-thrive-seredipity/
…but it does talk about Queer Temporal theory… Is Temporal Queering the way forward for the Earth?
It also discussed what could have been Big Wave’s summer project. It didn’t happen as there seems to be a massive re-arrangement of the arts in Ceredigion.
I need to remember that life is a journey and doesn’t need a destination.
I believe that arts initiatives and how they run should be shared.
The slog of Art is hard and grinding.
https://mxdp.blog/2025/03/02/i-am-getting-fed-up-of-writing/
https://mxdp.blog/2025/03/09/wow/
https://mxdp.blog/2025/03/09/conversations/
The above two little blogs may be essential to my art practice. These blogs discuss how my mundane everyday experiences help me understand and make sense of geopolitical climate change.
I also rather liked this digital collage self-portrait, as it really felt like an honest reflection of my mental state.
The low-res 2025 would always be about Ableism and how I would deal with it. Some I expected, some I wasn’t, but I was able to Grab Life by the Balls:
https://mxdp.blog/2025/03/25/grab-life-by-the-balls-low-res-2025/
On returning home, I learned I had been shortlisted for the NTU studentship. The interview was fascinating, and it showed me how a CSM-inspired art practice may seem strange to other institutions.
Around this time, I asked ChatBox AI how long does the Earth have… when will it become uninhabitable?
This was its reply:
https://mxdp.blog/2025/05/23/things-are-grim/
During the following week, I had time to reflect on our limited future, starting with my upcoming Grad Show:
https://mxdp.blog/2025/03/25/3-shades-of-black/
I am catching up with my s3x-self-awarness here and how it is starting to inform my art practice:
https://mxdp.blog/2025/03/28/s3x-manifesto/
…and off we go… my creativity had been released and now it starts…
https://mxdp.blog/2025/04/03/5000-is-it-pink/
My art practice is autoethnographic research of my gender identity, my crip physicality, and may become a sexploration of geo-political climate chaos…
That said, inspiration comes from various sources. In this post, I talk about one of them…
https://mxdp.blog/2025/04/03/the-last-futurist-exhibition-010/
Good news came in this post:
https://mxdp.blog/2025/04/07/breaking-binaries-a-journey-into-queer-curating-crap-ai-title/
… It’s an exciting opportunity that the UAL SU has given me…
In this post, I discuss the start of my process for 2050:2100. I love this little sketchbook and its Surreal process video.
https://mxdp.blog/2025/04/10/process-pain-and-narcolepsy/
This was ‘just’ a workshop, but I learned so much about my art practice and myself, autoethnographic to the core. It was also when KindPinkNet was born.
https://mxdp.blog/2025/04/14/my-social-media-art-practice-debunking-age-myths/
A visit to an exhibition showed me the virtue of the Japanese concept of ‘Ma’ and how busy my brain was…I couldn’t see the ‘Ma’!!!
…take a chill pill Mx D.P. and make some Art…
As I make, I consider the conversations happening in my Trans Non-binary community. Folx are upset and scared; young non-binary folx are going back in the closet, living double lives away from family and the world at large… it is cruel and oppressive…
https://mxdp.blog/2025/04/19/i-am-spartacus-i-am-trans/
This post talks about a possible shared workshop:
https://mxdp.blog/2025/04/21/pink-black-in-support-of-trans-identity-the-workshop/
Tutorials are always important, and this was the last of the MA.
https://mxdp.blog/2025/04/27/tutorial-with-jk-25th-of-april-2025/
Rebecca Fortnum’s talk and her act of imagination got me thinking about systemisation… it was all unicorns, centipedes and gel bum prints… this could be an important post.
https://mxdp.blog/2025/05/03/unicorns-and-centipedes/
Keeping busy as always
https://mxdp.blog/2025/05/05/node-arts-management-and-curation-borthffest-and-big-wave-cic/
Reflection on the Sketchbook, Our Struggle for 2050:2100
https://mxdp.blog/2025/05/06/our-struggle/
The Hate to Kindness Banners for 2050:2100:
Imagine a world where you can never be your true self, where you look in the mirror and think Who the fu*k is that…
Imagine now you walk into a room and you are not only accepted, but the others there are like you…
This is a ongoing post for The Queer Curation Course:
https://mxdp.blog/2025/05/07/why-cant-the-world-be-more-queer/
I’m in my flow state, changing hate into kindness…
Climate Chaos is a messy problem.
Heteronormative power structures are trying to distract us by encourging hate. Disinformation is the distraction, while the super-rich rob us blind as they try to insulate themselves from the fast-approaching climate chaos.
As I work on the banners, I bring creativity, love and a little ironic dadaesque humour to the chaos.
Moving forward…
Post-MA Art Practice – Development Plan
My aim is to continue to build on the work I have started during my MA work at Central Saint Martins: my immediate focus centres on expanding KindPinkNet.
My Abstracted Materialist approach to the possible sexploration of geo-political climate chaos and its intersectionality with gender identity, ableism and ageism, positions me uniquely in the current art landscape to utilise my understanding of queer temporality to build a Global Creative Network of Kindness.
Community Engagement & Festival Development
As Big Wave CIC’s develops its presence as a platform for community-driven art initiatives working with major insitutions and empowering creatives at grass roots level. I want to look at Global reach for the KindPinkNet network.
In the continued development of Gwyl Cariad as an inclusive celebration of art and community identity, I will examine this year’s idea to transform BorthFest into an autonomous, self-sustaining entity.
Both festivals could eventually incorporate more digital art elements and network-based installations to expand their reach and accessibility.
I will be using these festivals as living laboratories for testing Network concepts.
The NETWORK Development:
The digital-cruise-portal concept integrates the spaces between the virtual and physical global community of creative engagement.
To develop this further will need indepth research and documentation to build a comprehensive blueprint on how global creative communities can develop their own networks.
This will enable communities to link up with each other as a form of resistance, representation, and kindness in the face of global geopolitical climate chaos.
By mapping existing community connections and identify potential new nodes of desemination, a network may be able to expand its reach in a self sustaining manner.
I have written my preliminary research PhD proposal, the summer challenge is how I will fund this! (Sounds familiar, I think I wrote that last summer too… Only Fans here we ‘cum!!’)
Technical Development
I want to establish a robust digital infrastructure for the digital-cruise-portal.
To create prototype installations that demonstrate a network potential I will need to look at all the technical processes required.
PhD Application
I have written my proposal, (several times!) my prefered choice is Central Saint Martins – UAL (CSM) with a start in Jan 2026. I also have a part-filled online application to the Royal College of Art (RCA).
Whether I pick them or they pick me, it has to work alongside my quest for knowledge and a vision for an empowered creative network, or all this will be for nought!
At CSM I have the amazing support of my two PhD prospective supervisiors David Cross and Owan Parry, they really believe in this work and I know will do everything they can to support it.
I have to self-fund a PhD as I am too old, at 60, to get state funding. I’m beginning to see that ageism is a form of ableism, part of the interlocking systems of oppression that my autoethnography art practice deals with.
The question I have started to ask after my Temporal Turn is do I need a PhD to do this work?
Why would I use that framework?
How would that work for the network?
I am mindful of the ease with which an Art Practice can slip into an echo chamber of introspection.
A PhD could hold me to account, and selfishly, it could give me an ‘in’ to the institutions and corporate centres to make the network…work!
I have also enjoyed the research and the learning, and I don’t want that to stop.
Like a knowledge vampire, I have appreciated access to brilliant minds. We need ‘Deep Thought’ to cope with the climate chaos that is coming our way…
Long-term Vision
My practice stands at the intersection of digital art, social justice, climate activism and a good bit of down and dirty hands-on art!
My long-term goal is to:
- Establish a network of creative kindness.
- Create sustainable connections between different community art initiatives world-wide.
- Develop the KindPinkNet digital-cruise-portal into a fully functional platform for artistic kinship.
- Build a framework for other artists to engage with and develop a creative network
Practical Steps and Documentation
- Maintain regular blog updates at mxdp.blog
- Contribute to a digital archive of Big Wave’s work
- Document community engagement and impact
Funding & Support
- Keep applying for arts funding and corporate partnerships for Big Wave CIC and KindPinkNet development.
- Seek global technology partnerships for digital-cruise-portal development.
- Build relationships with environmental organisations, research institutions and existing creative networks.
Community Building
- Continue strengthening local initiatives through Big Wave CIC.
- Expand reach while maintaining community focus.
- Create digital workshops and connective strategies around the KindPinkNet concept.
Research Development
- Establish research partnerships with relevant institutions.
Outreach
Social media and creative arts workshops.
Online vlogging.
Artist in residence on cruise ship… a physical moving network that straddles an elite post-colonial world and connects organically to the MAPA.
This plan acknowledges that flexibility is needed in the rapidly changing geo-political situation the world finds itself in.
It also offers this stark choice: get funding, do the PhD, and if there is no funding, get the work done…
Hang on that is somewhat of an ironic binary choice.
Or should I make my own choice for my own reasons?
Is it possible to connect research with a living network?
If I write a doctoral thesis, maybe a few hundred people will see the work.
If I get off my crip arse and go around the world, make a network and document it on social media, thousands or more could see it, and then it becomes A Network…
TikTok alone has 2 billion active monthly users worldwide… Together we are stronger…
Questions, questions, which is absolutely how it should be. The end of the MA is only the beginning…
My work challenges binary thinking and encourages adaptability in understanding humanity’s new reality.
This needs to remain central to all these developments. Combining grassroots creativity with a broader digital initiative will create a robust framework for growth and impact… that’s my future.
Buckle up, Seabiscuit; it’s going to be a Hell of a Ride…
https://youtube.com/shorts/GEs86TSZMso?si=QW8a92AwWvzEwDCo
Go on turn on the sound!
THANK YOU
I have used and researched AI and digital media extensively throughout my MA. These are the applications I used, and a summary of each.
https://mxdp.blog/2025/05/21/apps-programs-and-ai-review/
I have done a lot of reading over the last two years. I know there have been much more than this. Not to mention the endless conversations with the fantastic people I have talked with and the amazing lectures we have had. I haven’t always quoted sources, as it’s a self-reflective blog. Moving forward, I may start listing my reading in this blog, as I actually like to see what folks are reading, and my readers might appreciate the same courtesy. Have I read all these? Well, I have employed speed reading and academic reading, and then because I like to read, I’ve often just read it… so yes…
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