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NICOLA SINGH

Chasing Waterfalls (2014), with Adriana Rojas-Víquez (design)
commissioned by BxNU BALTIC and Northumbria University
performed as part of RIFF/T, BALTIC 39, NEWCASTLE
Photo Credit: 4130 Photography

there is world sometimes (2015)
collaboration with Timothy Murray, Yunuen Rhi and Wojciech Kosma
commissioned by The NewBridge Project 2015
Photo Credit: Kuba Ryniewicz (rehearsals only)

all girls together, and what they really, really want (2016)
commissioned by Foundation Press, Sunderland
performed at BALTIC Artists Book Fair NEWCASTLE
Photo Credit: Adam Phillips

Slapping Noises (2017)
commissioned by BALTIC Centre for Contemporary Art
past of FIGURE FOUR, BALTIC 39 NEWCASTLE
Photo Credit: Colin Davison

perfect 36 (2014)
part of group show 'Through The Gap Increasing' curated by Sarah Bayliss
commissioned by BALTIC Centre for Contemporary Art, BALTIC 39, NEWCASTLE
Photo Credit: Colin Davison

Sexy Beach (2014)
commissioned by Modern Cultures, part of the 'Emotional Resources' symposium
Northern Gallery for Contemporary Art, Sunderland
Photo Credit: Charlotte Gregory

High Density Reconstituted Foam (2014)
commissioned by Musee Imaginaire for Northern Charter, Newcastle
Photo Credit: XXX

'the sounds here are bouncing around us and Susan and Anne and that object' (2017)
commissioned by BALTIC Centre for Contemporary Art for BALTIC 39, NEWCASTLE
Photo Credit: Josefin Bengtsson & Fiona Larkin

A improvised performance that loosely derives from a collaborative practice organised by Wojciech Kosma since 2011. Over the course of two evenings, the unscripted, un-themed interactions between performers were offered to an audience. Relational notions of friendship, intimacy and performativity were tested.

Part of the BxNU Respond Programme and 'RIFF/T', an exhibition of expanded painting curated by Matt Hearn. A durational, improvised performance that explored motion within the still image - waterfalls, holograms, scenes from the Karate Kid were explored through dance, textile and print.

A solo exhibition that experimented with ways in which language can be heard, visualised and choreographed, produced as part of Singh’s practice-led PhD. Inc. performance, photography, risograph printmaking, sculpture and ceramics.

A text and movement based work that explored the limits of cut and paste plagiarism from a variety of texts, including lyric, theory and fiction. The work focused on irritating the relationship between voice and subject.

Singh gyrates her hips in a spotlight over an extended duration - transforming the gesture into a ritualised action. A printed text was disseminated at the end of the performance, creating a kind of afterword or post-script to the performance. Specially commissioned performance for 'Emotional Resources' symposium, NGCA.

Solo exhibition/performed-exhibition. A programme of collaborative workshops and performance exploring the 'voice' in the process of speaking, making and moving. Articulated through an eclectic mix of text, audio and objects. Collaborations with Harriet Plewis, Hannah Buckley and Helen Collard.

A participatory choreographed parade that traversed Newcastle City Centre, UK - through open public spaces, into buildings, up and down stairwells and across roads. The project explored the inherent performativity of public and private space through the expressive power of the parade as a vechicle for communication and solidarity.

we stand out the most when we stand out together (2013)
collaboration with xsite architecture
commissioned by Wunderbar Festival, UK
Photo Credit: 4130 Photography

In Praise of Shadows (2013)
collaboration with xsite architecture
commissioned by Wunderbar Festival, UK
Photo Credit: 4130 Photography

A architectural intervention and acoustic experiment, with Rhodri Davies, Paul Dunmall, Chris Greive, Impossibility Knox, Mark Sanders and Sue Tompkins. A hole was cut between two floors in a disused building, and an acoustic programme of experimental music took place between the aperture - with the performers on the first floor and the audience sat on the ground floor.

Text and screen-based performance in which images and words meet to apply direct and difficult pressure onto each other. The performance used video projection, song and text to broadly explore tense or hidden desires.

chiffon sponge (2017)
commissioned by LUX Scotland
crossing the line, curated by Gayle Meikle, Glasgow Film Theatre, Glasgow, 2017

animal energies (2017) with Rachel Aggs, Rachel Harwood, Serena Korda, Susie Green, Heather-Bonnie Reid, Flora Whiteley, Hannah Kirkham and Naomi Daley.
commissioned by BALTIC Centre for Contemporary Art for FAMILY DAY, Newcastle
Photo Credit: Sarah Boutell

Sweet Spot (2017)
Jerwood Visual Arts, London
commissioned by 3-Phase Prize - Jerwood Foundation, Eastside Projects & WORKPLACE
Photo Credit: Anna Arca.

Sweet Spot (2017) - performance with Harriet Plewis & Jenny Moore
Jerwood Visual Arts, London
commissioned by 3-Phase Prize - Jerwood Foundation, Eastside Projects & WORKPLACE
Photo Credit: Hydar Dewachi

A a capella vocal performance in which the performers improvise, react and respond to the space, each other and a loose set of lyrics. The performance speaks back to the initial, collective moments of exhibition making – a workshop with women artists that explored the organisation of language around the female body and voice.

Large-scale textile installation, 'performative props', audio work and live performance - the resilts of a series of collaborative workshops that explored the organisation of language around the body and the voice within an intersectional feminist framework. Part of 3-Phase Award.

Sweet Spot (2017) - performance with Harriet Plewis & Jenny Moore
Jerwood Visual Arts, London
commissioned by 3-Phase Prize - Jerwood Foundation, Eastside Projects & WORKPLACE
Photo Credit: Hydar Dewachi

City Stir - site-specific performance to camera with Susie Green and Heather Bonnie Reid, solo exhibition & live performance (2017)
commissioned by Sidney Cooper Gallery, Canterbury.
Photo: Janina Sabaliauskaite (film photography of site-specific performance-to-camera)

Performance, audio recording, sculptural objects and a large-scale installation made in response to Elsa von Freytag-Loringhoven’s poem ‘Appalling Heart’ (1920). Choreographies, palettes of music-making, and costumes were made in response to the poem before realising a group performance-to-camera in the Northumberland Moors. The traces of the original performance found a disembodied new context in the gallery.

Multifaceted participatory performance designed for an intergenerational audience. The theme explored our affinity to certain animal energies and to our animal selves. Developed with a cast of collaborators in workshop settings, the devising process was shared through the performance - in prints, costume and movement - looping back to these moments of making.

I See This Feel In The Shape Of A Smile (2018)
commissioned by Caustic Coastal, Salford as part of Signs | Beacons
curated by Rebecca Halliwell Sutton
Photo Credit: Caustic Coastal

A series of work exploring performative drawing with pigment on Korean Hanji paper. The drawings and a text that were produced in parallel with one another - documenting sensations in relation to the body and to emotions, preserving intimate observations about the politics of a felt or feeling experience.

A series of large-scale drawings by the artist and participatory workshops, made via a somatic practice of touch and movement - a feminist gesture to cultivate a haptic and sensual relationship with one’s own body through an expanded drawing practice.

Soft Body (2018)
commissioned by Hongti Art Centre
part of UK/KOREA Residency for British Council/BALTIC Centre for Contemporary Art
Photo Credit: Nicola Singh

within reach (2018)
Workplace Gallery, Gateshead
commissioned by 3-Phase Prize - Jerwood Foundation, Eastside Projects & WORKPLACE
Photo Credit: John MacKenzie. Text Extract.

Experiments in performance and expanded painting - the works display the traces of an intimate, choreographic relationship between body and materials. A text piece, written in parallel to the artist’s physical exploration acts as a journal of touch and sensation.