Thank you Holly we thoroughly enjoyed reading your reflections, poems, musings and getting a view of the world you have built, its foundation, structure and its mystery. The ambiguity, space and complexity you navigate leaves us feeling excited and uncertain, with the space to keep thinking, to change our minds, to see if something else might emerge. It is work that one keeps returning to over and over, congratulations Holly. Your work navigates the systematic structures that shape labour, gender, and identity with nuance and depth, you invite the viewer to think about their role in commodification, agency, and power structures. There is a very high level of self awareness and understanding of the way you work and what you want your practice to be. The way you allow the work to emerge from a place that might be unknown, rather than being led by theory shows real confidence. You may find the *aesthetics of resistance* and Giorgio Agamben's philosophy and William Morris’s News From Nowhere interesting or ideas around Aesthetics of resistance Your experimentations around pricing/subscription models and your discomfort in “promoting” yourself raises a lot of questions. How far will you push yourself in self promotion and will/how will she subvert a corporate “cost benefit analysis”? Might you take the promotion further into the physical world and what might happen? The physical prints are really intriguing and tie really effectively with the secretary persona, we’re imagining someone making these images in the office copy room on a photocopier, looking around furtively. What might other low-fi technologies do for/to the work? Can an overhead projector be used with performance and text? What do the images look like printed onto acetate and projected? What would the photos look like on 35mm carousel slide projector, what happens to the image in the conversion process? (this is all related to the concept of remediation that we discussed recently in a tutorial). How might a Xerox/printer and/or overhead projector be used in an exhibition context. One reviewer suggested inviting the public to make copies of your book or images. And or what if the public was invited to decide what images and text to project and layer onto the wall through an overhead projector? How do these invitations tie back to the ideas of agency, labour and complicity? Is there a move beyond live-streaming? What would someone pay to have access to a baby cam/security cam in your room? What would the ability to pan and tilt the camera, to access when they please be worth to someone? How have your boundaries shifted as the project has progressed? What does this mean in terms of agency? Great work - generating so many questions, giving you endless (?) avenues to explore - well done! Research paper. This well narrated paper considers the position of ambiguity in relation to the notion of self and one’s sense of freedom, through the two key tools: Francesca Woodman’s photographic works and Simone de Beauvoir’s The Ethics of Ambiguity. While de Beauvoirs text provides a framework for your critique on the current cultural phenomenon of presenting the self as an unambiguous one-dimensional being, you used Woodman’s work as prompts to unfold further a number of aspects on the themes of ambiguity of self, subject-object relationship. This strategy worked well. What stood out is that your paper is a critique on the current trend in presenting self as a fixed, definable character on social media, which you view as an objectification of self rooted in the capitalist system. In seeking possible solutions to the above, you recognised the importance of the theme ambiguity, as a way forward, offering potential antidotes. It would have been helpful to start the paper by explicitly introducing this theme - i.e. the issue that drew your attention as a problematic condition/situation, to which you propose a possible solution. You could then, position your discussion in the broader context of the discourse around the presentation of self, and to focus on the directions of artistic practice and actions that move towards a sense of freedom as individual, and ultimately, as collective. This process would be beneficial for your own practice in the future. While your analysis on Woodman’s work is astute, you could add more depth to your discussion by weaving in others’ voices and viewpoints more liberally. It would help you considered their practice in wider perspectives and interpretations, which then opens up further points of discussion. It is a well-chosen subject and an important one that has so much potential to help you develop a practice that asks questions on self, freedom, and empowerment. Simply stunning work, ambiguous, multi-layered, nuanced, courageous, confusing, confronting, subtle, dramatic, rhizomic, world-building and all quietly shouting at us and yourself, asking yourself the provocative questions that lead us to further questions. You have been prolific and produced amazing work with such ‘simple’ photographic equipment. There is clear and strong evidence of an artist with a keen aesthetic eye, able to engage with unpredictability of your photographic process but still imbue it with your own style and feel. Your work raises so many questions, however they could so easily have stayed on the surface, caught in the whirlpool of body representation and commodification. Instead you have dived deeper and explored yourself both physically and mentally as well as the emotional vulnerability of this project. You have disrupted us the viewers, challenging our preconceived ideas, for example your thinking on the sacredness of the body verses its exploitation and its impact on survival. The sheer range of your work and the many ways it is expressed gives audiences a wide range of options to interact. Although none of the reviewers subscribe to your onlyfans site we have still been able to appreciate your artistic output through the self portraits on your blog, the books as representations and proxies (?) for the body and the subtle prints that play with the faults of the copied and the physical making process. Yes it is sad that you cannot do the world building experiment you were planning in the end of your show but there is plenty of evidence of how this could continue to grow in the future months and years. The prints on canvas, the whiteboards and text and image experiments and of course the website. Your plans for this site are ambitious but totally in line with your ideas and we are certain that you will find an aesthetic that remains consistent with the desire to create a sprawling space of exploration that brings to an ‘end’ this ‘body of work’. Already there are great deals for future development. We are really intrigued to see what you do with ideas of surveillance and the potential for a web platform that challenges the politicisation of much of current art practice and presentation. Film making and of course poetry also offer great potential. So many options! Be kind to yourself, take time to grieve, often the greatest gifts are hidden in the things we try to avoid. (you may find this book helpful in the coming months ‘The Wild Edge of Sorrow’ by Francis Weller. The quiet but rigorous way that you reflect on your practice has built a strong and effective way of working. As you say you have embraced the sprawl, the chaos of your ideas but also corralled them so that deep investigation can happen. This is giving you a wonderful foundation, even in the chaos of grief and geographical dislocation. We hope you can use your art practice as way to ground yourself in this ‘untethered’ state. There is certainly ample evidence that this is possible for you. In many ways this is exemplary work and process, so just keep going! However we offer some questions that might be useful for future reflection: What opportunities exist or could you generate for presenting and exhibiting your work in new and diverse public contexts, both online and offline? In what ways do the different ‘behaviours’ of your work, such as the books, the online platforms, the prints of text and image, a film, an immersive installation etc — provide you with unusual opportunities to present your work? As you continue to work with Seven International group (and maybe other collaborators?), how might you further explore the dynamics between individual and collective practice? Are there ways to integrate your writing and critical reflections more directly into your public-facing projects, such as through publications, journal articles, talks or online essays? Could your evolving website become not only an archive but also an active platform for dialogue, collaboration, and ongoing artistic development? Overall, wonderful work and just to emphasise, here is our opening paragraph again: Simply stunning work, ambiguous, multi-layered, nuanced, courageous, confusing, confronting, subtle, dramatic, rhizomic, world-building and all quietly shouting at us and yourself, asking yourself the provocative questions that lead us to further questions.