Deej Fabyc

Deej Fabyc works with performance, installation, photography and video. Her work has for many years addressed the psychological dimensions of the personal and political experience of trauma. A sense or ambivalence and ‘schlock horror’ permeates her oeuvre. Current performance work is engaged with wicked embodied mapping of narratives of awkwardness, neurodiversity, ageing, loss, mental health and chronic illness. Fabyc has performed in museums, night clubs, and the street internationally since the 1980s. Fabyc has taught performance/fine art in the HE sector, the prison system and community settings for 20 years. Deej is based in London where she is founding director of Elastic Residence, artist project space. She is a key figure in KISSS, an international curatorium of artists working with issues of surveillance. And now part of FBI with Penny Best and Danielle Imara. Recent performances have occurred in ‘How do I look’ with GraceGraceGrace at Guest Projects London, Theatres of Contagion Conference at Birkbeck London, and Collaborations with Annie Sprinkle  and Beth Stephens in Documenta both in Athens and Kassel. Deej has held a one year residency bursary at Artsadmin, London and has completed residencies at Dartington School of Art, Devon, the Cite Internationale des Arts, Paris, and Rules and Regs, at A Space Gallery, Southampton. Significant performances include Details at L’abracada Festival International d’Art Contemporani, Castell de la Bisbal, Spain 2006; And She Watched, Trace Installation Artspace, Cardiff, 2005 and Kingsgate Gallery, London 2004; and in Don’t Call it Performance, Centro de Arte Reina Sofía, Madrid and Centro Parraga, Murcia, Spain, 2003

Artist website
Elastic Residence Gallery


Penelope Best

Penelope Best’s work views the body as a dynamic, relational and political entity; her somatic practice is informed by systemic and feminist concepts while grounded in interpersonal neurobiology. Her writing focuses upon the intersubjective nature of the bodymind , the essential nature of rhythmic exchanges in healthy ecosystems. Her passion for somatic wisdom and different ways of ‘knowing’ supports her creativity research based upon her extensive experience as a qualified dance movement psychotherapist. Previously a professional dancer, now a registered dance movement psychotherapist , Best has worked extensively within mental health and social care settings, and within private practice. Viewing the body as the site of both trauma and potential recovery, creative somatic work aims to integrate the physical, psychological, spiritual and metaphoric. Performative ritual forms part of this work. Best’s involvement in the somatic disciplines of Authentic Movement (with Linda Hartley) and Collective Body Mapping (with Annette Schwalbe) over the past 10 years opened new creative pathways for blending the collective with the individual.

Dance therapists live at the edge, challenging the hierarchical certainty of truth as objectified rather than as lived experience. This necessitates radical positioning focussing upon the holistic, the systemic, the essential nature of intercorporeal, embodied knowledge. Best’s experience over more than 30 years both as a therapeutic practitioner and international facilitator of body-oriented arts enquiry now feeds her more recent return to embodied interactive performance.

Recent  Site-specific performance

2018  in Hagit Yakira’s  if you keep on walking  and ‘How do I look?” cabaret ;  2015 The Fallen WW1 MK  Milton Keynes and 2014  Vaulted Sky by Rosie Lee , Milton Keynes; Seasons of a Woman Exhibition: Our Bodies, our lives

Relevant online articles:

Best, P. A. (2017). Meeting spaces: inter corporeal adventures  International Art Therapy Conference Proceedings ATOL .8.1 , March 1, 2017

Schwalbe, A., Greenland, C., Curtis,S., Best, P. (2017) Collective body mapping ritual. International Art Therapy  Conference Proceedings, ATOL .8.1 ,March 1, 2017


Danielle Imara

Imara creates no-genre theatre pieces, which combine live art, original music and verbatim dialogue. These works are expanded versions of music-based live art pieces which she created under the name Nina Silvert. (Nina Silvert’s Milk, 2009, Nina Silvert’s Tube2010, Nina Silvert’s Mad, 2012) These were performed at venues such as ACTART, The RVT, Kashpoint and Madame Jojo’s, with videos included in RADICALS #1 festival, Rotterdam and SoapArt, London.

Imara’s recent work offers insight into marginalised groups of which Imara has lived experience. Get Therapy, an autobiographical and research-based show about Mental Health, completed a UK tour in 2018 supported by Arts Council England and Greenwich Theatre.She is currently researching the social and psychological implications of cosmetic surgery, via her own and others’ stories.

As bass guitarist and cabaret artist, Imara has performed in a wide variety of international locations, including Top Of The Pops.  Imara became a mature student of music technology and dance in 2007 which led to performance projects around motion-sensing music technology, including a research residency at STEIM Amsterdam, and live-streamed performance at The Amsterdam Conservatoire. This is a re-surfacing interest and will feature in new works.

She is completing her second novel, her first being deemed by an agent as ‘not fitting into a genre’. Imara is non-genre.

She has published a memoir: CRACK.




Sarah Andrew

Sarah has mediated an interdisciplinary practice, involving performative actions, photography and print making, writing and anecdote, in London since the late 1990s. Her practice examines the possibilities of art to re-describe our place within the law and society, and so find a position for participants in her work, and herself, to resist those restraints. Taking a cue from John Latham’s ideas of the incidental person, often using her legal training, her practice aims at practically minded activism, both personal and political and has accordingly been situated both privately and publicly in the institutions within which she has worked, lived, and been cared for in as well as gallery and artist run spaces.  

Sarah is a founder member of both Random Artists’ a squat collective providing free cultural spaces across London and the Space Hijackers,, whose collective street  actions throughout the first t15 years of the 21 Century tried to dismantle legal and societal restraints one anarchic performance at a time.

Sarah has shown her work nationally and internationally. Works potentially relevant to her collaboration with FBI include: 

Compliance Art Woman (aka ‘Cos I got high after The Duchess Louise Keroualle) in conjunction with the BBC 2000

Self Portrait After Elizabeth 1st  Coronation Portrait in conjunction with the Queen Elizabeth Medical Hospital 2003

Dialogue after Gabrielle D’ Estrees and her sister 2004 

Annunciation in conjunction with Homerton Hospital 2006

A Short history of Land Usage ICA 2006

Stories Never to be Told Tate Britain’s Latham retrospective 2005/6

Dances through the Matrimonial Causes Act 2007

The Wager Flat Time House commissioned by Neal White for Flat time House 2009 

Not in our fucking name after Delacroix’s Liberty at the Barricades TAA 2011

LawShifters – Stop and Search legislative amendment proposals FlatTime House 2017