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

In March 2020 Fabyc Moved to Ireland to establish an internationasl artist in residency programme in North Tipperary

Artist website
Elastic Residence Gallery


O.Pen Be

O.Pen Be’s experience over more than 30 years both as a therapeutic practitioner and international
facilitator of body-oriented arts enquiry feeds her return to embodied interactive performance.
Worked extensively within mental health and social care settings, and within private practice. Be’s
current work explores ongoing somatic and relational effects of pandemic and deforestation. Developing
textural , photographic and video graphic work based on the moving body and environment.
Current performance work 2020/21
Developing live streaming practice through Open Online Theatre towards 2021 Festival. Live streamed
piece ‘Touch Outlaws’ focus on demonising, and sanitising of touch during pandemic.
Performer and team member of global grassroots eco- action Be-coming Tree with seasonal live
streamed hive events.
Current Video art 2020/21:
‘Personal Protection’ juxtaposing leak pads and sumo, premiered on distancework by Gracegracegrace
‘Ecosensual ‘ video art premiered on Oyedrum Vol III Sex and accepted by global network devoted to
moving image, held at Het Nieuwe Institute The One Minutes : Imagine the earth is your Lover
Relevant online articles:
Best, P. A. (2017). Meeting spaces: inter corporeal adventures International Art Therapy Conference
Proceedings ATOL .8.1 , March 1, 2017
Previous Site-specific performances 2014-18
Hagit Yakira’s if you keep on walking at Sadlers Wells and ‘How do I look?” Cabaret with Guest
Projects ; For the Fallen WW1, Milton Keynes and Vaulted Sky, International
Festival Milton Keynes Seasons of women exhibition Bristol
FB @O.PenBeLiveArt


Danielle Imara

Imara’s recent work focuses on global collective live art ecoperformance Be-coming Tree, and video documentation of moments between action, edited and looped to make choreographies that describe new meanings. Collaborative audio and video works with NY author Yolande Brener form a body of work at This includes Matters: A Rising, featuring Black voices discussing the 2020 BLM protests. This has been published in New Feathers Anthology and Placeholder, Abstract and Charge Magazines.

In 2019-20 Imara performed music-based live art at Duckie, Something Has to Happen Festival, Princess Julia Loves, and Deep Trash.

From 2014–17 they created and toured socially engaged mixed-genre theatre works supported by Arts Council England dealing with their own and others’ experiences around mental health issues and prison.

Their earlier career encompassed playing bass guitar in art bands such as Leigh Bowery’s Minty, The Off Set and Aiden Shaw’s Whatever, solo cabaret and music-based live art work under the name Nina Silvert, (Nina Silvert’s Milk, 2009, Nina Silvert’s Tube 2010, 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 is author of 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