workshops



Maintaining our future focus; PSX invites 3 mentor artists to run workshops at ]performance s p a c e [ this summer. Each mentor will invite (by open call), 3 participants to undertake a 3 day in-person residential workshop at ]performance s p a c e [.

Workshop participants will be paid an honorarium to participate.

Rubiane Maia
Julia Bardsley
Sandra Johnston


︎︎︎ PSX: a decade of performance art in the UK



Rubiane Maia


residential workshop
21st-23rd May 2021, Folkestone

please direct any questions to joseph@performancespace.org

The call out for particpants is now closed.

This is an in-person workshop. We will be working with Rubiane and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

The workshop is for three participants.

]ps[ will offer each participant a £100 honorarium, accommodation during the workshop, £10 per diems for the three workshop days, and a £20 travel stipend.

Aerial Studies, Rubiane Maia. Photo by David Dynes.

Transfguration, Rubiane Maia. Photo by Manuel Vason.

Layers of Time


The notion that the past is a vital force that moves incessantly inside and outside us, coexisting and actualising itself through our bodies continuously has been a fundamental aspect in my current artistic production. I am particularly interested in the idea that the moment a memory is actualised through an action, it ceases to be a memory and becomes perception. In this sense, we could consider the body as a channel with infinite layers of time - a primordial device that never stops to launch us towards the future.

My proposal is to develop an immersive and practical study around collective and individual memories using empirical exercises of telepathy and telekinesis. Throughout the workshop we will be practicing actions that involve acuteness, permanence and physical-mental resilience.

-Rubiane Maia


O Jardim, Rubiane Maia, 2015. Photo by Hick Duarte.

Rubiane Maia is a Brazilian visual artist based in Folkestone, UK. She completed a degree in Visual Arts and a Master degree in Institutional Psychology at Federal University of Espírito Santo, Brazil. Her artwork is an hybrid practice across performance, video, installation and text, occasionally flirting with drawing and collage. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual. More recently, she has been researching the concept of memory and its resonances in our way of existing.

In 2015, she took part at the workshop 'Cleaning the House' with Marina Abramovic and participated at the exhibition 'Terra Comunal - Marina Abramovic + MAI', at SESC Pompéia, São Paulo with the long durational performance ‘The Garden’ (2 months). In 2016, she worked on the project titled 'Preparation for Aerial Exercise, the Desert and the Mountain' which required her to travel to high landscapes of Uyuni (Bolivia), Pico da Bandeira (Espírito Santo/Minas Gerais, BRA) and Monte Roraima (Roraima, BRA/Santa Helena de Uyarén, VEN). In the same year she completed her second short film titled 'ÁDITO'. Since 2018 she has been working on the creation of a ‘Book-Performance’, a series of actions devised in response to specific autobiographical texts particularly influenced by personal experiences of racism and misogyny.






Julia Bardsley


residential workshop
28th - 30th July 2021, Folkestone

Please direct any questions to joseph@performancespace.org.

Call out for participants will be announced soon.

This is an in-person workshop. We will be working with Julia and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

This is a three day in-person workshop hosted at ]performance s p a c e[ in Folkestone. We will be working Julia and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

The workshop is for three participants.

]ps[ will offer each participant a £100 honorarium, accommodation during the workshop, £10 per diems for the three workshop days, and a £20 travel stipend.


An Apian Paradox, Julia Bardlsey, 2019. Photo by Manuel Vason.


Nativity Kings Bearing Gifts, pinhole photo by Julia Bardsley.


REVERIES on VISIBLE THINKING


Process as Performance – Thought as Action – Reverie as Method

“A proposition for three days of process, generating visual vocabularies and spatial grammars of materials, actions, mark-making, objects, body, maps, diagrams, sound, space and time.

Each participant will bring their own discrete practice and aesthetics into dialogue with a common set of provocations - working individually but within a coexistent frame.

We will be accruing our coexistent thinking in the space and over time, through processes of - generating + disturbing | layering + disrupting | erasing + collision”

-Julia Bardsley




Medea Talk, Julia Bardsley, Brazil. Photo by Marcelo Evelin.

Julia Bardsley is an artist working with the interplay of performance, pinhole photography, video projection, sculptural objects, psychological garments and hybrid personae. Works include: The Divine Trilogy: Trans-Acts, Almost The Same (feral rehearsals for violent acts of culture) and Aftermaths: a tear in the meat of vision (London, Glasgow, Portugal, Spain, Slovenia, Croatia, Belgium, Italy); meta-FAMILY (Brazil, UK, Belgium, Slovenia) and Medea: dark matter events (Brazil & London). A book of her pinhole photographs, u See The Image Of Her i, was published in 2016.
In a new phase of work, under the creative umbrella The House of Wonder & Panic, she has developed a series of durational process events entitled Reading Rooms. The Reading Rooms have repurposed a political, a philosophical and an entomological text. The third of the series, An Apian Paradox, conjures an apicultural world that offers a feminine ecology of creativity, pleasure and female bee-ing and has been presented in London, Lisbon and at Fierce! Birmingham.

Her work tests coexistences and antagonisms across the nature/culture & animal/human spectrums. She is currently exploring ways of appropriating and folding rewilding principles of disturbance and succession into her creative process.








Sandra Johnston


residential workshop
25th - 27th August 2021, Folkestone

Please direct any questions to joseph@performancespace.org.

Call out for participants will be announced soon.

This is an in-person workshop. We will be working with Sandra and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

Full details will be announced shortly.


Open Season, Sandra Johnston, 2019. Photo by Joan Laage.

Explain, Sandra Johnston, 2019. Photo  by Flávio Ribeiro.

Re:STORE (trust)


“In the current circumstances where interpersonal connections have been negatively impacted, how can performance art be reconfigured to address a more body-phobic social consciousness? One of the core aspects that gives performance art agency as a practice, is the range of intimacies that can be tested and opened up between artists and audiences. In this workshop we will explore together various ways that trust might be reconstructed, or restored between self and others in both private and public space. Moving between a scale of viewing distance, touching distance, breathing distance, with the aim not to rupture, but to respect the parameters of how we sense these sensitive borders. Can intimacy be redefined with audiences? Furthermore, can we still trust ourselves?”

-Sandra Johnston 


CURRENCY, Sandra Johnston, 2014. Photo by Bjørkum Bjarte

Sandra Johnston’s practice involves developing strategies of performance art improvisation, as a means of engagement with imbedded issues of social trauma within selected contexts. She utilises improvised actions as a form of porous interaction with the actuality of environments, open to interference, adjustment and connective responses. The somatic physical aspects of the work develop from an ethos of attrition – consciously attempting to use a minimum of available resources, intersecting with a desire to leave no trace on the surroundings. This approach of ‘provisionality’ insists upon a speculative relationship to the emergence of narratives and meanings being formed directly, and conjointly, between the artist and audience. A key impetus for the work arises from recognition of the implications of social trauma and the ensuing cultures of silence, finding in performance methods a humble means to provide alternative forms of live testimony and mediation.