About the project:

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(re)collecting (f)ears is a series of site-specific performances at fallen sound mirrors across the Kent coast. The project will culminate with a publication produced by Well Street Projects and an exhibition of photographic & film documentation, exhibited at ]performance s p a c e [ (Folkestone) and Well Street Projects (Margate).

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These sonic remains are physical manifestations of pre-war tensions and fears – initially built to provide defence, they are now succumbing to elemental erosive forces along the coasts of England. As relics of an early warning system that never came to fruition, their failure to serve their intended function could be seen to occupy the space of a fossilised mourning for a future that never came. 

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This was also the time where we saw the rise of Fascism and far right ideologies that eventually became the dominant voice in Europe; a time not dissimilar to the one we are facing now. 

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What would it look like to be accountable for our failures and carry them into the present, to discuss the eroded memories and fears that are scattered, forgotten and fallen across the south and north-eastern landscape of the UK? 

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Could these visible fallen silenced concretions of fears and longing (for protection) help us open up the conversations around the cyclical and tidal nature of our histories and help us think about new ways of being and belonging that are built on difference and diversity?

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In her work Selina uses artefacts, unwanted hand me downs, worthless heirlooms that carry value through meaning, action and ‘rememberings’ (offered memories) and the language of performance to interrogate meaning, power and our collective social realities.

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Produced in partnership with ]performance s p a c e [, Whitstable Biennale and Well Street Projects, with support from Arts Council England National Lottery Project Grants.