Friday, 14 June 2019

Glasgow Zine Library

The wonderful collective behind one of my fave zine fairs Glasgow Zine Fest, are also the one and the same team who run Glasgow Zine Library, and they need your help in securing a permanent home for their collections.

I love zine libraries. I'm a zine librarian myself and I also co-founded the UK and Ireland Zine Librarians group. Zines libraries, particularly diy run zine libraries are such a vital way of preserving and sharing invisible histories and communities and knowledge. Zine libraries also encourage readers to become makers. I think just visiting a zine library is powerful and often has a deeper impact in inspiring people to make their own zines more successfully than a zine workshop ever can.

Zine libraries which aren't affiliated with universities and galleries are faced with more challenges. They don't have secured spaces or funding but they do have a more genuine connection with DIY zine communities.

So when a zine library loses it's temporary space it's positive to see the diy zine community rallying round to help crowdfund for a new permanent home. The precarious nature of diy venues is something I'm sure we can all relate to. Glasgow Zine Library are not only crowdfunding for a space for their zine collection but a space to hold workshops and other public events as well as provide community print facilities.

I contributed to the Glasgow Zine Library crowdfund video and chatted about the importance of zine libraries here:


You can donate to the zine library crowdfunder here:

Art by the incredible Saffa Khan

Thursday, 18 April 2019

Oh my zine

Oh My Zine exhibition opens today at The Bowery in Leeds and if all you want from an exhibition of zines is overly earnest queer Springsteen obsessions then buckle up.

The exhibition celebrates zines and diy publications and features zines by 105 Women Press, Ben Cooney, Bobbi Rae Gastall, Chella Quint, Lauren Pascal, Okocha Obasi, Patrick Wray.


You can find extracts from my zine Me and Bruce: Queers on the Edge of Town displayed as part of the exhibition. Here's a little trailer of me making the zine from last year



In the zine I talk about small town teenage loneliness as the ultimate queer experience in Springsteen songs, I imagine Bruce as the hot queer butch girl of my dreams, and I massively appropriate lyrics from songs to be about my doomed queer teen romance. Who doesn't love turning lyrics about unrequited love and intense co-dependent friendships into a sad queer love story?

In the exhibition you can find panels from my comic interpretation of Backstreets, a Springsteen song about overly complicated friendships and hiding feelings and keeping things on the downlow and then everything feeling like total shit.







And you can also find prints of Springsteen illustrations which didn't make it into the zine but did become postcards instead:



Prints and zines are available to buy in the shop. The exhibition is on from 18th - 21st June.

Tuesday, 16 April 2019

Asia Art Archive residency

This year marks my 20th year of making zines. I started making zines in 1999 as a way to connect with people. Quite simply I had no friends. I was a lonely teenage queer in a small town and in lieu of what the internet would later become, zines were a physical and tangible presence which arrived through my letter box. They were a dispatch from out there which said 'you're going to be ok, there are more people like you, you aren't alone.' I'm not being dramatic when I say zines very much saved and changed my life.
'Theres something happening somewhere...' taken from Me and Bruce #4: Queers on the Edge of Town zine.
Cut to now and I've just returned from a week long residency in Hong Kong with Asia Art Archive. I was there along with the wonderful Nicola Cook and Loesja Vigour repping the UK and Ireland Zine Libraries group as well as the libraries we both work at as part of our day jobs which include zine collections.

Asia Art Archive


When I started making zines 20 years ago I could have never predicted the ways zines would continue to change my life and the communities they would connect me with.

Loesja, Nicola and I with just some of the artists, activists, and librarians we met.
Nicola, Loesja, and I were invited on this residency to share ideas, resources, and knowledge around zine libraries and to connect with the Hong Kong diy zine scene. Nicola and Loesja established the zine collection at Wellcome Library, and I co-founded the zine collection at Iniva's Stuart Hall Library with Sonia Hope. I also established the zine collection at Tate Library as well as co-founding the UK and Ireland Zine Libraries group with fellow zine librarian Leila Kassir. Despite all that plus 20 years of making zines, imposter syndrome was high.

Discussing the accessibility of zines as part of the public talk at Asia Art Archive
A full report of the residency will be coming on the UK and Ireland Zine libraries blog, and of course there will be a zine to follow (there's always a zine). But for now I want to just make a note of my immediate take aways from this whole experience.

Meeting with Beatrix from Small Tune Press and Zine Coop, and visiting the current home of Queer Reads Library.


My main take away is what a total privilege it is to be able to sit and think and chat about zine libraries and diy culture for a whole week. In the institutions where we work, the zine collections are low on the list of priorities. Zines make up just 0.1% of the overall library where I work so they aren't prioritised, and as staff and resources are limited, it's easy for other aspects of the collection to steal focus. But to have a week where zines are the main focus, where we take the time to consider ethical practices around collections and cataloguing is honestly such a dream.

Zine fair programme published by Hong Kong Open Printshop
It made me think about the responsibilities of institutional libraries and organisations. As both a zinester and a zine librarian, my thoughts can be quite contradictory. I'm often cynical of large galleries, museums, and universities engaging with zine culture. Is it a quick and cheap way to tick a diversity box? Is it a quick attempt to reach a youth demographic? Is it a style and aesthetic which can be used then thrown away? And I mean quite literally thrown away - I mentioned in a previous blog post that after one particularly inspiring and creative zine making workshop I hosted for a large UK art organisation last year I saw the results of that workshop collected and thrown in the bin  by a curator, despite attendees being told that their zines would be collected and added to the collections. What is the legacy of these events? Zines may be low cost and ephemeral but their content and reason for existing matters. Art organisations, museums, and universities have a responsibility when collecting zines. Zinesters shouldn't feel privileged that their zines are collected by museums and galleries, in fact those institutions should recognise what a total privilege it is for those zines to be used or collected in their organisations in the first place.

Page from a zine published during the 2014 Umbrella Movement. This zine maps the spaces occupied by activists.

During my residency I met so many artists, activists, zine makers, and librarians, all genuinely connecting with each other. 'Authenticity' became the watchword. Do organisations working with zines interact and engage with diy culture in an authentic way? Are institutions making efforts to develop and nurture zinesters and zine culture? Similarly do art organisations know when to back off and let diy culture evolve on its own? What do zine artists get out of this deal other than the privilege of an organisation putting a spotlight on their work? Do organisations put their money where their mouth is? Do they not only pay zine artists but do they promote zine distros, zine fairs, and spaces for the public to purchase zines?

Do organisations treat zines as art objects? Are they used in displays and exhibitions to showcase a particular style or aesthetic, or is the value of their content truly appreciated? Other than when art organisations have asked me to for the sake of their press release, I really don't call myself a zine artist, I call myself a zinester or a zine maker. I do this because my zines aren't art objects. Sometimes there is a visual element to them, sometimes they are illustrated, sometimes they feature collage, but sometimes they just contain nothing but plain text and that's just as valid as the zines which Look Nice.

Panel discussion on zines at Asia Art Archive

What struck me from my residency was that these conversations are already in full swing and that activists and artists in Hong Kong connect with each other and forge ways for their materials to be shared and collected. That's not to say these conversations aren't happening in the UK and Ireland as well because they are, and as zine librarians we need to do better at joining in these conversations with zine makers. Although admittedly it's difficult, and a common theme from the week's residency is sharing with each other how stretched our time, staff, resources are, and how burnout in the library sector is real.

Zine collection at Asia Art Archive
It was thought provoking and inspiring to see the ways that Asia Art Archive work with zine communities and nurture diy culture, and provide a place for authentic activism to be documented and preserved while also taking an active role in connecting diy artists and activists with each other.

There is honestly just SO MUCH to say after this week and an in-depth report is coming soon. We'll be posting a full report over on the UIZL blog, we have a zine in the works, and we'll be sharing our findings at the next UIZL meetup this summer. But for now my head and heart is full of zines, and I'm just very thankful to everyone at Asia Art Archive and all the artists, activists, and librarians who were incredibly kind and gracious with their time. Especially AAA Collection Manager Elaine Lin who made this whole dream possible.

It also made me realise that I talk about zine libraries a LOT but honestly I haven't made a zine in a hot minute and I kind of want to do that now.

Monday, 1 April 2019

Glasgow zine cataloguing workshop





I'm also hosting a zine cataloguing workshop on the Sunday as part of the zine fest. I'll be repping the UK and Ireland Zine Libraries group (UIZL) as part of a bigger project.



At our last UIZL meeting we discussed the idea of creating an accessible and collaborative toolkit for anyone working with zine collections either in institutional libraries or diy community run spaces to share advice on how to collect and catalogue material. Over the last few months I've been involved in hosting zine cataloguing workshops aimed at librarians, but this is a workshop aimed at zine makers and zine readers.



The idea of the workshop is to talk about some of the ethical implications of libraries and archives collecting zines, and prioritising the concerns of the diy zine community. All zinesters and zine readers are welcome. I'm hoping to share some ideas about cataloguing and ask the zine community to reflect on how they might feel about having their work collected in libraries, and think about ways zinesters can impact on the ways libraries and archives catalogue their work. Zine librarianship has to be diy led rather than library led, and this workshop will be a good opportunity to gaugue feedback from zinesters and to hopefully provide ways for zinesters to become involved.



Attendees will have the opportunity to collaborate on a zine during the workshop which will then be presented to the UK and Ireland Zine Libraries group to inform their cataloguing work later this summer.

Tickets are on a sliding scale and can be booked here:




Tuesday, 26 March 2019

Barbican Art Box 2019

Last night I was proud to launch out publication The Art of Collaboration which was made as part of the annual Barbican Art Box project. I took part as a zine artist and editor last year and was invited back this year as an artist working closely with 3 schools in collaboration with OOMK, Sahra Hersi, Rosalie Schweiker, and Aleesha Nandhra.



The art box project is run each year with The Barbican in conjunction with schools who are partnered with selected artists.  Each school is given a box of tools, materials, books, and inspiration points relating to the Barbican exhibition Modern Couples.



The schools are invited to the exhibition and had an introduction session with Sofia Niazi from OOMK looking at zine making, sharing information, and collaboration. The artists then visit the schools for a series of workshops using the tools and ideas inside the box to create artworks on this theme.

It's been an amazing experience and I got to work completely out of my comfort zones. I host zine making workshops all the time, but this required me to do a lot more. I worked on creating collages and zines of course,  but I also hosted workshops on screenprinting, banner making, and also created  live art with a Bauhaus inspired geometric improvised ballet!



This was my favourite part I think - just having a play and seeing what we could come up with. I had my first visit with The Garden School to discuss my ideas for the project and was fresh out of a union meeting at my day job where I had just been made an official union rep. I decided I wanted to explore the ideas of collaboration by forming a union because you are never to young to learn about unions and there is a power in a union.



We created a factory assembly line in the classroom where students were seated in a line, and during regimented timed slots would print geometric shapes onto strips of fabric which were then passed down the assembly line for the next person to add their prints. By the end we had created a collection of fabric strips which became our uniform. We wore them as hoods, sashes, skirts, t-shirts and broke from the assembly line, rising up in unison before then breaking formation and performing a live improvised dance piece.



The Garden School is a special education school and my group included children of mixed abilities with autism. This level of collaboration required a lot, and the level of energy and trust and enthusiasm in the group was overwhelming. It meant that the level of work we ended up producing was just nothing we could have predicted, it was sophisticated, fun, and went beyond any other workshop I'd ever done. It's such a shame that the results of these incredible sessions didn't make it into the final publication. The live dance pieces and costumes we made were some of the best things I've ever been part of and I'm so ridiculously proud of what we achieved.





I also worked with Stoke Newington School where we created protest banners and placards, mini zines, and explored the ideas of counter culture and self publishing, as well as working with pupil referal unit New Regents College where we created collaborative collages, manifestos, and mini zines.





The publication is now available in the Barbican shop with a year long exhibition of our work in the Barbican cinema cafe.






Saturday, 2 February 2019

Grap Grrrlz

New year, new projects! And in a world where there are already too many wrestling podcasts, I've gone and made a queer feminist wrestling podcast with my bff.



I used to play in The Potentials with Shahnaz where we made music inspired by Buffy. Since the band split last year we've both been wanting to do something creative with each other again and chatting about wrestling seemed like a good plan. Stepping out of the world of queer diy punk communities and into the world of wrestling feels mega daunting but Grap Grrrlz is a place for us to chat about all the things we love, new promotions we discover, as well as getting a chance to talk to other diy musicians who love wrestling.

Our first episode of Grap Grrrlz is out now! You can also find us on iTunes + Spotify + Stitcher




Monday, 31 December 2018

My year in zines 2018





Evaluating your worth through your productivity isn't healthy, neither is comparing your achievements with other people, especially at this time of year. And really, just surviving the year is enough. 



It's been a tough year and looking back on things I've made and done can feel weird, but it can also feel comforting to know that during some bad times I've found  space to make things, some of these things are never seen by anyone else and are just for me, and I'm forever grateful to queer diy zine communities for providing some much needed escapism outside of real life stuff at times. I wrote about the zines from 2018 which inspired me and kept me going here



At the beginning of the year my band The Potentials broke up and I was so scared that my year was going to be devoid of any creativity and wondered what I would do with myself now.
Photo by James Birtwhistle

And it turned out that the answer to that was just to make a bunch of zines, talk about zines, and host a bunch of zine events.





I made Queers on the Edge of Town zine which was part of my ongoing Me and Bruce zine series. This zine  looked at queer lonliness, appropriating lyrics, and imagining Bruce Springsteen as the hot butch girl of my dreams.








I also created a postcard set and print to go along with the zine



As part of International Zine Month this year I made my new zine Things I didn't learn at Library school, which was a collection of peronal reflections on working in libraries.






I was super proud of working on creating and editing the Art Box zine anthology which was made in collaboration with 6 schools and artists Paula Varjack, Åbäke, and Rhiannon Adam. It was a massive project which saw young peple responding to the work of Basquiat in a zine format and I'm so happy that the legacy of these workshops lives on in this zine.







I contributed to a zine accompanying Fat Blokes, the new dance show by Scottee. The zine celebrated fat bodies and queer diy culture and was compiled by the wonderful Unskinny Bop. I contributed this comic about re-learning to love dancing as a fat girl after seeing Beth Ditto perform at Ladyfest Glasgow 2001.






I wrote about the UK and Ireland Zine Libraries group for a special issue of the Art Libraries journal which was published this year. The special issue featured so many other rad zine librarians such as Leila Kassir, Siobhan Britton, Debbie Cox, Ruth Collingwood, Stephanie Moran, Nicola Cook, Loesja Vigour, Steve Carlton, Ingrid Francis and I'm proud to be associated with you.





I also hosted a zine cataloguing workshop with Nicola and Loesja with other art librarians at the Arlis conference this summer.








I hosted zine making workshops with University of Arts London, Barbican, Camden Arts Centre, Haringey Libraries, Ravensbourne, Poplar Union, Tate as well as with schools in East London.

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Turns out I really love to chat and I gave talks about zines at Goldsmiths, The British Library, and also ended up giving a last minute keynote on my Me and Bruce zine series at Graphic Brighton. If anyone wants me to give a talk on Springsteen and comics and zines then please help me make my dream of talking about Springsteen for a living a reality.



I curated a display of queer zines and co-hosted an intro to queer zines and zine making workshop with Ruth Collingwood as part of the queer and now fest at Tate Britain.

Photo by Ruth Collingwood, LCC


Every year I make the resolution to say NO to more things  and to manage my time better, well I can honestly say I kind of did that this year. I said no to so many things. I said no to projects I really wanted to do and worried that I'd missed my window of opportunity, I cancelled on things at the last minute for the sake of my mental health, and I said no to things that I just couldn't fit into my schedule as I work full time and didnt want any additional pressures. Saying no is hard but I said it a bunch. And it felt great.

I know it looks like I've done a lot of things this year but honestly the groundwork for so many of these things was laid last year and I've learned to share workloads and collaborate with people more so that I don't feel responsible for too much. I'm so happy to have collaborated and worked with so many rad zinesters and librarians this year.




And if you're wondering what happened to the UK and Ireland zine libraries zine, or why I've been quiet on zine workshops and why a lot of my zine output seemed to stop around 6 months ago it's because I have a full time job as a librarian and this summer I fought against a restructure and lost but then became a union rep. It has been a tough time and it felt like everything else in my life was shadowed by this. I got signed off work with stress and cleared my schedule for a whole 6 months because I am just very good at saying no to things now. 

And my take away from this is join a union.






Hopes and dreams for 2019: Say no to fake diy.


In 2019 I want to be more selective with the zine workshops I do, thinking about the intentions of large organisations and art institutions working with zines and thinking about if the output will be authentic and diy or a quick cheap way to tick a diversity box or target a youth demographic. 

Zines are radical and diy and political and important, but a workshop with a big name arts organisation this year left me cold when the zines made by participants in a 3 hour zine workshop were thrown into a bin by a curator at the end of the day. It made me realise that so many of these instituions view this shoddy diy culture as disposable and unimportant and not real although I can't deny that they pay well. But really in 2019 I would like to not spend my time chasing unpaid invoices from insitutions that can damn well afford to pay and spend more time making zines and comics with people who give a shit.



It is wild but 2019 is my 20th aniversary of making zines so my most important  zine resolutions for next year are to read more zines, make more zines, go to more zine fairs, visit more zine libraries,  and do more work with the UK and Ireland zine libraries group.