A project in progress. Explore here.
These are loosely connected by their focus on illness and disability. Digital drawing is a medium that has become more accessible to me than plastic forms of art making, as when I am too sick to get out of bed or sit upright I can create work in bed on my tablet.Explore here. (ongoing)
'Proud Disabled Woman', is a digital self-portrait series, created in July for Disability Pride Month. Explore here. (July 2020)
My contribution to the open call put out by British Indian, multidisciplinary artist Rupi Dhillon. Asking artists in isolation due to the pandemic to create a performance a day during April. Creating a large participatory art piece together. Explore here. (April 2020)
'Be patient', is a collage series, reflecting on medical trauma. Whilst the portraits were taken by my partner artist Oscar Vinter. I have recontextualized them in digital assisted self-portrait collages, they affirm being visible as a sick person as a radical act; a resistance against being silenced. Explore here.
This photo story explores the intimacy of photography and the relationship between the photographer and the subject.
Radical Acts of Care, is inspired by Johana Hedva's 'Sick Woman Theory'. Which states that: 'The most anti-capitalist protest is to care for another and to care for yourself.' The virtual multi-media exhibition explores shared vulnerability, the nature of caring and surviving and the position of the sick in society. The exhibition is a collaboration between Charlie Fitz and Oscar Vinter, partners in art and life. Explore here. (April 2019)
‘Sheila Blood and Other Stories’ is a collaborative photo story created in 2018 by Oscar Vinter and Charlie Fitz. The photo story explores the absurdity of life and injustice at the intersections of race, gender and disability. Explore here.
‘Being Seen’ is a collaborative photo story created in 2018 by Oscar Vinter and Charlie Fitz. It came about as a by-product of working through feelings of powerlessness in the face of ableism. The photo story explores the dynamics of invisible and visible disability in the private and public sphere. Explore here.
Painting as pain relief, painting as distraction, painting as compulsion, painting in and about pain. (Page is currently under-construction).
I have always made art, written poetry, documented my experiences as a compulsion to help me understand and cope with the world, until recently I would destroy most of this work. Since I was child painting, sculpting and collage have been a neccesity to my mental wellbeing but I never saw the products as something to be treasured or shown. I was never fully comfortable with others seeing my work, as the process of creating was so intimate and personal the idea of letting others in terrified me. I also felt as though I did not deserve to make art, I was not worthy.
I now understand this is down to imposter syndrome, in which I never feel worthy of the platform. I always feel inadequate, this has come about by years of not being believed as a teenager who was a victim of sexual violence, not believed by instutions that were meant to protect me. And this silencing has continued as a young disabled woman with chronic illness. In which I have continually been silenced and not been believed as a credible witness to my own bodily experience, I, therefore, have not felt my own narratives were worthy of a platform. This imposter syndrome, driven by internalised sexism and ableism towards myself is something I have tried to tackle and fight against by creating online collections of the works that survived in spite of my impulse towards destruction and solo and collaborative works I have created, or projects I have been part of whilst addressing this impulse.
I am currently working on a series called 'Undressing Trauma' in which I am exploring this cyclical silencing, my work aims to resist this feeling of being an 'imposter' for myself and other sick and/or disabled people as our lived experiences are vital to resisting and challenging the spaces and societies we inhabit. Our voices are valid.