Beverley Bennett

In Summer 2019 Beverely led a series of gatherings, bringing to light stories that are currently not represented in the visual arts space. These gatherings were intended to hold difficult and often traumatic conversations about the many experiences and relationships with fatherhood, a subject that might be difficult to share for global majority women and non-binary people. 

Developed in 2018, Beverley coined the term ‘gatherings’ to denote a methodology that differs from the more hierarchical model of the workshop; one person leading and sharing information, with participants taking part in the activities. Instead ‘gatherings’ are cyclical, whereby everyone learns from each other and often formulate in myriad ways, from reading together to gathering at a party. This has created a ‘tapestry of voices’, an interweaving of communalities and differences that provide a broader view, an important part of amplifying intergenerational relationships.

Beverley’s practice is one of care and tenderness, and it was essential that the conversations taking place at these events were held with compassion and trained care, providing therapeutic support. These conversations formed part of the research, thinking practice and formed long lasting relationships that continue – a testament to the depth in which Beverley works.  Those taking part in the gatherings were invited by Beverley, through her own networks and those of the organisations she partnered with.

This programme developed into an ambitious large-scale film project and touring exhibition working in partnership with Metal, Liverpool, LUX, London, and The Newbridge Project, Newcastle titled, Simon Says/Dadda.

Comprising a newly commissioned 3-channel installation, Simon Says/Dadda was a collaborative project exploring father/daughter relationships among Black and Asian women and non-binary individuals, highlighting the deep impact that structural inequalities have within wider society.

Formed of three core parts, Simon Says/Dadda brings together numerous elements; gatherings, testimonies, collaboration, and community, of Beverley’s practice within the same body of work. Working over this extended period of time to allow for deeper connections and evolutions to manifest, the work drew together mediums that previously had been kept separate, to generate a whole.

Stemming from a desire to highlight Black and Asian women as well as non-binary individuals and their experiences to counter the historical silencing of their voices, Simon Says/Dadda includes the direct testimonies of a number of these individuals, collected via the gatherings mentioned above, which went on to take place across the UK, sharing their own stories.

Underpinned by a newly commissioned soundscape by Trevor Mathison, Simon Says/Dadda was supported by a crew who Beverley worked collectively with from ideation development through to installation. The work pays homage, as so much of Beverley’s work does, to intergenerational voices and collaborations.