“What would people think about if they were not taught what to think about?” Arthur Morgan
Our interpretation of social expectations dictate our daily lives, yet the extent to which we are obliged to conform to such expectations is absurd when it overtakes our own unique identity. My practice challenges the viewers’ expectations of normative behaviour through performance art which is initiated by instructions. Common food items are transformed into wearable sculptures, disconcerting the viewer with the strangeness of the sight in the context of an art gallery.
The Fluxes’ methodology of play drives my practice from inspiration to curation, by practically engaging the audience with familiar materials and exhibiting instructions. Stylistically, Fluxes influences the aesthetic of my work, leaning towards a ‘homemade’ style of costumes, undermining the audience’s expectation of what can belong in Fine Art. Mimicking low value food items feeds into this opposed narrative, which dictates the serious expectations of Fine Art.
A performance titled ‘Fit into the Tin’ is at the heart of my work, with still frames and instructions all taken from the performance exhibited along side my work. I would like to thank the performers: Ava, Emily, Elgan, Elise, Izzy and Jess without your creative finesse this work would never exist.
Sardine, Spaghetti Hoops, Spam and Sweetcorn are all commonplace food items that are found in the back of the cupboard in a tin. They have all been processed to become the item that they are, and are somewhat different from what they first naturally were. Through the processing they have lost some nutritional benefits in order for them to last a long time. This is akin to the social conformity we adopt in order to feel accepted within a social space, to maintain a positive image and avoid feeling like an outcast. The parallel of both social conformity and these processed food items stuck with me, ultimately becoming the inspiration for my work.
My creative process appeared chaotic. Having several costumes on the go at the same time was full on; my desk definitely reflected that! The freedom to jump from one costume to the next, from sewing to painting, kept the project alive and helped me work vibrantly without becoming stuck on one piece. Wearing the costumes throughout the making process was vital to the writing of the instructions in the performance, as I attempted to embody the objects and transform them into characters.
Alongside my creative practice, I have maintained a small business selling at art fairs and markets. Commissions have been steady, specialising in pen collages of sentimental places and buildings, which have been popular. I have extended my range to include greeting cards, both handmade and printed. Some notable places where I have sold include Shere, Loughborough Market, and ‘Art and Grind’ in Guildford.
My work has been exhibited in a range of noteworthy places from St Peters Centre in Loughborough to Tate Britain.
To keep up to date with my recent work, follow my Instagram: Emilymcintosh_art where you will find links to my online selling page as well as my upcoming markets.
2026 ‘Threshold’, Curated by Emily McIntosh, Loughborough
2026 ‘Girls In Film’, Tate Britain
2024 ‘Lost in Pryers’, Alison Lapper with The Drug of Art, Bethlem Museum of the Mind
2023 ‘Knife Angel’, Art competition winner, Guildford Cathedral
