greenhouse reflections 1

A digital photograph (portrait, colour), of what looks like the interior of a greenhouse. There is dry, brown soil at the bottom of the image, with thin struts of grey aluminum supports running vertically up the left of the image, with a bracing piece running at an angle across it. Behond the large panels of glass we can see a mass of green foliage with what looks like yellow snail shells hanging seemingly suspended between the greenery and the glass. The foliage is dense and thick, and we cannot see anything behind it. It looks like to could be nettles but it isnt clear. There are a number of reflections in the glass caprturing the rest of the greenhouse structure and other shapes. There looks like there may be a figure captured in the reflection of the glass, with them wearing a patterned jumper and a cap, but it is only faintly visible. At the base of the glass lies a small heap of wilted leaves from a plant as if wilted in heat. The image is strange, ordinary and calm.

I find myself continually drawn to creating images found in reflective surfaces, inspired by the way they facilitate image-making and how portraits can be captured in these transient spaces. In 2022, I created a solo show of self portraits and images found in reflective surfaces found in my home which was displayed at Level Centre, Derbyshire. The series was titled Sick Gaze, and explored the views, observations and contemplations both of and from the perspective of the sick body amongst domesticity. The images were printed onto brushed dibond. I loved creating this series, and i always want to pursue these ideas of image-making further.

I took this photo at the allotment inside the greenhouse, and suddenly i found it a really interesting place to consider these reflective concepts of sickness caught in a momentary image. What i was trying to explore in Sick Gaze was some of the vastness found in the small, cramped spaces of the sick existence in domesticity. Scale is endlessly fascinating to me as a sick artist, how sickness is often a practice of taking those small, cramped experiences of sameness and sitting with them, zooming in until they become vast landscapes. I hadn’t really considered how these ideas could be applied outside of domestic interiors, and it’s really interesting to me to think about how the allotment functions for me in this way.

I’m interested in the threshold of where the disabled body leaves the private space and meets a public one, and how the liminality of sick and disabled experiences results in this threshold often becoming a permanent state of being. The allotment holds lots of this sentiment in that way; not open to the public yet not wholly private, external architecture creating pockets of interior shelter found in sheds, greenhouses, chicken pens and polytunnels. We don’t live there, but the domestic finds itself out in the open all the time; old carpets used as weed suppressant, milk bottles on canes to scare the pigeons, bathtubs become waterbutts and salvaged windowpanes make up magnificent glass houses. I love the architecture of the allotment, this strange jumble of wreckage and bounty, it has a language all of its own. I’ve been thinking a lot about the way this language disrupts, how there is never a clear line of sight at the allotment, your gaze constantly interrupted by the combination of the knackered rake and rubble weighing down the tarp on a shed roof, the slump of a muck heap half covered or the debris of community life that the allotment often hosts like the storing of youth football club nets. It makes me think of illness as disruption, how there is never any straight line found in that landscape either. I love to think about gardening in this way, utilising design by not removing the disruptions but finding breaks and gaps amongst it, finding a kinship in the constant collaboration between my body and its own disruptive, uncomfortable limits.

I’m tired now and so I’m going to leave it there for now… I haven’t shared my writing/thoughts like this publically for some years now, having once been very present online via my Instagram @bella.milroy. It all feels very alien to me now to share my thoughts in a live/contemporary way like this, to share text that isn’t very polished or fully thought out. But this residency has been the first time i’ve made work in this way for so long now and i’m trying to embrace the format. It feels a bit weird, scary and nice.

Couch grass

Digital scans of Couch Grass roots taken from the allotment.

A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The bacground is grey/black and the plant material is white with notches of brown/black. It is a single piece of material that ends in a point. It could be the thick root of a plant but it isnt clear.

A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The background is grey/black and the plant material appears as a small clump of grassy strands in yellow/brown/green/red, with a small clump of soil at the base and fine roots. It has one sharp root sticking out to the right.

A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The background is grey/black and the plant material appears as a single stalk of long grass with large flowy green leaves. There is a small clump of soil at the base and fine roots. It has two sharp roots sticking out at the base, they are bright white and look like runners coming off the main plant.

A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The background is grey/black and the plant material appears as a large clump of grassy strands in yellow/brown/green/red, with a small clump of soil at the base and fine roots.
A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The background is grey/black and the plant material appears as a small clump of grassy strands in yellow/brown/green/red, with a small clump of soil at the base and fine roots. It has one sharp root sticking out to the right.

A digital photograph (portrait, colour), of what looks like some kind of organic plant-like material. The background is grey/black and the plant material appears as a small clump of grassy strands in yellow/brown/green/red, with a small clump of soil at the base and fine roots. It has one sharp root sticking out to the right.

Couch Grass is a native grass to the UK that is an important food source for butterfly and moth caterpillars, as well as being incredibly fast growing. Left unchecked, it tunnels its way throughout the ground using its piercing runners to create rhizomes, and swamps everything it encounters. An elegant and graceful species, it is also very difficult to maintain in the garden, and can easily overwhelm other plants if left unmanaged. 

It’s a real bastard to weed, its roots forming interconnected pathways under shallow soil. Upon pulling at a clump, you can easily break one of the extensive runners, simply leaving behind another plant ready to break through the ground and grow on. But every now and again you can find yourself picking at loose, dry topsoil where all of a sudden you are lifting a root-runner from the ground like a hidden rope found in sand in some desert-island-fiction. Perfect lengths of tough, sinewy roots are untangled from the soil, often pulling whole clumps of grass with it. My favourite part of the plant however, is the brand new runners that form these blanched white spears just below the soil surface. They are so neat and clean, pushing their way through the earth in energetic spikes. There’s something about the contrast of the tangled mass of older roots that form the clumps of grass, and the newness of these glossy threads that makes for a very satisfying and tactile interaction when weeding this plant in the garden.

Welcome to my studio

A digital photograph (landscape, colour), of what looks like some kind of garden seen on a sunny day. There is a greenhouse in the corner of the image, with a lawn to the side and a row of red brick terrace houses in the distance. In the foreground is a number of shrubby plants with colourful flowers on them. The scene is bright and beautiful.

Image: Bella Milroy’s studio-allotment (image courtesy of the artist), June 2023

Image description: A digital photograph (landscape, colour), of what looks like some kind of garden seen on a sunny day with blue sky and a wash of light cloud. There is a greenhouse with a lawn to the side and a row of red brick terrace houses in the distance. In the foreground is a number of shrubby plants with colourful flowers on them in shades of pink. They look like they could be roses. The scene is bright and beautiful.

Hi! I’m Bella Milroy, a interdisciplinary sick and disabled artist based in my hometown of Chesterfield, North Derbyshire.

Since early 2022 I’ve been building a rose garden at my studio-allotment as a way of exploring scale in the context of illness; sculpting a space via crip-time and using roses as an extension of my body. I use the space to enhance my gardening practice, build sculpture, draw, paint, make photographs, and play with my A0 flower press. 

This has become an essential motivation for core lines of inquiry in my work; my body as my practice; finding presence in the absence of disabled bodies; the threshold of where the disabled body leaves the private space and meets a public one. 

In this residency, I want to use this space to share this studio with my peers, present work and engage in the critical creative conversation about disability, gardening, crip-time and making art as a disabled artist. 

Process is fundamental to me as a disabled artist. I’m excited by a methodology that embraces making which is both interesting and dull, beautiful and painful, using this to explore the complexities of disabled experiences that at its heart is a practice of trying to hold both joy and sorrow at the same time. 

I am excited to share this aspect of my practice in this public space, something that has up until now mostly remained a solely internal, private facet of my making. I hope you enjoy it – feel free to get in touch through the comments! 

Vital Capacities: Gateways – new exhibition

A handpainted image of a white toilet spewing brown liquid into a giant fountain holding high a large white spotted egg on a yellow and orange background.
Sammy Paloma, The Flowering Milk of the Boghead, 2023 (screen shot from artwork)

New work by Vital Capacities resident artists from the May 2023 residency, including work by artists Shaima Ali, Bassam Issa, Sammy Paloma, and Su Hui-Yu & XTRUX.

In May 2023, four artists took part in residencies on Vital Capacities – Shaima Ali (Palestine), Bassam Issa (Ireland), Sammy Paloma (UK), and Su Hui-Yu & XTRUX (Taiwan) – to explore and develop new work, supported by partnerships with Film London Artists’ Moving Image Network (FLAMIN), Shubbak Festival, Videotage and Wysing Art Centre.

Throughout the month the artists did research, tested ideas and created new work, working with our partners, web designer and digital inclusion specialist. Gateways is an exhibition of new work resulting from May 2023’s residency.

See the exhibition now:

With thanks to Film London Artists’ Moving Image Network (FLAMIN), Shubbak Festival, Videotage, and Wysing Art Centre. Thank you to Arts Council England for their support.

A kinda illuminated manuscript

This is a kind of mock-up of something that’s been floating around my head for a minute. I’ve been crushing on illuminated manuscripts recently (particularly the 9th Century Christian Gospel manuscript The Book of Kells), and have been thinking about how to do a similar thing for a text-based adventure game (for example, here’s one I made earlier – I have no idea what the new game will be yet, but I’m trying to be ok with working in the dark about that and just following my guts). So this is it, an animated border for a game to come.

For over 5 years now whenever I start a new painting or drawing, before I put anything else down on paper, I draw some guts. It feels like they should be the foundation from which everything else is built on top of. The image of guts have become a stand-in for me that speaks to eating, digestion, shit, waste, and desire. So it feels appropriate for this to be one of the first things I make as part of the residency.

An image of a book spread open. The book is the Book of Kells. On the left hand page is a square of celtic knots words in Latin written in a font that makes it hard to read. Above this square is word in an ornate script. The colour pallet is red, blue and yellow, and the paper looks very aged. On the right hand page is a page of writing in Latin, with the first letter of the first word of each sentence being drawn in a coloured flourish, whilst the rest of the letters in all the other words are black.
A facsimile production of The Book of Kells

Welcome to Shaima’s studio

A silhouette image of a woman with brown hands showing on a door.

Welcome to my studio, where I can share my practices and my experiences.

This space belongs to an emerging Palestinian artist called Shaima Sheikh Ali or “Mohammad Ali”, since the israeli colonial forced us to change the name of our family in the “israeli ID”!  

My multimedia art explores the liminal space between the personal and the collective, which is a point of intersection and a point of departure. I use sculpture and video as the main elements in my installation art.

The most common challenge that artists in general and the Palestinian artist in particular, is experiencing challenges of all political, societal and religious censorship that may be imposed by the authority, in which this external censorship gradually turns into self-censorship imposed on the Palestinian self. Internal control requires deception and covering up of information we know about our real issues; this comes from the womb of truth and reality.  Access to this information raises the value of freedom of expression and critical thinking.

In addition, there is a scarcity of supporting institutions, and lack of Palestinian artistic platforms, especially in Jerusalem, due to the restrictions and oppression imposed by the colonists. Parents also have power that can limit their children’s progress, and impose their control, which prevents them from taking important steps towards what they want. In addition to these challenges, physical disability also has a place, which I struggle with in particular. It’s the reason why I can’t access some exhibitions and art residencies; a situation that makes the everyday difficult, and makes the difficult impossible.

This residency will give me the platform that I need to expand my experience in order to share it with you. I am excited to be on this residency on Vital Capacities, to develop one of my techniques that I previously developed for one of my artworks.

You are very welcome to take a look around my studio, and if you have something that you want to say or to share with me please feel free to leave a comment.


Welcome to Bassam’s studio

A crystal-like pearlescent figure with a shiny surface with pointy shoulders and elbows.

Hi, my name is Bassam Issa, welcome to my studio. I am a film maker and artist based between Belfast and Dublin. For this residency I will be working with artist and researcher Jennifer Mehigan.

We have been developing a collaborative project over the last 12 months that explores the mythology of Japanese knotweed, its lineage as the largest female organism on earth, and its alignment with gendered tropes of dominatrixes, goddesses, giantesses, and other dehumanised feminine bodies. We are interested in exploring this in the space between abstraction and unreality, examining the dirt, the bodies buried within it, and what they might bring to light.

I will be spending much of the residency on character design and creating CGI environments for them to inhabit. I will be posting some WIP shots of the work so please feel free to follow along 😊

Vital Capacities new resident artists May 2023

Artists on Vital Capacities residency in May 2023 – from top left, clockwise: Sammy Paloma, Bassam Issa, Shaima Mohammad Ali, and Su Hui-Yu & XTRUX

For the eighth Vital Capacities‘ residency, we partner with Film London Artists’ Moving Image Network (FLAMIN), Shubbak Festival, Videotage (Hong Kong) and Wysing Art Centre (Cambridge) to work with artists from Scotland, Northern Ireland, Palestine and Hong Kong. From 1 May, artists Bassam Issa, Sammy Paloma, Shaima Muhammad Ali and Su Hui-Yu & XTRUX will join Vital Capacities, to undertake research and develop new work. Working with our partners, they will explore and exchange new ideas using their studio spaces, and create new work throughout the residency.

The artists for May 2023’s residency are:

Bassam Issa works across digital animation, painting, sculpture, and textiles creating visions of resistance, transformation, and queer possibility. He completed a BA in Visual Art Practice from Dún Laoghaire Institute of Art, Design and Technology in 2016. Recent solo exhibitions include: IT’S DANGEROUS TO GO ALONE, TAKE THIS! The Douglas Hyde Gallery(2022) I AM ERROR, Gasworks, London (2021), and De La Warr Pavilion, Sussex (2022).

Sammy Paloma is an artist, poet and witch living in Shetland, on a croft by a beach, next to a bog, with 11 chickens. She paints, prints, tattoos, writes poetry, and makes computer games (with Uma Breakdown). Her work is into how divination disturbs linear time, grief rituals and necromancy. Her current obsession is the overlapping folklore and paranormal phenomena surrounding both boglands and crossroads.

Shaima Mohammad Ali is an artist from the destroyed village of Beit Thul in Palestine. She uses sculptural elements and video art to explore the liminal space between the personal and the collective, where it  is a point of intersection and where it is a point of departure. She draws her inspiration from that which demands an interruption to the every day. Her art is political in that it refuses to take on a singular perspective, preferring to reflect the mixture and entwinement of politics in the day-to-day of the Palestinian individual through their life, hopes and dreams.

Su Hui-Yu & XTRUX – Su Hui-Yu is a Taipei based artist who has been working on his specific “Re-shooting” series which focuses on Taiwan’s colonial histories, martial law memory and body-politics for many years. XTRUX is a Taiwanese collective art founded in October 2020 with a number of creators whose works focus on new media art. Su and XTRUX have been cooperating on experimental projects since 2022.

Residencies will launch on 1 May 23 – find out what artists are up by joining our mailing list and following them on:

May’s residency programme is delivered in partnership with Film London Artists’ Moving Image Network (FLAMIN), Shubbak Festival, Videotage (Hong Kong) and Wysing Art Centre, with support from Arts Council England.

Vital Capacities is an accessible, purpose-built digital residency space, that supports artists’ practice while engaging audiences with their work.

Vital Capacities has been created by videoclub in consultation with artists, digital inclusion specialist Sarah Pickthall and website designer Oli Pyle.


the forest

images of a forest, nature and rocks with 3d modeled figures superemposed on top of the images

wait a moment

as your body slowly turns into wood

since we here no innocence

continuing to sketch > < continuing to sketch

visible roots left in the ground > < follow up for the tree

tabla tabla strings and vocals >

a call to recent studies >

video description: set to another Lollywood classic, this short clip splits the screen into two separate panels. Each one follows the camera movement from dead roots laid in the grass upward to a living tree and then up again to the blue sky – the movement is from grey decay to lush green and blue life. As the intro to the song finishes and the first vocal is about to drop in, the image pauses for a brief moment…two tabla-like images appear side to side. Both are rotating circles with an inner circle of a blackened wood texture, made to appear like the syahi, the central point of the tabla skin. Both rotating circles give the sense of vinyl records being played, with the outer ring on both circles featuring two distinct family images. One is of my two grandfathers sternly sizing each other up. The other is of my grandmother and her best friend sizing up the camera. As the song continues and fades out, the images are taken away by a burning line across the screen.

Voice Notes

Some Depressing voice notes

I was going to post my voice notes that I made to capture a tone I needed in the work I am making but actually, I dont want to share these with anyone until I am ready so I am not posting them all but Ill post one.

Im using my voice notes to try and process my feelings


Michael Landy, another artist from Ilford

Michael Landy

A British conceptual and installation artist born in Ilford.

Landy is best known for Break Down, a performance piece where he categorically destroyed all of his possessions in a disused C&A on Oxford St. It has been widely read as a critique of consumerism, following on from early work of his that overtly criticises a growing consumerist ethic. I think the work contains an inner dimension that allows for a deep denial of materiality (not just material), making it spiritual and ascetic. The work was visceral and emotional for Landy.

This image is a photograph of Michael Landy's installation work 'Break Down' from 2001. It shows a group of people categorising the artists items and putting them on a production line where they will eventually be destroyed.

After ‘Break Down’ he took a hiatus from making art before returning with Semi-detached. The latter is a lesser known work of his but I find it conceptually important that after destroying all of his possessions that he felt the need to recreate his home. This house is such a ubiquitous image in Ilford and witnessing it in the gallery space gives me mixed feelings. In some ways, the work seems to be a direct discussion about the area, home and Landy’s personal history. Mobilising the aesthetic feels representative. The work engages in a kind of elevation of normality. An edification of all of the processes of house-building: window fitting, door framing, coving, roofing etc. While obviously not unique to Ilford, this building is a complete replica that brings Ilford into the gallery space and it makes the address in Ilford another site of the work.

This image is a photograph of Michael Landy's artwork 'Semi-detached' at Tate Britain in 2004. The work is an exact replica of his father's home in Ilford. It is a life-size semi-detached house with a typical 1970s pebble-dash exterior, white bay windows and a white door with brass handle and knocker. The welcome invites the viewer and marks the threshold of interaction.

In other ways, the work misses an opportunity to have a discussion about how dynamic Ilford is as an area. The focus is on a frozen moment in the artists history and does not engage more widely in the creation of place. The neighbours, the local supermarket, the high street, the bus stop, the local park. These aspects of home-place-making are all conspicuously absent from the work.

Anyway, the work is actually all about Landy’s dad who was confined to the house after a mining accident in 1976. It’s about his father’s incapacitation and a reflection of working class conditions in 1970s Britain. So of course, it isn’t about Ilford at all neither elevating its normality nor missing its dynamism but keeping a focus on the father-figure. In some ways, Landy’s work is about ancestry and those who have come before. The excerpt from a Guardian interview with the artist below strings together the relationship between Break Down and Semi-detatchced.

“One object that Landy didn’t destroy until right at the end, which went round and round the conveyor like an unclaimed suitcase, was a big old sheepskin jacket – his dad’s. “My mother had bought it on credit just before he had his industrial accident. After that, it became too heavy for him to wear any more. She still had to pay it off. In a sense, this sheepskin coat became him, travelling around on this yellow tray…Landy later made a significant work about his dad, Semi-detached, in which a precise replica of his parents’ Ilford semi was erected in Tate Britain’s Duveen Galleries in 2004. It was the sort of emotionally loaded artwork he couldn’t have imagined making before Break Down. “I was interested in my dad’s value as a human being. What’s rubbish? What’s a weed? Why is my dad a total wreck case? That’s what preoccupies me.””


Most recently Landy has been making work about Essex, the county of his and my own birth. Reviled as the capital of countries nouveau-riche, Landy documents the nations view of Essex in his 2021 exhibition Welcome to Essex at the Firstsite Gallery in Colchester. His archive Essexism turns the mirror on a liberal-metropolitan elite who have written about the rise of Essex as a kind of phenomenon. It shows them as frightened of the emergence of a new kind of middle class who do not seek the sanctified sophistication of upper-crust England but use their wealth to adorn themselves while otherwise staying authentic in speech, action and style. While the classism is a clear issue tackled in the work so is the accompanying misogyny.

The construction of the ‘Essex girl’ has been used as a way to demonise young women and label them ‘stupid’ for seeking different kinds of mobility. In the accompanying documentary, Landy meets superstar businesswoman, Amy Childs, who it turns out is his first cousin once removed. He makes a point about their similarity and even uses products of hers in his exhibition as part of the archive.

The work feels authentic, political and as described by Landy himself iconoclastic. I appreciate that he includes his mother in the documentary work, that he explores spaces he knew as a child and that he admits how ignorant he was about Essex throughout most of his life. I feel inspired by how genuine he seems and through reading about his life and work I take away the following lesson:

bringing the family into the frame, forgoing the material, seeking something of home,


Movie Research

Looking for a pace of world building that doesnt throws you in the mist of a story

The Good The Bad and the Ugly

The shots in the film

wow—an amazing sense of scale and movement having history unfold behind the main characters

Morally grey

The House That Jack Built

wild film

horrible really

loved the slomo painting shots

These could go on forever

i winder if the episodes can have a visual like this

slow but progressing somewhere


Script Draft

Ive been writing the new draft of the script which currently is aweful but slowly is coming togther. I definitely think writing in an episodic way will let me get a better idea of the pacing and how to do the story.

anyway have a read


Act 1 

Scene 1

Sepp : Hey…looks like it’s just us.

June : Looks like it (giggles) 

Sepp : Did you enjoy the ceremony?

June : Hahha fuck no… these traditional meetings feel empty to me especially as they never include me. 

Sepp : Yeah…I know…they are wrong for that…you should definitely be front and center

June : front and center? I don’t think I want to be verified to that extent.

Sepp : well Maybe It would make me pay attention a little more …closely

June: ….oh and why would that make you pay a little more attention 

Their bodies are closer now, almost touching. Almost breathing on each other.

The sky cracks in half as the long forgotten voice of a lost GOD returns to earth.

The air began to resonate as it shifted through the atmosphere of carbon nitrogen and oxygen. The make up of life changed unbeknownst to anyone.

June : What the fuck was that? 

Sepp : (covering her head) Jesus sounds like the whole sky exploded.

June is already running to a window. There are a lot of murmurs in the bar.

June looks out the window but sees nothing

A few others who were in the room have also run to the window. 

No one says anything as they stare transfixed outside.

Sepp : (after catching up) Do you see anything?

Sepp comes close to them and holds their arm. It’s the first time they have touched all evening

June : (wrapping her arm under the waist of Sepp) No…but I feel like…(they look at Sepp and notice the anxiety on their face)…Hey are you ok?

The air was charged. Like a thick soup of static. As the voice wrapped itself around the planet and began to touch the ground the static rose on the skin of their backs. 

June’s hair was floating as though she was submerged in water.

Everyone looked at her but their hair remained normal. 

A buzzing sound could faity be heard.

June : It feels like I’m surrounded by electricity (they stop and listen)…can you..(they listen again)…do you hear something?

The buzzing sound gets louder.

Sepp : Let’s get away from the window.

The buzzing sound can be heard by everyone now. Although it had begun as an auditory experience, its frequency had begun to resonate within their bodies.

June sinks to the floor feeling a wave of nausea as their organs shake with the sound

June : Sepp I…I…

A pulse shook through the ground.

Sepp falls to the ground beside june.

The two bury their heads into each other’s shoulders.

They scream in unison as they expect the building they are in to fall in on them.

And then suddenly 

everything stops

June: Are you still here…

Sepp: I’m with you…im with you

Their heads rise to meet each others gaze.

They are only an inch apart

The other members in the room are all standing against the walls as if the pulse had not been felt by them.

Their gaze fixed on the two holding on to each other

They watch them in silence.

June : Sepp…

Sepp leans in whispering 

Sepp : Don’t leave me tonight

kissing June.




Act 1 

Scene 2

A radio is playing in a bedroom with june asleep in bed.

Whats more sensible religion or atheism 

Radio : ….and surely No one was able to sleep in such a painfully traumatic freak weather event, a phase of extraordinary awe full weather. 

Call in person: I called the next morning as I was due to go into surgery and now I’ve been told I need to rebook, and rebook means I loose 100 percent of the amount we paid for…

Radio Host: …but you surely know that they don’t want to operate on you if this could happen again…it is disgusting however that you have to repay for…

Call in person : My surgery is life saving…there is no other date…I don’t have that time….unless i go to a private surgery…which is what we have to do now and that’s going to cost me everything, I want to go to small claims….

Radio : look if you went to the hearing I am not sure you would win I’m afraid and that’s all the time we have for you… our next caller says they have some background info into this freak weather….Hi Lady Da

Call in perso :…Don’t say it…not you…not yet not every…

Radio Host :…okay

Lady Da : The Fabric of The earth has changed

Radio Host : oh hear we go 

Lady Da: from small wood to the largest group It will grow and those that don’t grow with it….wont grow at all

Radio Host : ok….so Sometime we get people like you and I am half tourn if we give you air time or not…i mean the rating love…..

Sepp walks into the room fully dressed

Sepp : Hey wake up….we overslept 

June : mmmmmmmmhmm…

Sepp : Get up please I need to go now

June : Just go without me….i leave later

Sepp : No I don’t want to do that June

June : Ugh why not….

Sepp : Did you forget my name….

June : (June blushed) …There were a lot of names at the ceremony…and I was talking more to your other ….lips…

Sepp : Oh….Shut up (giggle) look we have to go right now…I’m sorry you need to leave

June : What tine is it 

Sepp : Go 

June : (annoyed) What?  Ok why are your being so rude…what’s going on.

Your suddenly asking me to leave out of no where…

Sepp : I can explain….

June : wait…hold up…explain…oh no 

June gets up and starts to put on clothes

Sepp : look we can talk late..

June : fuck you 

Sepp : its not THAT…ITS not June look at e

June : It’s not WHAT?….It’s fine you just wanted to try out….i get it…come one June why did you think this bitch would even be

Sepp looks outside the window 

Sepp looks through the window

June : If you wanted to try it why did you have to do it with ne…COME ON JUNE 

Sepp : June…

June : I want you to listen…This is 

Sepp opens the curtains 

The vision of a inverted atmosphere meets them

June : HOLY FUCK…..

Sepp : Do you feel that?

June : That pull?

Sepp : What…No…It’s like a 

June : WHy is the sun….Black

The door slams shut and footsteps approach the door 


The door is swung open 

He stairs at them 



Act 1

Scene 3

June is on their way to the bus stop. It’s busy, everyone is outside. All work and schools have been shut due to the dangerous weather.

June is on the phone with a cordless headset

It’s very early 

It calls and first goes to voice mail 

June : Ah fuck come o pick up

Calls again.

No one picks up.

June : Alone again…what the fuck did you expects…you deserve

The phone rings 

June : hello

Pussydon (through the phone): …hey are you ok…its 5 in the morning…

June : its an emergency…

Pussydon :…ummm….What do you neeed?

June : I mean…ok there are two

Pussydon : Bitch you know Ive just gotten up and the only emergency I can think is about you late night date with the Lady from the ceremony 

June : Have you looked outside?

Pussydon : Don’t hold out on me with this mess…I need to 

June : Just open the window…

Pussydon : Ok, If i do it slow enough maybe you’ll be able to tell me what happened with whoever she was

June : I…It was bad…


June: She…I dont know…she was just…using me

Pussydon: sooo… it was a one night stand?

June: Yeah….until her man came home

Pussydon : What….in the act? Oh my god

June: No no. In the morning I mean look at the time its fucking 9 am…he came home because of the whats goin on…i mean BABE LOOK OUT SIDE

Pussydon: Okay okay..but are you ok?

June: Im…ok…I just feel that this will always happen like whenever i think a girl is really interested something is always fucked up…im so tired of being alone…like are we

Pussydon: Holy fuck…JUNE what happened?

June: What im telling you….


June: Oh….yes I told you…

Pussydon: …its true…(overlapping)

June:…this happened last night you didnt feel the shake?…and wait whats true

Pussydon: COme over….now

June: I am gonna go home I need to call my mum 

Pussydon: I need you to come here

June: Why?

Pussydon: Look when you come illl explain

->go home

->go to Pussydon’s

Act 1 

Scene 4

->go to Pussydons 


On the way to Pussydons june listens to the ending of the radio show 

What is more sensible- a show that discusses the reason why one way of living may be more sensible then another.

The current discussion is weather it is healthier to believe in spiritual significance or if logical thinking is a healthy approach to unexplained supernatural phenomenon

Around 2 mind into it they leave the bus and take off their head phones and walk towards Pussydons house 

They turn the corners and walk towards 

The house 

There is a bunch of people outside of the house of pussydon 

June takes her headphones off

The crowd are visibility animated and pointing down the road

Following their finger it seems as though they were pinting to wards the trees in the distance 

The trees linger in the distance staring back 

A light glow can be seen in the forest 

As though a fire burnt in the branches

June reaches the group 

June : Hey…hey…what’s going on?

Random people : we are going now….you know….you know…ok

They leave

Pussydon watches them leave eyes locked on 

Something else had been left in their place that seems so much bigger 

June: what’s that all about…

Pussydon: We gotta go…walk and talk

June:…what’s up girl

Pussydon: I mean I don’t know how to say it…something is in the forest

June: Something….

Pussydon: soemthing that wasn’t there but is now

June: You’re being way too cryptic 

Act 2

Scene 1

Scene starts with a radio show presenting the facts of the day 

The sound of a scene of commotion can be heard over the commentator who are processing the scene. Sirens and shouts often pierce the reporters voice. They are having a hard time dealing with it and keeping a composure (when an Abuser makes you act as though nothing is happening)

Reporter: I am reporting from the edge of the forest which id being coordined off as I speak.  (Hard swallow) For the good of us…for our good I am told to say that…everything is fine. Some of my early panicked news reports were my fault…its my fault…i am sorry….sorry…illl do better… (muffles)

It’s believed that there could be some form of contaminate in within the forest. Something that wasn’t there before, somethings that should not be there….

My co-star REVEN Gnorw will report from the helicopter. Hi REVEN…what are you skiing 

The loud sound of the helicopter fights with the reporter 

Raven : Hey all, looking from above we have a visual on something obscured by the trees. It’s glowing its…oh god I wish you could explain this to me…they are slowly cutting away the branches and….revealing more of it and….its….

Cut off 


Scene 2

June and Pussydon are Quarentined in a quickly put together inflatable quarantine building 

There is a feeling of contentment as there is no communication about what’s going on. 

A person wearing a hazmat suit is holding out Some sort of throat thermometer

June :…and how much…..

Hazmat: open your mouth please

June : erm ok…Can you tell me what were doing here we need to

Hazmat:…can I just jump in for a second…your literally the last person I have to swab before I get out of here…just let me get this done

June:….really nigga?

Hazmat: Just open your mouth please

June: I don’t have to do anything you tell me (she clearly shaken and reminded of past events)

Pussydon: She’s not gonna do it…we aren’t here for this

Hazmat: My job is to keep you alive to make sure

June: Alive?! What the fuck are going to die?

Pussydon : not in here like this

Hazmat: No no

Pussydon: Do me….keep me alive

Hazmat: What…you’ve been done..

June: wait you got it don

Pussydon: it’s mandatory if you need to piss

Hazmat: Do you want me to find an alternative way to….

Junes hair slowly begins to stand up


Hazmat suit does not notice