No Freedom No Art

https://www.imdb.com/name/nm2124191/Pauline Amos
https://paulineamos.co.uk/biography/
https://www.youtube.com/watch?v=OEeO5O1IqS8&t=147s
https://www.youtube.com/watch?v=HB5dDy52A4c&t=2s
https://en.wikipedia.org/wiki/Pauline_Amos

Director bio -:
Feature -:
Born Criminal - 2022
Short films -:
'Circling the Narrative - 2012
‘Love Train’ short film - 2010
‘Love Scars’ Short Film Corner, Cannes film Festival 2008
‘Bad Habits’ Short Film Corner, Cannes film Festival 2007
‘Corridor’ short film Dingle Film Festival 2007
‘Finger Man’ short film 2007
'Ashes' - 2005
'Deep Sleep' 2003
‘Stalker’ short film Liverpool Film Festival 2000

Writer Bio -:
Scripts -:
Born Criminal 2022
Fox 2012
Box Baby 2010

Art bio -:
International exhibitions, video, sound, and performance work
1999 - present

‘First drawing using a Biro pen on paper taught by my mother then Spirograph and Etch-a-sketch then copying David Bailey drawings from a book and then cartoons by Leonardo from a book and then finding my authentic mark’

(brief bio)
Born in Liverpool
Queen Mary School; foundation art college in Liverpool, a B.A.(Hons) degree @ Manchester worked in London and a short stint in advertising, @ Saatchi & Saatchi, BMP dissatisfied and back to Liverpool to small acting parts on TV and ten years of music, bands, painting and acting; devising theatre based @ the Everyman Theatre[ and the Unity Theatre in Liverpool; improvising, producing/directing Salva Theatre company. 1999 left Liverpool for Dartington College of arts, Master of Arts and University of Plymouth Phd.

‘I left Liverpool to redefine myself, re-invent myself and get back to art or die dancing on a Creampodium’.

Dartington College of Arts[vii] and a PhD (supervision from Prof. Edward Cowie[viii] titled - Self(ish) – Fusion Thinking and Practice – A (Mainly) Visual Investigation of Poly – Modal Art – Making. Completed 2004

Collaborations with artists. Audio recordings and performances, improvising with music and performance art. A series of performed works titled ‘My Flesh My Canvas’ that led to many works in Europe and Asia. Using the body ‘as a blank canvas’ has been paramount to the Amos code;
‘ the world imposes itself, some of it good some of it bad – we own and are the canvas that is to be composed and structured and painted upon '

Opera Paese Pietro Fortunas Gallery - Durational, 24-hour performance with Jeff Cloke and Tony Moore/PJCaplin[x] Rome ’03

in 2005 The resulting painting ‘Opera Paese’ went on sale in London @ Home House private members club for £1.3m. the price was purposefully provocative creating press stories and an ‘art scandal’ at the time. Asked how long the work had taken to produce, she replied ‘all my life, thirty years ’, and how much is it worth ... ‘how do you put a price on 30 years? the value is life is priceless - how do I put a price on life or on a painting ?’
the outrageous price tag was seen as a comment on the art/commodities market.

‘Between Chairs – divertimiento’
limited edition portfolio and performance with Josep Vallribera [x1Tony Moore (PJ Caplin) Spain; EHJ press 2005

London ’06-09 and exhibitions of paintings and performance work in galleries. Directed 5 Short films (shown @Cannes and various film festivals) silent films with soundtrack collaborations with composer Steve Swindelli (Manbreak[xii], sound artists.
Directed ‘Love Scars’ a short film with meredith Ostrom working with a Yves Klein idea of painting and using the body as the brush/tool the film was shown @ Cannes SFC and various festivals.

collaborative works and curating performance events under the gallery name of Amos Works included artists Poppy Jackson, Jeff Cloke, Helen Sharp, Lennie Lee, steve swindelli

performed in the Liberatum festival in Moscow (May 2009) cuated by Pablo Ganguli. The photo of a naked Amos painting in performance of ‘My Flesh My Canvas’ featured in The Times newspaper.

Interviewed on BBC Radio 4 Woman’s Hour (2009) [xiii] and quizzed by Jenni Murray about the use of the naked body in her artwork and the sexual content of the female artists’ work.
‘I am not a sexual object, the audience will see a person, I ask them to be responsible, for taking care of and adding to the work, painting on me as I lie naked with my eyes closed and I trust they will take care - and they do; the work is about trust and who is responsible for the work to happen - me or the audience? actually both are needed or the performance doesn’t exist’.

Collaboration with Anna-mi Fredriksson[xiv] a classically trained dancer from the English National Ballet combining the painting and performance with movement and dance. William Orbit[xv] joined the collaboration and called the ‘band’ Luxor[xvi]. Three artists /elements come together on the same stage; improvising and spontaneously intercating. A performance @ Shunt, London (2009) brought great response and acclaim. Luxor performed @ the Lowry Museum, Manchester February 2010.

painting as a performed work, using the naked body as canvas, interacting with sound and movement, working in the moment
‘I place myself within the painting and become part of it, the art is the person - the life that is making the work. The paintings are documents and a recording of an event, an action that happened - they are not the work; the action, the performance the improvised and impulsive moment is the work; the art is alive’. Amos

The Performer knows to link body impulses to the song… the witnesses (audience) then enter into states of intensity because, so to say, they feel the presence. And this is thanks to the Performer who is a bridge between the witness and this something. In this sense, the Performer is pontifex, maker of bridges. Jerzy Grotowski

Pauline Amos continues painting and working, lives most of the time in London, has a gallery and exhibits in Los Angeles and seeks refuge working in a studio in Devon far from the madding crowds producing new works, painting, performance, short films and
making things happen.