Thrilled to announce that I’ve received DYCP funding from Arts Council England! Building on last years’ incredible collaborations, I’ve been developing a new artistic method that blurs the lines between movement and stillness, visibility and invisibility. This technique aims to create an authentic documentation offering a more nuanced and empowering representation of marginalised performance artists, especially those with mobility challenges and diverse bodies. Can’t wait to share the journey! #DYCP #InclusiveArts @aceagrams
📸@akiskaaa performing live at the opening night of Lubunya Dispatches @icalondon
Eda Sancakdar Onikinci (she/her) is an independent researcher and interdisciplinary artist based in London. Her work explores decolonial and queer reimaginings of visual histories and their dominant narratives. Eda holds a BA and MFA in Visual Communication and Design and completed her PhD in Art, where she developed a distinctive decolonial methodology for analysing the genealogy of certain “invisible” bodies within visual histories and practices.
Building on over a decade of teaching undergraduate and graduate courses on the histories, politics, and practices of still and moving images, she continues to extend these inquiries through her research, talks, workshops, and artistic practice, which explores how invisibility, stillness, and movement shape transdisciplinary approaches to documenting live art.
Hear more from Eda on Episode Nine of þ thorns þ, released 29th January 2025.
Fashion Histories & Theories Research Lecture with @edasan on 06.05.26 titled SURFACE MATTERS: TEXTILE, PHOTOGRAPHY & THE MAKING OF CULTURAL BODIES. This lecture examines how textile and photography operate through interconnected material surface relations that construct, render visible or invisible, circulate and archive cultural bodies. Drawing on nineteenth-century Ottoman costume albums from Islamic contexts, photo-postcards and museum displays, it considers how fabric, skin, photographic processes and archival formats together produce visual knowledge about racialised and gendered bodies. Rather than approaching costume as object alone, this lecture focuses on surface as a site of encounter - where textile, image and print materially shape how bodies are mediated across colonial and global contexts. Particular attention is given to photography as a technology that not only records costume, but participates in its material translation, circulation and historical framing. By learning to read these surface interactions - the folds of fabric, the marks on photographic prints, the sequencing of archival pages - alternative histories of fashion emerge. 📷 Sebah, Groupe de Dames Turques, c. 1870–1880s.
some of the preliminary shots from the last session of @theplayground_rambert 🖤 thank you @ms_stackhouse for the once again amazing experience of the playground and all the choreographers, dancers, movers, sound artists, musicians and the amazing painters, photographers, videographers who were there to witness & document and share🖤
