Visions P2 Evening event: ‘Of What Remains: Creative Witnessing in Three Acts’ with Ecka Mordecai, Laima Leyton, Dara Waldron, Jeremy Fernando, Kate Walters and Kamila Kuc
Saturday 13th December 2025 , 6:00pm to 9:00pm
Of What Remains: Creative Witnessing in Three Acts invites the audience into an immersive three-act evening shaped by collective live responses and reflections on the topic of loss and emotional inheritance. At the intersection of film, performance, sound and text, the evening unspools across different registers of memory – personal, historical, generational. Through drawing, reading, listening, and conversations, this event honours the silences and hauntings that shape us, and offers new ways to bear witness to what has passed through us.
Act One: Inheritance in Motion: Film Screening & Live Drawing
This part begins with the screening of I Was There (Kamila Kuc, Poland/UK, 2025, 13 mins), with sound by Ecka Mordecai. I Was There is a palimpsest of inherited trauma, autobiography, and reverberating histories. During the screening, artist Kate Walters will make live drawings directly into the book If Loss Were a Currency – a companion to the film, thus reanimating memory as it unfolds. The books with drawings will be hung on the gallery walls post-screening – their fragile pages of witness, free to be taken by attendees. The limited editions of the book copies with Kate’s drawings will be available for purchase at the event.
Act Two: Pages That Tremble: Live Book Readings
Ecka Mordecai, Laima Leyton, Dara Waldron, Jeremy Fernando and Kamila Kuc will read excerpts from If Loss Were a Currency, accompanied by a live sound score by Ecka. This moment activates the book as a testimonial object – its pages vibrating with embodied memory, ancestral echo, and the stammer of the unspeakable, as Kate continues to draw on the book’s pages. This section brings presence to the intimacy of articulation and the spaces around it.
Act 3: Ripples & Echoes: Collective Conversation
The evening culminates in a spontaneous conversation between the artists and the public. Drawing on ideas of active imagination, audience offerings (words, gestures, or images), and the improvisational spirit of the work, this act invites a collective inquiry. How do we hold space for what cannot be fully said? What does it mean to be both witness and recipient? How might silence and vulnerability shape the architecture of resistance.
This event will take place at the Nunnery Gallery, 181 Bow Road, London, E3 2SJ.
Doors of the Nunnery Gallery will open at 6pm. The Nunnery Café will be open from 6-9pm, selling their usual fare of delicious drinks and snacks.
More about the artists
Ecka Mordecai (@ecka_mordecai & @cable_queen) is an artist working across sonic, performative and olfactory disciplines. Her early studies were in Elizabethan and Renaissance music (Viola de Gamba, Rebec, Recorder) and Classical cello. She later attended art schools in Brighton and London, specialising in sound and performance art. Between 2010-2020 she worked primarily in improvisation, developing extended techniques for cello which took inspiration from the British free-improv movement and text scores of the 1960/70s Fluxus art movement. After 2020 her work became more compositional, exploring themes of intimacy and listening. She composed two solo albums for Cafe Oto’s in-house labels Takuroku (Critique + Prosper, 2020) and Otoroku (Promise & Illusion, 2022), a collection of soundscape-inspired perfumes for Aequill (Sound 01/02/03, 2022), and composed for Kamila Kuc’s experimental short film I Was There (2025). She has a project with Valerio Tricoli (Mordecoli, Château Mordécoly, 2022) and is in a trio with Andrew Chalk and Tom James Scott (Circæa, The Bridge of Dreams, 2017). She works as a sound technician and educator at University of the Arts, London.
Kate Walters (@katewaltersartist) Trained in Fine Art in London (1977), Brighton (1978-81) and Falmouth (1996-2001). Originally writing scripts and making tape-slide installations and super-8 films, Kate now works as a painter who writes and draws. She’s based in west Cornwall with a studio in Newlyn managed by the Borlase Smart John Wells Trust. Her drawings and paintings explore altered states, dream messages, animal knowing, and the mysterious workings of Psyche. She explores her themes with a psychoanalyst. Her drawings have been shown 4 times in the Jerwood/Trinity Buoy Wharf Drawing Prize shows; paintings have been shown at the Royal Academy, in Discerning Eye exhibitions and more; solo shows at Newlyn Art Gallery and with the galleries Anima Mundi and Arusha Gallery. Kate enjoys residencies in Italy and Scotland: wild forests and islands are important for her being. She likes to gather oak galls for her ink, and porcupine quills and bones to draw with. She is trained in shamanic practice and helps others follow this path. Her writing has been published by Dark Mountain Project and Guillemot Press. She’s currently working on a long-term project called ‘Nurseries of Heaven’.
Jeremy Fernando (@jfwearspink) reads, writes, and makes things.He works in the intersections of literature, philosophy, and art; and his, more than thirty, books include Reading Blindly, Living with Art, Writing Death, in fidelity, Tómate un paseo por el lado oscuro del camino, resisting art, Writing Skin, A Ghost Never Dies, The feather of Ma’at, un oeil d’or, I wish we were lovers, and Jeremy Fernando by Jeremy Fernando. His writing has also been featured in magazines and journals such as Arte al Límite, Berfrois, CTheory, Cenobio, Entropy, Full Bleed, Poiesis, Philosophy World Democracy, Queen Mob’s Teahouse, Qui Parle, RIC Journal, Testo e Senso, TimeOut, and Voice & Verse Poetry Magazine, amongst others; and has been translated into the Brazilian-Portuguese, French, German, Italian, Japanese, Korean, Spanish, and Serbian. Exploring other media has led him to film, music, performance-readings, and the visual arts; and his work has been exhibited in Seoul, Vienna, Hong Kong, Lisbon, and Singapore. He has been invited to read at the Akademie der Künste in Berlin in September 2016; and to deliver a series of performance-readings at the 2018, 2020, and 2022 editions of the Bienal de la Imagen en Movimiento in Buenos Aires, the latter at which he also curated a filmic omnibus entitled reading dreaming malaya. He is the general editor of Delere Press; curates the thematic magazine One Imperative; is the Jean Baudrillard Fellow at The European Graduate School; co-creator of the private dining experience, People Table Tales; and the writer-in-residence at Appetite, the sensorial laboratory exploring the cross-roads of food, music, and art.
Dara Waldron (@darawaldron) is the author of the bestselling book, A Sheepdog Named Oscar: Love and Companionship in Rural Ireland (DoppellHouse Press, 2025). teaches on the Critical and Contextual program at Limerick School of Art and Design at the Technological University of the Shannon (Midlands/Midwest). He is the author of Cinema and Evil: Moral Complexities and the “Dangerous” Film (2013) and New Nonfiction Film: Art, Poetics and Documentary Theory (2018). Dara has published extensively in international journals, most notably Studies in Documentary Film, Millennium Film Journal, Alphaville, Herri, The Moving Image Review and Art Journal and Found Footage Magazine. He is a regular contributor to Irish independent media and politics journal Cassandra Voices. In recent years Dara has been a visiting professor at Dalarna University (Sweden), Aalto University (Finland) and the University of Colorado, Boulder (US).
Laima Leyton (@laimaleyton) is a Brazilian artist currently based in London, U.K. Her practice fuses music, performance, education and readymade. Throughout her work, sounds are the main tool to weave unique narratives that include elements of audience interaction. Leyton uses questions and actions to connect herself and the audience. ‘Home’ (released in 2019) is Leyton’s conceptual album about motherhood and domestic life. It was performed in people’s homes until 2022, when Leyton broke the narrative, moved towards a conventional music event, and performed ‘Home’ at The Purcell Room (Southbank Centre). During her performances, Leyton modified domestic objects such as the washing machine to play synth sounds and effects such as reverbs and filters. This act is true to Leyton’s practice and brings domestication, migration, spirituality and motherhood into the spotlight. Leyton’s residency at Gasworks (as InnerSwell) linked local communities to the making and memory of sounds. She is a resident artist at Gasworks. Leyton has received a fellowship from the charity In Place of War and is represented by the Richard Saulton Gallery (London) and as a musician by UTA. For her most recent project, Leyton created a durational performance in response to “Acts Of Resistance: Photography, Feminism and the Art of Protest” at the South London Gallery in May 2024. Leyton is also a mother, a music producer and part of the Belgian band Soulwax.
Kamila Kuc (@kamilakucinsta) is a Polish-born filmmaker, based between Seattle and London. Her work unfolds at the intersection of performance and documentary, testimony and dream to explore ecologies of memory, ancestral wisdom, and embodied resistance. Rooted in hybrid nonfiction forms, media poetics and Slavic mythology, her films investigate the entanglements of identity, memory, and survival. I use film to excavate counter-histories and create intimate, embodied encounters that activate memory as a force of resistance and connection. She is the Founder and Director of Dark Spring Studio, a London-based production company dedicated to the creation and distribution of artist moving image works that are committed to social change. Her most recent short, I Was There (2025), won Best Experimental Film at the New Jersey International Film Festival. Her Plot of Blue Sky (2023) premiered at the 27th Ji.hlava International Documentary Film Festival and received the 2024 BAFTSS Practice Research Award and the Jean Rouch Award at the Society for Visual Anthropology Film & Media Festival. Her films have been shown in over 20 countries and includes screenings at Videoex, BFI London Film Festival, ICA London, Edinburgh International Film Festival, Hawai’i International Film Festival, Ann Arbor Film Festival, Oberhausen, Anthology Film Archives, the National Gallery of Art in Washington, DC, among many others. Her work has recently been extensively reviewed by a leading documentary film scholar, Dara Waldron in the 10th edition of Found Footage Magazine (October 2024).
Access information
The Nunnery Gallery has step-free access throughout from street level, including to the accessible toilet, and is service animal friendly. This venue does not have a hearing loop system. Accessible parking is not available on-site.
If you have any questions regarding accessibility at this venue or event, would like to make us aware of any access requirements that you have in advance of visiting, or would like this information in an alternate format including Easy Read, please email nunnery@bowarts.com or call 020 8980 7774 (Ext. 3)
Access requirements could include things like providing equipment, services or support (e.g. information in Easy Read, speech to text software, additional 1:1 support), adjusting workshop timings (e.g. more break times), adjustments to the event space (e.g. making sure you have a seat near the entrance) or anything else you can think of!
Transport Information
Opening hours: Wed-Sun, 10am to 4pm
Address: Nunnery Gallery, 181 Bow Road, London, E3 2SJ
Nearest station(s): Bow Road (District and Hammersmith and City lines) is a 6-minute walk away, and Bow Church (DLR) is a 3-minute walk away.
Bus: 205, 25, 425, A8, D8, 108, 276, 488 and 8 all service the surrounding area.
Bike: Bicycle parking is located at Bow Church Station. The nearest Santander Cycles docking station is at Bow Church Station.
More about Visions
Visions offers an informed overview of the provocative and quick-changing mediums of moving image and performance, presenting works from across the world. For each Visions we run two to three programmes and invite lead artists, renowned for their innovation in the digital field, to head and inspire each one. The ideas of the lead artists support the selection process and set the tone for the wider exhibition.
More information about the Visions in the Nunnery exhibition here.
