Big News: Mapping the South East’s Magic & Mysticism Artists

shamanic drum with drawn on image of jaguar that is faded from use of drum beater, blended with image of julia fry beating the drum in a park in venice
Drumming in Venice, 2026, blended image, Julia Fry

I’m pleased to share that the British Art Network have awarded me funding of £1,000 to research where our British shamanic artists in the South East of England work and sell their art. Over the next six months, I will be building a free, open-access, interactive digital directory of contemporary shamanic, intuitive, and animistic artists across Sussex, Kent, Surrey, and Hampshire.

Shamanic arts are growing in popularity in the art world with some big name galleries producing exhibitions on esoteric and animistic themes (Natural Magic at Turner Contemporary, Amy Hale discussing her book Magic: Beyond the Supernatural in Contemporary Art at the Tate Modern). But what about those artists using wild materials or practices that are lesser known? How can we get a sense of who is practising what art, where, and with which materials in the UK?

Because of the financial and time limitations of the project, I have chosen to focus on the South East of the UK, with the aim of applying for further funding to expand the project in the future. This project will be finished by March 2027.

🌀 What the Directory Will Do

Think of it as a living atlas for the esoteric art community. Using a free, no-code mapping platform (Google My Maps), the map will let curators and curious customers instantly filter practitioners by four distinct pillars:

  • Raw Materials: Tracking the use of clay, organic matter, and other earthy elements.
  • Creative Processes: Highlighting ritual, sonic, and trance-based methodologies.
  • Geographic Hubs: Pinpointing hyper-local clusters across the South East.
  • Market Connections: Seeing how artists navigate traditional galleries vs. decentralised markets.

Are you an artist in the South East of England who uses wild practices or materials and want to be part of this directory? Or do you know someone who is? Please share this with them. Here’s a link to fill out the form to populate the map:

This mapping project is supported by the British Art Network (BAN). BAN is a Subject Specialist Network supported by Tate and the Paul Mellon Centre for Studies in British Art. The British Art Network (BAN) is a community of curators, academics, artist-researchers, conservators, producers and programmers at all stages of their professional lives. The Network provides funding and practical support to help Members explore, connect and share research focused on curatorial issues and themes connected to British art.

Viking Boat Burning at Butser (2026)

Butser Ancient Farm, where grown ups get to play at being Saxons and Vikings during the Autumn Equinox and, unlike their smaller counterpoints (i.e. children), they get to have a massive fire!

This footage and sound was all taken on my phone (OnePlus12) and edited in Kdenlive (free, open source software). We visited Butser on Saturday 19th September 2026 and found it was an awesome festival for neurodivergent folx (us included), and I wished I’d dressed up instead of wearing my ‘normal’ clothes. I would have gone as a lobster. I don’t know why. Enjoy the haunting melodies, accentuated with blacksmithing sounds and the audience going crazy for the devouring fire. I kept the fire of people’s mobile phones in shot. I thought it looked kind of fractal. I also love the still images of the fire and smoke, and the beings captured therein. Let me know what you think in the comments on YouTube.

Chaos Dragon and the Light

I woke up with “Chaos, Dragon and the Light” repeating in my head. It’s a film that I wrote a review about for Outside In in 2023. I read the review again and I’m struck by the beauty entangled with the horror:

Continue reading “Chaos Dragon and the Light”

The Sun is the psychological empire of the Soul

An astrological art project…

Double spread of poem (left page) and images of 2 suns (right page) in open hardback book
Sun Spread (2026)
Poem and image drawn over printed book pages
Julia Fry

I bought a book from a charity shop. It’s old and has a red hardback cover. On the spine is written, “The Way to Play”.

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The Inner Critic Hides a Wounded Child

I am so very grateful to Julia Cameron, writer of The Artist’s Way. In that book she taught me to give space to the inner critic by writing down what it says and then turn each phrase around.

My Heart Sings (2020)
Collage, colour pencils
20 x 14 cm
Julia Fry
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I Saw the Crescent Moon

La Luna (2011), paper, white emulsion, tippex, acrylic, plastic stars and wool

Last week I saw the crescent moon and it looked like art made by human hand, which made me recall my attempt at making a crescent moon many moons ago. On finding the blog post from 2011, I felt glee to see it! It was a playful experience and I want to share it with you!

I’m developing a special relationship with the moon and I really enjoy connecting with her. I say ‘her’ because I feel the presence to be feminine. Maybe that’s because I project my femininity onto her. Who knows? Who cares?

I’m looking forward to celebrating the next full moon, maybe with a fire ceremony, or maybe quietly, writing a piece of poetry. As we wax towards that, I hope you enjoy my crescent moon. Here’s the original text I wrote to accompany it in 2011:

The Three Muses set their weekly artistic challenge: “the moon”. It ties in with one of my current projects: telling the story of the different identities my imagination created during my childhood to protect me.

One is a she-wolf; she lives inside me on a beautiful snow covered mountainside. I discovered her existence during my first counselling session with Emma Welsh.

The moon has an important role in helping the wolf to release the pain she has held for me and the other identities; when the moon is full it stirs something in her to howl out. It’s not full yet…

I made the light side of the moon using a page from a magazine and several coats of white natural emulsion paint.

The dark side of the moon is black card flicked with tippex and painted over with black acrylic paint.

The fabric of the universe, or dark matter, is a large knitted square over which I sprinkled stars that were given to me by a wise woman at Survivors Network.

If there is a god or creator, I wonder if it created the universe as an art project?

What do you think?

Adaptations (2013)

Adapations (2013)

In the middle of the night I woke with the memory of a module about home in my moving image degree (2013). I couldn’t remember what I had produced for the module. I felt an urge to look at the external hard drive that contained all my work from that time. It was the middle of the night! However compelling the urge was, it could wait. I went back to sleep. That was Thursday night.

Read more: Adaptations (2013)

On Friday evening I plugged my hard drive into the laptop and in the directory was a file called journal-FINAL. The file contained my process notes for a short film I made called ‘Adaptations’ that was very much influenced by the home module. I was exploring ideas about what makes a home (things we use everyday?), how we identify with home, being exiled from home, and the relationship dynamics within home.

My partner and I were about to go on a trip to Tyneham in Dorset, which is a village taken by the British Army in 1944 so they could use the land for war practice. They promised the inhabitants that they could return to their homes after the war but the Ministry of Defence kept the land. They still use it for tanks and shooting practice.

My father was in the army and he killed himself when I was 9. My mum, sister and I had to leave our house, and community, because we were no longer valuable (if we ever were) to the army. We were stationed in Bovington, the nearest army base to Tyneham. There were beautiful woods behind our house and I used to spend a lot of time with the trees. I knew the feeling of being pushed out from a place I loved, like the villagers of Tyneham.

My partner and I watched Adaptations 3 times, at his request. It has no words, just sounds I’d found on a free sounds website to use as foley, and a beautiful, haunting flute composed by a friend at the beginning and end. You can portray a lot without words. The film was a way for me to work through a relationship breakup at the time.

I don’t know why I didn’t share it on my website earlier. I kind of forgot about the film until the intuitive prod to look at the home module occurred. Reading the accompanying journal was interesting. Here’s an excerpt that relates to the film:


A few weeks before he died, my mother and father had an argument in which it seemed he wanted to leave the relationship. They reconciled and he made a big show of making an effort with her, whilst she seemed resigned and closed down. Their communication always seemed to be broken but they managed to keep the relationship going until he died. I wonder how much of their ability to keep going related to how we lived and the objects that we saw everyday that helped us to retain our identities: the kitchen objects, the lounge objects, the bedroom objects. The mundane things that we touched and used or played with daily were real; they had tangible substance, whereas the arguments and the acts of undermining and violence could be ‘forgotten’ with enough distraction.

Moving with infinity – an intuitive walk in Venice

As I practised my shamanic drumming before going on an intuitive walk today, I found myself pacing in a figure of 8 around the bedroom. The movement came from my body – a natural urge – rather than my mind leading the way. The intention I set for the intuitive walk is: to find ‘dead’ space to sing to (I am doing art research in Venice for the British Council – see bottom of this post for more information on my project).

Image shows an art exhibit with sculpted landscape with a sheep with elongated legs laying down with legs folded up, a tiny deer (in relation to the sheep's - a tenth of the size) and a spherical light hanging above.
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Home is where the heart is?

picture shows a tiny home shape made from cardboard
Cardboard Home, 2023, Cardboard, glue, oil pastels, string

Home, according to Mole in Wind in the Willows, is a place filled with “familiar and friendly things which had long been unconsciously a part of him and now smilingly received him back.” I read the passage this statement comes from aloud at the start of the Home workshop I facilitated for Outside In at Hove Museum on 9 December. We all shared gestures, sounds and a word to get a sense of what our homes felt like before creating artworks that depicted this feeling(s). Conversation flowed between strangers as their hands busied, and I felt delighted to sit with each person and get to know them a little bit as they made their home. You can see an image of our homes formed into a group below – a village perhaps.

Continue reading “Home is where the heart is?”