WHW Akademija

Photo: Rafaela Santos

Emily Roderick is an artist, facilitator and access worker, researching new ways of working with collaborative pairings including The Dazzle Club, Matters of Interest and with artist Emily Warner. Curiosity and questions drive her work across its different iterations, exploring social space and interaction with non-art audiences and community contexts, using art to create conversation and exchange. Emily is currently based in Berlin.

Achievements include: Are Swimming Noodles Surveillance Tools? with Pedreira, Porto (2023). Developing Your Creative Practice (Arts Council England) Awardee exploring bell ringing and performance (2022). The Dazzle Club Co-Founder, a collaborative project of embodied research into public space surveillance (2019 - 2021). Member of Matters of Interest, an online artist-led research roundtable network emphasising knowledge exchange and alternative ways of learning (2020-ongoing). exxxtteeenssioon, a new durational performance commission with Emily Warner for Vivid Projects (2019).

Artist's website and Instagram.

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1.-2. Are Swimming Noodles Anti Surveillance Tools, Porto, 2023 (photo: Rafaela Santos); 3.-4. Bells, Bishops Itchington, 2023; 5. Dazzle Club, London, 2020 (Photo: Cocoa Laney); 6. Dazzle Workshops, London, 2020 (Photo: Hydar Dewachi); 7. TPD, video still, London, 2020; 8. Rights Of Way, Eindhoven, 2022 (Photo: Onomatopee); 9. exxxtteeenssioon, Birmingham, 2019; 10. Supersonice, 2021

Artist statement

My name is Emily Roderick. I am a short white woman with bright orange hair cut into a bob with a sharp fringe. I wear round wire-framed glasses and small silver hoop earrings. It's very likely I’m wearing something orange when you are reading this.

My practice straddles the serious and the silly. Often my work is a combination of both, using ‘the silly’ as a more accessible point of entry to ‘the serious’. It’s bells and surveillance; it’s blue screens and orange toys; it’s microscopes and hi-vis clothing.

“It’s making the invisible, visible.” There is a process of unearthing that comes with my practice. Whether I’m pointing out hidden surveillance systems, opening the doors to the bell ringing room or live-streaming microscopic textures, it feels to me that I’m using my art as a tool to point something out and support knowledge exchange. I’m literally pointing at something and saying “Look! I want to share this with you. What do you think about this?”, with even more encouragement for discussion.

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