Embark on a transformative journey as you step into my immersive soundscape, a co-production with Producer and DJ Camiel Daamen, exploring our profound connection with electronic waste and the boundless potential for regeneration in the digital era. Originally crafted for a _1500-strong audience at_ the IAB Italia conference on regeneration, this piece is a testament to the power of art in sparking meaningful conversations.

  
This captivating auditory experience beckons you to venture into the intricate choreography between our digital domain, the world of nature, and our collective aspirations for the generations that follow. 

  
In this entrancing dreamscape, you assume the central role, guided by enigmatic whispers that resonate from the depths of your conscience. These ethereal voices serve as messengers, their purpose clear: to convey forewarnings and offer sagacious counsel on our conduct in the digital realm. As the narrative unfolds, you will find yourself immersed in a triptych of scenarios, each distinct and compelling in its own right.

  
This sound art can be experienced at this website: https://www.adahparris.art/sound/dystopian-dreams-electronic-graves

  

Dystopian Dreams and Electronic Graves

Step into an immersive soundscape where the boundaries of self dissolve, and collective consciousness emerges. "The Myth of the Ego," co-produced with visual artist and DJ John Middlehurst It is a transcendent experience designed to challenge your perception of identity and unity.

  
Structured in four distinct phases, this auditory voyage draws inspiration from indigenous practices and wisdom. It guides you through an exploration of self, moving from the individual "I" to the interconnected "we." As you traverse this transformative odyssey, you'll encounter the profound question: What type of ancestor do you want to be?

  
Each phase introduces a new dimension of self-reflection and consciousness. Prepare to lose yourself in the rhythms of your breath, the resonance of collective chants, and the merging of your being with a greater whole.

  
"The Myth of the Ego" invites you to question the constructs of ego and self, challenging you to embrace a deeper understanding of your place in the interconnected web of existence.

  
The soundscape can be experienced here: https://www.egomyth.earth/

The Myth of the Ego

This commission sought to engage contemporary audiences in a creative dialogue with the historical "Temple of Peace," once the private sanctuary of British ex-Prime Minister William Ewart Gladstone, offering a unique opportunity for artists to explore themes surrounding the room's history, design, and relevance today, while posing thought-provoking questions about defining peace in our lives and the legacies we aim to leave behind, with selected artworks to be exhibited during the Summer Camp hosted by the Good Life Society in 2023 and subsequently become part of Hawarden Castle's collection for public exhibition in venues resonating with the commission's themes, welcoming diverse submissions in various artistic mediums.

  
My response to the brief is entitled L3b1a: “These people were my relatives, my ancestors. And this place could be my refuge”. The title of this work, references my maternal DNA haplogroup and incorporates a quote from the Black science-fiction writer Octavia E Butler's book Kindred to emphasise the significance of ancestral connections, refuge, and peace in shaping one's identity and sense of place.

  
In this thought-provoking work, I repurposed The Times Atlas from 1899, the year after William Gladstone's death, to create a map that explore the intersection of ancestry, capitalism, colonialism, and climate change, all of which are themes that would have resonated with Gladstone's vision for a "Temple for Peace".

  
Gladstone's ambition for the "Temple for Peace" was to create a neutral space where disputes between nations could be resolved peacefully, without resorting to war. He recognised the interconnectedness of nations and believed that disputes should be resolved through peaceful means, rather than through violence and bloodshed.

  
I incorporated my maternal ancestral line, spanning from Egypt to Guyana into the work. Guyana is where Gladstone's father once owned sugar plantations, I chose to explore the intersection between my lineage and Gladstone's. Through this exploration, I aim to initiate meaningful conversations about our interconnectedness with the past and with each other, as well as the impact of our actions on shaping the future. This work draws attention to how colonialism and capitalism have shaped our world and continue to impact us today, encouraging viewers to reflect on the impact of their own ancestry on the world and the choices that we can make for a more peaceful, equitable and just future. The resulting map features a fact or insight related to the themes and events that occurred in 1899, the year of the atlas, highlighting a pivotal point for peace in history for each country, as well as an inflection point in the future history of each family, both hers and the Gladstone's. 

  
My work serves as a poignant reminder of the importance of understanding our shared history and taking responsibility for our impact on the world, aligning with Gladstone's vision for a temple of peace. My work also echoes Gladstone's belief in the power of peace and finding peaceful solutions to global issues by drawing on the Nigerian artistic concept of Mbari, highlighting the significance of art as a form of citizenship and prompting viewers to contemplate their own impact on creating a more equitable world with the question, "What type of ancestor do you want to be?"

  

L3b1a: “These people were my relatives, my ancestors. And this place could be my refuge”

In the immersive audio-visual show, "Medusa: A Transformation," I was invited by Union Chapel Artist-in-Residence and Singer Boe Huntress to join her in co-producing a one-night-only immersive audio-visual experience. I played a pivotal role as co-producer and also took on the co-lead performer's mantle, marking my triumphant return to the stage after 32 years. My performance, shrouded in secrecy until the night, captivated a packed audience of just over 300 attendees at Union Chapel in London.

  
"Medusa: A Transformation" was a one-night-only journey that artfully explored themes of ritual, belief systems, identity, transformation, and relationships. The show thrived on collaboration, blurring the lines between actors and the audience, actively involving everyone in the rituals, and crafting an immersive and transformative experience for all.

  
My creative contribution extended well beyond her performance, enriching the multi-sensory experience. Collaborating with a talented team, including Maria Kimatica and Nesto of Kimatica Studios, who entrusted her with the body projection mapping equipment, resulted in a mesmerising fusion of visuals and movement. Adah also lent her artistic touch to crafting the captivating headdress she wore as Medusa, adding an extra layer of sensory depth to the performance.

  
The show's resounding success was a testament to the unwavering dedication and collaborative spirit of everyone involved. Carl H Smith, Fremsley Wham, Sarah Janes, Mark Rangolio, and an exceptional choir and gong percussionist, led by Anna-Helena McLean, collectively poured their creative and personal support into bringing "Medusa: A Transformation" to life.

  
This collective effort transformed "Medusa: A Transformation" into an unforgettable, multi-sensory journey that fully engaged both the audience and performers in an enthralling exploration of art, identity, and transformation.

Medusa: The Transformation

This piece has been an evolving journey.

  
The canvas, first awash in a tranquil blue hue, patiently held space for its unfolding narrative. It discovered its purpose in a moving haiku I wrote which delved into the ancestral resonances of my connection with the open waters.

  
“Colonisers’ abyss

Yemọja cries remembering

Undulating graves”

  
Drawing from the depths of history, the artwork weaves a tale of Yemọja, the revered African Orisha of the oceans. She mourns in golden cowrie shells, her tears a metaphor for the lost souls of the Middle Passage.

  
In the heart of the piece, spirals unfold - ancient symbols echoing the endless cycles of life and death, a motif deeply rooted in many indigenous cultures.

  
Look closer, and the scientific intertwines with the spiritual. DNA helices and X and Y chromosomes emerge, a poignant reminder of the countless lives lost to the brutalities of slavery, submerged beneath the waves.

  
Though incomplete, the artwork is a journey through memory, loss, and resilience - a narrative still being told.

  
I invite the viewer to reflect upon the layers of history, science, and spirituality interlaced within this evolving piece. As it nears completion, each element reveals a deeper meaning, a story of sorrow and strength echoed in the undulating waves of the ocean.

Undulating Memories: Echoes of Yemọja

This artwork was commissioned by water aid charity, charity:water for sale in their fundraising auction. 

  
Embracing Nsibidi, an ancient Nigerian writing system, Adah Parris’ artwork narrates the story of Africa’s desertification driven by colonialism, capitalism, and climate change. The golden camouflage of the jerry can is a symbol of the obscured policies that sanctioned resource exploitation, while honouring the ancestral bond to water within many Global South communities. Parris hopes to remind us of our duty to treasure, protect, and nurture water - the thread connecting our ancestors’ aspirations and the essential sustenance for a shared tomorrow.

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Adah Parris