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      <image:caption>Claire Collison picture credit: Patrick Beirne</image:caption>
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      <image:caption>Now You See Me: A collaboration with Liz Orton</image:caption>
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      <image:caption>Rivers of the World poster (Shona Watt &amp; Claire Collison) in situ on South Bank as part of Thames Festival</image:caption>
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      <image:caption>Watch This Space exhibition poster, WAL Goldsmiths 2018</image:caption>
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      <image:caption>Sex and the Tits Tee Recent work has examined the invisibility of women who (like me) elect not to have reconstructive surgery, post-mastectomy. This self portrait riffs on the (I thought) iconic ‘TITS’ tee. I used a photo of my version to promote an exhibition, and posted it on Facebook, remarking that I’d been surprised how many people I’d shown it to were unfamiliar with the original, and asking: did that matter? Did the image work on its own terms? The thread that ensued included comments from those who did and those who didn’t didn’t recognise the reference. One friend posted a link to an article on the provenance of the Tits Tee, featuring a photo of the original, in all its jiggy two breastedness (below, credit: The Look adventures in rock and pop fashion). As a consequence, this friend’s account was blocked by Facebook: algorithms identified and censored the pair of breasts in the article he’d posted. Meanwhile my image remained. Bots, it transpires, cannot detect single breasts.</image:caption>
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      <image:caption>Sex and the Tits Tee Recent work has examined the invisibility of women who (like me) elect not to have reconstructive surgery, post-mastectomy. This self portrait riffs on the (I thought) iconic ‘TITS’ tee. I used a photo of my version to promote an exhibition, and posted it on Facebook, remarking that I’d been surprised how many people I’d shown it to were unfamiliar with the original, and asking: did that matter? Did the image work on its own terms? The thread that ensued included comments from those who did and those who didn’t didn’t recognise the reference. One friend posted a link to an article on the provenance of the Tits Tee, featuring a photo of the original, in all its jiggy two breastedness (below, credit: The Look adventures in rock and pop fashion). As a consequence, this friend’s account was blocked by Facebook: algorithms identified and censored the pair of breasts in the article he’d posted. Meanwhile my image remained. Bots, it transpires, cannot detect single breasts.</image:caption>
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      <image:caption>Watch This Space exhibition poster, WAL Goldsmiths 2018</image:caption>
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      <image:title>Truth is Beauty - Sex and the Tits Tee - Bot Myopia</image:title>
      <image:caption>Sex and the Tits Tee Recent work has examined the invisibility of women who (like me) elect not to have reconstructive surgery, post-mastectomy. This self portrait riffs on the (I thought) iconic ‘TITS’ tee. I used a photo of my version to promote an exhibition, and posted it on Facebook, remarking that I’d been surprised how many people I’d shown it to were unfamiliar with the original, and asking: did that matter? Did the image work on its own terms? The thread that ensued included comments from those who did and those who didn’t didn’t recognise the reference. One friend posted a link to an article on the provenance of the Tits Tee, featuring a photo of the original, in all its jiggy two breastedness (below, credit: The Look adventures in rock and pop fashion). As a consequence, this friend’s account was blocked by Facebook: algorithms identified and censored the pair of breasts in the article he’d posted. Meanwhile my image remained. Bots, it transpires, cannot detect single breasts.</image:caption>
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    <lastmod>2020-02-14</lastmod>
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      <image:title>An Intimate Tour of Breasts - #1 LONDON Walking Women</image:title>
      <image:caption>“I have just delivered An Intimate Tour of Breasts as part of the Walking Women festival. A guided tour through central London, taking in Tintoretto’s Birth of Venus (the most lactating painting the education officer could think of) at the National Gallery, via the Nell Gwynn pub (where we stopped for oranges), pausing by Soho’s lap dancing clubs, passing all the ubiquitous bare-breasted statuary en route, and unravelling how the mythologising and commodification of breasts through history impacts on the way we feel about our own breasts. As a strategy for addressing our visual literacy around representations of breasts, this was extremely effective, with participants volunteering intimate testimony of their own. I’m really excited about this as a model for future work. Walking and talking and responding to art, with prompts providing opportunities to interact, shifts the focus onto the participant’s response. It is a way of making art that has a solid history within feminist art practice that I can riff on – and one that could engage with an audience from both sides of the healthcare experience, opening up a dialogue that I believe is critical and timely." (from Say What You See engage 38: Visual Literacy, 2016)</image:caption>
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    <lastmod>2025-03-10</lastmod>
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    <lastmod>2020-02-14</lastmod>
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      <image:caption>Now You See Me: a collaboration with Liz Orton</image:caption>
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    <lastmod>2020-01-13</lastmod>
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    <lastmod>2020-02-14</lastmod>
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      <image:caption>Now you see me: A collaboration by Liz Orton and Claire Collison, 2018</image:caption>
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      <image:title>Watch This Space</image:title>
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      <image:title>Watch This Space</image:title>
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    <loc>https://www.clairecollison.com/unreconstructed</loc>
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    <lastmod>2020-02-14</lastmod>
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      <image:title>Why are so many unreconstructed women like me hidden?</image:title>
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    <lastmod>2025-03-03</lastmod>
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      <image:title>write from art - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5d88e1190f00b11d45ed2049/2122eda4-0b45-420f-88e4-43e30fd2ad76/SELF+PORTRAITURE.png</image:loc>
      <image:title>write from art - Previously: Putting Myself In The Picture: Self/Portraiture in Art &amp; Poetry</image:title>
      <image:caption>with Claire Collison. The Poetry Society is pleased to present its 2024 programme of workshops, in which expert poets will lead generative workshops on a topic which inspires and intrigues them. Self/Portraiture in Poetry (with a trip to the National Portrait Gallery) Wednesday 24 July 2024, 11:00 am – 1:30 pm £22.00 – £32.00 The Poetry Society is pleased to present its 2024 programme of workshops, in which expert poets will lead generative workshops on a topic which inspires and intrigues them. Our July workshop is Putting Myself In The Picture: Self/Portraiture in Art &amp; Poetry with Claire Collison. Are you a poet who wants to use ekphrasis in your work? Or an artist who wants to dip their toes into poetry? In this generative workshop you’ll be exploring the work of poets who use art as a springboard for their own writing, and creating your own new poems from portraits. Pick up ekphrastic tips and hear Claire’s guidance for choosing a piece of art that will inspire you, before heading to the National Portrait Gallery to try this out for yourself. The session will conclude back at the Poetry Society with some drafting, sharing and shaping. This workshop takes place in-person at The Poetry Café, Covent Garden, with a mid-workshop trip to the National Portrait Gallery. The National Portrait Gallery is a ten-minute walk from The Poetry Café. Please get in touch if you have any access requirements. Ticket includes entry to the National Portrait Gallery. Suitable for all levels of writer. BOOKINGS: https://poetrysociety.org.uk/event/in-person-workshop-self-portraiture-in-poetry-with-a-trip-to-the-national-portrait-gallery/</image:caption>
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      <image:title>write from art - Make it stand out</image:title>
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      <image:title>write from art - 6th August 2024 JUDY CHICAGO @Serpentine North</image:title>
      <image:caption>What if Women Ruled the world? The Dinner Party meets Pussy Riot meets Jane Fonda. We'll be responding creatively and personally to the really big questions posed by the Godmother of Feminist Art.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d88e1190f00b11d45ed2049/38fe670c-0a15-4377-b500-c792cfaa76e9/Dora+maar.png</image:loc>
      <image:title>write from art - 13th August 2024 DORA MAAR @Amar Gallery</image:title>
      <image:caption>So much more than a muse - "Dora Maar is mostly known for being Picasso’s Weeping Woman, as though tears are the only interesting thing about her."  A rare opportunity to explore Maar's pioneering photography and photograms up-close. Come prepared for Surrealist games and wordplay.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5d88e1190f00b11d45ed2049/76b20756-6c15-4769-89be-9f72d977849d/YINKA.png</image:loc>
      <image:title>write from art - 20th August 2024 YINKA SHONIBARE @Serpentine Gallery</image:title>
      <image:caption>Exploring the themes of Suspended States, we'll be finding ways of responding to Shonibare's 1st London show in 20 years, in language and forms that honour the complexities of our tangled world.</image:caption>
    </image:image>
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    <loc>https://www.clairecollison.com/learning-copy</loc>
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    <lastmod>2025-02-10</lastmod>
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      <image:title>Learning (Copy)</image:title>
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