2001-2008 EARLY WORKS

CW: Some artworks during this period feature nudity. The documentation also comes from a period before the artist came out as transgender, pansexual and disabled.

Any references to the artist’s deadname or birth gender documented in language or image from this archive should not be reproduced without express consent from the artist.

tjb’s professional artistic practice began in 2001 and she has exhibited her artwork internationally for over 20 years.

From 2001 to 2008 this took the shape of writing, theatre direction, public intervention, subcultural (club) performance, live art, cabaret and visual art.

The majority of the documentation from this era remains in the artist’s private archive.


Body, porcelain clay mix, heat.

3 hour durational heated body and failed fall; one to one.

Shown as part of the 2008 Sacred Season at Chelsea Theatre, London and as part of Leibniz Book of Blood, the artist was asked to create a response to human rights issues.
Erosion locates the body in an small space for an intimate encounter. Using a distilled Butoh action, the figure falls to the floor over three hours. One on one participants may enter the space and encounter the body in any manner they wish. Calling into question the affect of one Being upon another, the body and Flesh between each other which erodes over the course of time. The room was oppressively heated through the course of the action to allow the porcelain clay to bake and crack on the body.

This work was a collaboration between tjb and sculptor Mimi Joung.

Selected for Sacred 2008 with support from Leibniz and Arts Council England.

Chelsea Theatre - London, UK
Photography - Kevin Townsend


The décollage and collage of the HOW DO U FEEL? series masters pictured here were never exhibited in their original state but were always designed to visibly age and deteriorate. Originally made in 2002, they were distributed as reprographics in the streets of London, echoing the infographic detritus that would surround commuters on the public transport system. Coinciding with the dawn of free tabloid newpapers that would be scattered across xis travels, tjb made these prints as commentary on environmental waste, misinformation and the insincere care that adverts and media would spread each day. Each print was created embracing what the artist had to hand and could access for free, she would ensure deteriorating reproduction through the use of distressed and screwed-up photocopies of photocopies. The distribution of these prints adorned walls and public spaces alonside other media detritus.