WORDS Kate Nash
PHOTOGRAPHY Jude Harrison
On 17th July, The Guardian reported that a woman in Kent named Laura Murton was questioned by police for allegedly demonstrating ‘2 of the 10’ suspicions police need to question someone for being affiliated with a recently proscribed so-called terrorist group. She was by herself holding a sign that read: ‘Free Gaza. Israel is committing genocide’, and was holding a Palestinian flag. She was asked by the police: “What is your intention here today?”
As soon as I saw this story I knew I wanted to use my platform to respond to it and I immediately thought of Tia O’Donnell work. I’ve been wanting to collaborate on something, having admired her work for a while. I love her honest, striking approach to making statements and telling stories. I reached out to her on Instagram and she responded to me right away and cycled straight to her studio. We texted and voicenoted back and forth and she made this dress in one day. This whole idea of intention really stuck with me.
As you can see, this quote from the police is written on the front of my dress. On the back, it says ‘Free Gaza’ just like Laura’s sign. I held a Palestinian flag on stage and I said ‘Israel is committing a genocide.’ So according to those police in Kent, I now also fulfil 2 of the 10 suspicions, and I’m confused.
Dan Jarvis, Minister of State for Security of the UK, has said: “Proscribing Palestine Action will not impinge on people’s right to protest. Those who wish to protest or express support for Palestine have always been and can continue to do so.” But is that true?
My question to Dan is: do we have the right to protest or express support for Palestinian people in the UK, or do we not? Because I don’t see how Laura Murton’s actions, or mine, could ever be associated with terrorism.
And, if the police must know, Tia and I’s intention is to show support for the Palestinian people and our outrage at what is happening to them. Our intention is to highlight that the police in the UK now have the right to stop us as UK citizens from protesting and expressing support for Palestinian people despite what Dan Jarvis has said. Our intention is to stand up for that right to protest regardless. And our intention is to ask Kier Starmer, leader of the Labour Party, representative of the people of the United Kingdom, what is your intention here in this country, today? Free Palestine, end the genocide.
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Below, the duo speak about the purpose behind their protest, fashion as a form of political expression, and how public figures can use their position to denounce censorship.
Tia O’Donnell: How do you feel wearing something that makes a political statement on stage?
Kate Nash: I feel like it’s a really beautifully-considered and thoughtful way to protest. Something about it feels really feminine to me. I love the way you said the fabric is really soft and that this message is powerful and there’s a cool intersection there with the fabric and the message. It’s calm and collected. Clothes are always political for women – we didn’t used to have pockets in our clothing because we couldn’t have our own money. And, because we are told that it’s our fault if we get sexually assaulted if we are wearing certain clothing. I think it’s really powerful to speak with our bodies and fabric and by being, I love the idea of it truly. Just existing can be a powerful political act at times.
Clothes are always political for women – we didn’t used to have pockets in our clothing because we couldn’t have our own money. And, because we are told that it’s our fault if we get sexually assaulted if we are wearing certain clothing.
Kate Nash
Tia: What does “Free Gaza” mean to you personally? and why did you feel it was important to stand behind this message through our collaboration?
Kate: I felt it was important to copy what Laura Murton had written on her sign because I really don’t understand the messaging from the UK government right now. We’ve been told we can continue to support Palestinian people despite the recent move to proscribe Palestine Action. But Laura being questioned the way she was made me curious, do we have that right or not? I wanted to confront Dan Jarvis and ask him that specifically. ‘Free Gaza’ is to show support for Palestinian people who are not free and are not safe. We are watching a genocide happen.
Tia: What role do you think artists and musicians have in resisting censorship and using their platforms for opening conversation, especially now?
Kate: I think there are moments as an artist where it’s important to use your platform. And I think increasingly it’s about stepping back, listening and waiting for the right space to ensure you are adding something of value and not just adding to the noise. Times are weird and for me, protest is in my blood – I come from a noisy Irish family. I was raised to question things and to think politically from a young age. It’s scary to think about how censorship is creeping in and where it is headed, so surely using a voice on a stage is helpful in that regard.
‘Free Gaza’ is to show support for Palestinian people who are not free and are not safe. We are watching a genocide happen.
Kate Nash
Tia: What’s been your favourite performance so far where you’ve used the stage for protest?
Kate: I think it was at Glastonbury this year, headlining the Leftfield Stage. It’s such an iconic and historic tent with so many examples of protest in its midst, you’re surrounded by legends the moment you arrive on site & there’s a lot to learn from. I performed my song ‘Germ’ about what’s happening between UK feminists and the trans community, and we had all these big boards printed up from Rymans with select lyrics from the song on. I had friends come on stage with me and stand with the boards during the performance in a line.
It felt super punk and DIY but also like family, and then we gave the boards out after the show while Sinead O’Connor was playing over the speakers. It was such a cool moment. I was really proud to stand up for my trans friends and the trans community on such an iconic stage. Later, people tagged me in their posts of the boards making it all the way back to their living rooms which was amazing. I love that they live on.
I think there are moments as an artist where it’s important to use your platform. And I think, increasingly, it’s about stepping back, listening and waiting for the right space to ensure you are adding something of value and not just adding to the noise.
Kate Nash
Tia: If someone in the audience sees this piece and doesn’t get the context, what do you hope it sparks in them?
Kate: I hope that people can start to disagree with each other with more respect, that people can start to listen to each other better and see the truth about what’s happening in the world. Really, we’re all being used in this crappy propaganda machine – and while we argue with each other, warmongers and politicians are funding despicable violence that a lot of us are very removed from. We need to find our common values and treat each other with love and respect. Everyone deserves safety. I don’t think anyone can argue with that with any credibility, even if they don’t see the argument the same way.
Kate: Can you describe to me how & where you made this dress?
Tia: I made this in my studio in London, surrounded by scraps of fabric, paint pots, and quite a lot of cuppas. It was made with a sense of urgency – not just creatively, but emotionally too. The whole piece is a reaction to what’s happening right now politically, especially around censorship and protest. It’s stitched with frustration, but also with care and clarity. I wanted it to be both wearable and loud like something that doesn’t shout, but can’t be ignored.
Kate: Where did you grow up, and what was your childhood like?
Tia: I grew up in London. My childhood was chaotic in that beautifully messy way, full of drawing my mum’s dinner party guests, pretending to be on stage, inventing characters (imaginary friends galore) and making things constantly. I think I was always looking for a way to express big feelings before I even knew what they were. Art came naturally because it was the only way I knew how to make sense of things. It’s my language.
The whole piece is a reaction to what’s happening right now politically, especially around censorship and protest. It’s stitched with frustration, but also with care and clarity.
Tia O’Donnell
Kate: When did you first start making art, and what was it like?
Tia: I can’t really remember a time when I wasn’t. I used to draw little comics and weird characters when I was tiny and then later it became painting, writing, performance, all of it. I was always drawn to storytelling. Art felt like a friend that didn’t interrupt me. It was freeing but also grounding, and it still is.
Kate: What is your process like?
Tia: Messy at first; chaotic, a bit obsessive. I gather scraps of ideas, things people say on the bus, dreams, protest chants, smells, memories and then something clicks and I just start. Once I’m in it, I get very tunnel-visioned. It becomes this really physical thing I need to move with it. A lot of what I make is about feeling, rhythm and sentimental value.
Kate: Do you like alone time or social time more?
Tia: I need both, but in very different ways. Alone time is essential. It’s when I listen, when I digest, when the ideas grow. But I also love being around people, especially creative, chaotic, funny ones who help shake me up. I think artists often live in extremes with this. I swing between solitude and overstimulation, and somewhere in that mess, the art magic happens.
It’s not your job to be liked, it’s your job to be honest. You don’t owe the world perfection. You owe it sincerity.
Tia O’Donnell
Kate: What’s your advice for people making art in a very public world where you can’t please everyone?
Tia: Let go of trying to be understood by everyone. It’s not your job to be liked, it’s your job to be honest. The internet can feel like you have to have a perfectly formed opinion on everything, instantly but art isn’t like that. It’s slow, weird, layered, like that onion you’ve left in the back of your cupboard. You don’t owe the world perfection. You owe it sincerity. Find your people, stay close to them, and don’t dilute your work just to be more palatable. That’s not where the good stuff lives. The tricky stuff is the best stuff.
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