We know how important it is to trust the people judging your work when you enter a competition like ours. With that in mind we thought we would spend a little time introducing you to our judges and getting their thoughts on The Elbow Room Prize.
For the third and final part of the series, here is Elbow Room co-curator Zelda Chappel
I joined Elbow Room just after the publication of Volume 1, or at least that's when it became official. Rosie and I met over Twitter when she was looking for just the right paper and I was able to suggest some places to look. And it all grew from there. Having been a part of As Yet Untitled from almost the beginning, it's been amazing to see it evolve and thrive. To be part of a growing community of artists across all disciplines is a true privilege.
The expansion of As Yet Untitled this year was made possible by the incredible generosity and support of our crowd funders. It has given us the opportunity to work with artists, muscians and writers in a closer, more in-depth way, sharing a process which ultimately leads to a limited edition, hand crafted book, but not quite as you know it. We're really excited about the projects we're working on in 2016 and 2017, the first of which, Moonrise by Ella Chappell, was released in May.
I feel really passionately that no art form should sit in a silo and what excited me about working on Elbow Room from the beginning was being able to curate physical spaces where all art could sit together and converse. And I'm still excited by that process every time we put our next volume together.
Outside the realm of AYU, I am a writer, of poetry mainly but also short and flash fiction. My work can by found in various publications both in the UK and in the US and Canada. My debut collection of poetry, titled The Girl in the Dog-tooth Coat, was published by Bare Fiction in July 2015.
My poems generally explore relationships; with time, with landscape, with memory, with each other. I am currently working on a chapbook length project exploring how we experience emotional memory and its links to place.
I am also a photographer and a printmaker and am currently exploring ways in which I can make more explicit links between my visual and literary practices.
As a judge, I'm excited by pieces that make a connection, pieces that grab a hold of me and won't let go. I want to be thinking about them days later. I'm attracted to pieces that take risks, that push boundaries, that innovate. I want to see pieces where the use of form is well considered, competently handled and informs the whole. I want to be challenged. Above all, I want to see pieces that draw me in, that make me believe in them, that make me want to argue for them. I can't wait to discover what you've sent us.