βStevens is a multidisciplinary artist, exploring the constant push and pull between the many selves that exist within a person. Their practice uses personal experience to reflect on how these inner figures clash and overlap, presenting an ongoing struggle for control that can feel chaotic. By balancing playful folly with serious introspection in the making process, the work aims to have an absurd levity in the recollection of solum trauma. Stevens’ work explores coexisting contrasts like light and dark, past and present, the absurd and uncanny, vulnerability and monstrosity.
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At the heart of Stevens’ practice is a commitment to accessibility, collective care, and the transformative power of the arts. Their teaching encourages others to explore, play, and experiment without pressure for neat outcomes. Stevens sees art as a shared, healing process, and brings it into community as a tool for connection, growth, and resilience. In an ever more expensive and unbalanced society, it is important that arts are accessible to everyone.
Clowns & Beats
New work by Anna Stevens & Mary Lou Lawless-Gill
Opening: 22/04/26 @7pm
Piaculum π
Piaculum: A Short Pie Story (2025) by Anna Stevens
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β"Adrian hated his life. He hated his flat. His overtly familiar commute. His inconsistent parents. His absent friends. His lacklustre love life. But the thing he hated the most, beyond compare, was his job. It sucked away every bit of goodness, every tint of colour, sapped all his energy, from every other aspect of his existence. His life was grey. His life was pie."
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A short story following disillusioned pie shop employee Adrian and his existential inner turmoil whilst navigating contemporary urban society. Written and illustrated by Anna Stevens.
Bogus Catharsis β
 'It's all going down the shitter' (2023-4) |  'POP!' (2024) |  'Heather' (2024) |  'The Nightmare' (2024) |
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 'Fool' (2025) |  'Return to Work' (2024) |  'Bedrot' (2025) |  'great expectations' (2024) |
 'Last Fuckers' (2025) |  'The Church' (2024) |
Creating sculptural assemblages from personal detritus, body casts and fabricated elements, Stevens embodies past versions of themselves, creating corpse-like static cathartic reflections of complex bodymind traumas. Key points of meditation in the work include substance abuse, the passing of relationships, and mental and physical illness. The artist draws comparisons between rituals, fooling, the sacred, the everyday, and iconography. These objects or relics, that act as souvenirs that hold memories of personal histories, are often mutated and mummified to express the horror and surreality of traumatic events and the complexity of emotional turmoil upon reflection of one's own 'bad' behaviours.
“Adults and children sometimes have boards in their bedrooms or living rooms on which they pin pieces of paper: letters, snapshots, reproductions of paintings, newspaper cuttings, original drawings, postcards. On each board all the images belong to the same language and all are more or less equal within it, because they have been chosen in a highly personal way to match and express the experience of the room’s inhabitant. Logically, these boards should replace museums.”
- Ways of Seeing (1972) by John Berger