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GROUNDWERK 6.5 [ONLINE RESOURCE]: Learn To Mis-Use English Grammar

How can we bring new perspectives to our varying relationships with English grammar? How does a ‘good’ writer structure a sentence? How can we rethink the building blocks of written communication, and generate new forms of language to suit different needs?

In this resource developed by curator and writer Taylor Le Melle, review concepts that have been put forward by one particular system of English grammar. Look at some of the common elements that can be used to structure a sentence or phrase, and will consider examples of how these elements have been ‘mis-used’ by writers of fiction and song. Think through how we can re-formulate the sentences in existing texts and use these methods day-to-day: writing emails, letters, poems, essays – or art criticism.

Groundwerk is a monthly series of free practical workshops for artists and creatives wishing to gain the skills to support their practice. This resource was developed in response to Ima-Abasi Okon and Taylor Le Melle’s exhibition, Technical – Adjacent, exhibited in our gallery space from 18 January – 29 February 2020. A version of the workshop was initially developed for Chisenhale Gallery in July 2019.


Taylor Le Melle is a curator and writer. Recent writing has been featured in publications including: Sad Sack by Sophia al-Maria (Book Works); Che si può fare, Helen Cammock, Max Mara Prize (Whitechapel Gallery); Gender, Space (Macmillian) ed. Aimee Meredith Cox; as well as in periodicals such as Art Monthly and Flash Art. Taylor is a member of not/nowhere, an artist workers’ cooperative, and co-runs PSS, a publisher of printed material. Taylor was writer-in-residence at Jerwood Visual Arts in 2018 and curator-in-residence at Wysing Arts Centre in 2019.


Image credits:

Studio Notes with Draft Object, Courtesy Taylor Le Melle

Studio Notes, Technical-Adjacent, Courtesy Taylor Le Melle and Ima-Abasi Okon

Taylor Le Melle and Ima-Abasi Okon, Technical-Adjacent – Installation view: Turf Projects, 2020. Image © Tim Bowditch


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