Artwork Statement:

My Brexiles portraits document the stories of 27 British citizens who have migrated from the UK (or chosen to remain living abroad) where Brexit was a key factor influencing their decision. The vividly coloured, cubist style portraits, represents their personal experiences and explores the resulting fragmentation and reconstruction of their identity. Through interview, we discussed how their sense of national identity had been affected by nationalism, migration, marriage, parenthood and being a member of the LGBTQ community, and determined which colours or colour-schemes could be used to symbolically represent these complex identities.

The artwork opens up a conversation about the conflict between British and European values, explores how these individual’s lived realities have been influenced by the morphing political landscape in the UK. Together, the 27 brightly coloured paintings create a sense of solidarity in their European identity, evoking the mood of the 27 EU nation flags flying alongside each other.

More info: http://www.madeleinakay.com/blog/

‘Brexile’ portraits are accompanied by convincing story telling. The portraits and their composition allow for several interesting readings (e.g. as their inverted version) and reflect the consequences of Brexit on these individuals in an individual visual fashion.  (Eulalia Rubio, Andreas Eisl, Jacques Delors Institute)

Madeleine Kay chose a creative way of using color in her paintings that transcends the idea of Europe as a collection of flags and nationalities in an economic partnership but rather explores what makes us unique as individuals and therefore, what makes Europe rich: its diversity (Sally Fenaux Barleycorn, Scriptwriter & Director)

Through a long and tireless research, Madeline Kay got close to the life of 27 British citizens living across the EU and therefore strongly affected by the Brexit. Stories, fears and hopes of each “Brexile” inspired the artist in painting a set of unique and expressive portraits. (Giorgio Coen Cagli, photographer)


and The Crew: George Cummins, Shona Marshall, Skye Lim

Artwork Statement:

Overheard’ is an exploration of the complexion of human communication and its implications in the context of Brexit. How do we communicate if we are not willing to listen? Can two monologues constitute a dialogue? ‘Overheard’ doesn’t aim to give clear answers to the questions surrounding Brexit, but rather it aims to change the discourse, to ask new questions and start new conversations. The short film deliberately offers elements of ambiguity to encourage multiple interpretations and reflections on the (mis)communication between Brexit supporters and opponents/between the UK and the EU. Regardless of political views, ‘Overheard’ encourages reflection, but it also tells us that the story is not yet over, that there is hope for the future.

I liked this short video: it is well directed, shot, and acted, and is an original take on Brexit and what it means for the authors. I found it to be a rather original take on the topic, and appreciated its open-ended nature as concerns interpretation. (Pier Domenico Tortola, University of Groningen)

Megan Daniels and her team went right into the heart of what the Brexit process means to many, making a seemingly simple piece of video work speak volumes without using the propagandistic forms of communication they critique. (Sally Fenaux Barleycorn, Scriptwriter & Director)

Megan Daniel’s work is a witty and yet interesting representation of some of the most problematic aspects of the Brexit process: lack of communication and misinformation. Following the absurd and surrealistic development of a rather average conversation, the watcher has the feeling that many chances of true confrontation and understanding have been lost. (Giorgio Coen Cagli, photographer)