In an era dominated by digital noise and social divides, gathering creatives to connect physically has become a strikingly rare endeavour. Acrylicize, the London-based global design studio, embraced this challenge with its inaugural Joy festival, a two-day celebration held on 19-20 June at The Art House in East London. The event embodied the studio’s founding philosophy of “For the Joy of Expression,” manifesting as an intimate, hands-on exploration of creativity rather than another typical industry panel or networking session.

James Burke, founder of Acrylicize, articulated the festival’s underlying purpose: to spotlight the quieter, often overlooked facets of joy that persist amidst societal polarisation. “We’re at a time where we need to see the joy in life more than ever before,” he said, highlighting how the event sought to counterbalance the often overwhelming flux of news and social media with spaces for authentic, joyous connection.

Central to Joy’s distinctiveness was its experiential approach to creativity. Spearheaded by Connor Rankin, head of creative programmes at Acrylicize, the festival deliberately moved away from passive listening towards active participation. Attendees joined workshops led by artists such as Jeanne Harignordoquy from SPF50 creating kites, engaged in lively life drawing sessions with sculptor Wilfrid Wood, and experimented with screen printing alongside the Working Class Creatives Database, among other immersive activities. This rejection of exclusive or rarefied notions of creativity emphasised collaboration, messiness, and immediacy—qualities often lost in the digital realm.

The timing of Joy also resonated amid the profound transformative forces within the creative industries, particularly the rise of AI. Burke reflected on the complex intersections between technology and human creativity, acknowledging that as AI advances, it provokes crucial questions about what it means to be human and how artistic creation adapts or perseveres. Such themes wove through the festival’s programme, which featured innovative projects like Brian d’Souza’s Auntie Flo music from plants; the deeply personal, immersive performances of Harriet Richardson; and Salomé Wu’s debut works paired with live music. Other contributors included spoken word celebrations by Worms magazine, artist talks by Dutch multidisciplinary creator Helmut Smits, and site-responsive sculptures from Holly Hendry.

What made Joy particularly impactful was its organic approach to community-building. Rather than a tightly orchestrated marketing event, the festival stemmed from Acrylicize’s authentic ethos, reflecting a genuine desire to create and celebrate with others. James Burke noted an immediately palpable “great energy” felt upon entering The Art House, describing the festival atmosphere as charged with enthusiasm that transcended conventional expectations. This authenticity appeared to deeply resonate with attendees who found the experience both joyful and meaningful.

Moreover, Joy underscored the principle that creativity is not a profession restricted to a select few but a universal human capacity. According to Burke, art’s power lies in its ability to transcend barriers of age, race, gender, and political views by fostering emotive, visceral connections. This inclusivity was reinforced through collaborations with The Art House’s existing community partners, ensuring the festival remained rooted in local creative ecosystems rather than importing external talent.

In an age increasingly shaped by digitisation and AI disruption, Joy offered something profoundly needed: the rare opportunity to be truly present with others in a shared physical space. Its deliberate invitation was for people to momentarily step away from the noise and distraction of contemporary life to simply exist together—creating, feeling, and connecting. As Burke put it, the event captured a form of creative presence that felt “like quite a radical act” in today’s landscape.

As Joy prepares to become an established part of London’s creative calendar, its success reveals a broader industry craving for experiences that prioritise human connection and expression over performance or business. Acrylicize’s venture into this space echoes their earlier initiatives at The Art House, including immersive exhibitions like Light in Motion during the London Design Festival 2024, and community-driven projects such as the Emerging Black Artists exhibition in collaboration with Creative Mentor Network. These efforts reflect a consistent commitment to nurturing diversity, innovation, and joy in creative practice.

Ultimately, Joy’s outstanding reception illustrates the enduring value of physical gathering in a fragmented world—where celebrating the simple, collective act of making becomes a potent form of resistance and renewal. For two days in East London, the festival reminded participants that creativity remains an essential and joyful force, capable of reconnecting humanity amidst times of unprecedented change.

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Source: Noah Wire Services