Cosey Fanni Tutti Reflects On Five Decades Exploring the Taboos of Western Society

Christine Carol Newby was born in Hull, England, in 1951. At 17, around the time she started dating a young avant-garde artist and occultist who called himself Genesis P-Orridge, her father threw her out of the house. The pair moved into a former fruit warehouse by the town docks known as the Ho Ho Funhouse. P-Orridge renamed Newby, his lover and creative bedfellow, “Cosmosis,” which was soon shortened into “Cosey.

COSEY FANNI TUTTI: Well, I lived on the outskirts. I didn’t see much of it until I was going out to gigs or if I went into town with my parents shopping. We lived on an estate, which was built after the war because so many homes had been bombed out. We had loads of people on the street, all different professionals and a real mix of religions and occupations. The war demolished the class system in a way, which was a beneficial thing, especially for me.

Tutti’s “Woman’s Roll,” an action at London’s A.I.R Gallery from 1976, prior to her first public performance with Throbbing Gristle. The piece involved nudity, body movement, and a range of found objects including eggs, fur, and feathers.magazine competition that involved you naked with gold cellophane, glitter, and a bed of ribbon — a mise en scène with COUM members dressed as a nurse, a clown, and a mad scientist.

TUTTI: Yeah, I did. And when I’d mention it, the money was torn up in my face. I was told it was meaningless. Well, obviously it wasn’t fucking meaningless, otherwise I wouldn’t have been working and things wouldn’t have happened.TUTTI: COUM changed so much from the start to when we moved to London in 1973. Once I started doing the sex work, it got quite heavy for COUM.

TUTTI: There were always levels of being a hippie. You could be a weekend hippie, just like you could be a weekend punk, where you live at home and are only radical on the weekends. And then there were the hippies, committed to an alternative lifestyle, who lived almost in poverty, got stoned all the time, and made their own clothes. COUM was in that category. But the world has changed so much now, because it’s so connected. Back then, you could almost live without being part of the system.

TUTTI: The fascist insignia and the bolt was about approaching and researching the history of how societies and cultures have been manipulated. It’s about the turning around of something that’s quite beautiful into something that completely isn’t. We were really interested in the power that symbols can have, along with control systems and graphic design.

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