Born in New Zealand and trained as a journalist, Currie emigrated to the UK in 1977. Currie
squatted in South London. She formed a band the Unfuckables that performed a single
gig. In 1981, Currie joined
Tom Bailey,
Joe Leeway, and others to form part of
Thompson Twins, the line-up of which included up to seven members in its early days. Thompson Twins became a trio in 1982 and signed two major
recording contracts with
Arista Records before signing with
Warner Bros. Records. Currie was a lyricist, percussionist, visual stylist, and backing vocalist in the band for 15 years. in
Bristol, 1984 She co-wrote and recorded six studio albums which included gold and platinum records and the hits "
Doctor! Doctor!", "
Hold Me Now", and "
You Take Me Up". The band performed at the
JFK Stadium, Philadelphia for the 1985
Live Aid concert and worked with artists including
Nile Rodgers,
Madonna,
Grace Jones,
Alex Sadkin, Matthew Seligman and
Jerry Harrison of
Talking Heads amongst others. Her songwriting credits also include "
I Want That Man", an international hit for
Deborah Harry in 1989. In 1984 the band participated in the "first international satellite installation" by
Nam June Paik, "
Good Morning, Mr. Orwell". By 1992, Currie and her then husband, fellow Thompson Twins band member Tom Bailey, elected to form
Babble, featuring Currie as lyricist, percussionist and visual artist, as a means of creating music without the commercial expectations that were placed on Thompson Twins. In 1994 Babble released their debut studio album,
The Stone. Currie later returned to New Zealand working primarily as a glass artist and
environmental activist. She was the founder of the women's anti-
genetic engineering movement Mothers Against Genetic Engineering in Food and the Environment (MAdGE). In 2003 she designed a series of protest
billboards that caused controversy in New Zealand and won several international art and science awards. In 2004 she returned to London where she works under the name Miss Pokeno and makes art that fuses "joyful dissent" with disruptive and uncomfortable narratives. Her practice plays on the boundary between the humorous and threatening, as with the (semi-) mythological militant feminists The Sisters of Perpetual Resistance and the Armchair Destructivists. She has a studio in London called Doyce Street Studios Projects. == References ==