June Projects

June flew by for me with a host of projects on the go in tandem, allowing only snatched moments in our fantastic tropical weather – one of the best summers I’ve known in UK.

Art in the community

I spent 4 days with PRU teenagers in a short residency at Bridgwater and Taunton College as part of Somerset Art Works Young ProspectUs Project.  We created mutant creatures inspired by insects and sea creatures, experimenting with reclaimed and found materials including aluminium cans, bottle tops, copper pipe, wire, found plastic and metal objects. It was a unique experience, great fun working with the PRU staff and students and hugely rewarding to see the youngsters lose their inhibitions to master skills like soldering.  ‘…turning down a mountain biking trip to do a second session soldering metal was what this project is all about: creating great artefacts with a professional artist … within an environment they felt safe, providing an experience that strengthens their resilience as they move on from school to college’ (Lisa Robertson, Deputy Head of PRU Centre).  The work will go on display to Taunton Flower Show in August.

My last project with All Hallows students involved making headdresses for an exhibition ‘All the Fun’ at Silk Mill, Frome.  The theme was carnival and circus.  I worked with students in Years 4-8, making the sculptures from found, reclaimed and discarded materials, based on endangered wildlife, particularly sea creatures.  The project was inspired by the issue of waste, our plastic oceans, and the plight of creatures such as albatrosses and turtles who are suffering from the effects of our rubbish, ‘a stand against plastic pollution so we can see our sea creatures thrive once again’ (Tia West, Year 8). ‘Making my headdress was great fun!’ (Louis Roberts, Year 6).

I was involved in a recent Up Late event ‘Drawn to the Museum’ at the Holburne Museum (29/6) – a collaboration with Bath Spa University.  The event involved MA students, artists and speakers engaging with the public at the museum.   We set up pop up exhibitions of our work, focusing on drawing.  I attended an inspiring talk by Tania Kovats who makes drawings, casts trees, and explores water as her subject.  I also ran a life drawing session with a clothed model doing quick poses in the grounds, where members of the public and students joined in, it was fun!

I worked with The Rubbish Art Project and members of the Shepton Mallet community making a sheep out of reclaimed steel, chicken wire and various ‘trash’ materials as a community project for the town.

Plans are afoot for a Halloween Harvest Scrap Sculpture Community Project, based on harvest and the cycle of life.  I hope to created 3 large-scale metal sculptural works for a public event on Halloween, to be installed at Shepton Mallet market cross. The work may be filmed by a TV series Scrap Kings for Discovery.

Inspiring exhibitions

A couple of intense research trips to London were inspirational.  As part of my MA Degree course, a tour de force trip led by Andrea Medjesi-Jones (Bath Spa Uni MA course leader) introduced us to several new galleries including the smart spacious Marian Goodman Gallery.  An installation by Leonor Antunes (Portuguese) consisted of suspended ‘wormlike forms’ made of immaculately stitched leather, wrapped rope and brass tubing, interspersed with sculptural glass lights hung close to the ground.  The organic linear forms are repeated on both gallery levels, interrupted by reflective screens – all based on work by Anni Albers and Mary Martin.  Amongst others we visited Hauser & Wirth, Alison Jacques Gallery (Michelle Stuart: The Nature of Time), Herald Street Gallery and Maureen Paley (Oscar Tuazon: Fire).

I returned to London to see the results of the Tate Exchange project ‘Inventory of Behaviours’ at Tate Modern, a project in which I was invited to take part with a set of ‘instructions’.  While there, I visited Lee Bul’s, ‘Crashing’ at the Hayward – a mix of sculpture, installation, sound, film, and performances from the ‘80s.

Theatrical hybrids and fictional landscapes combining industrial and organic materials fill the spaces in a dramatic show.  Bul, from South Korea, confronts political persecution in her country, references disasters, questions cultural attitudes to the female body, and the pursuit of perfection through her re-appropriation of architecture and bodily forms.  She explores our ‘fear and fascination with… the uncanny’.   It was all fascinating, though I felt more affinity with her less glitzy other worldly soft sculptural monster works, especially ‘Monster Pink’, a reconstruction of a 1998 piece, and her stitched cocoons, made from various fabric.  In Scale of Tongue (2017-18) a hidden fan created a gentle motion in the fabric.

Sarah Sze’s ‘Image in Debris’ installation at Victoria Miro is extraordinary.  The darkened room is lit by a mesmerizing set of flickering moving images – luminescent blue satellite images of cities at night, reminiscent of bio-luminescent microorganisms, celestial imagery, a cheetah running in slow motion, the elements – layered on the wall and on small torn paper fragments supported by a delicate framework of thin rods.   Drips of dried paint catch the light. Everyday objects, particularly office supplies, are placed around the installation. This is all accompanied by sounds of clunks, gentle whirring, drips, clicks. The magnitude of our universe becomes a mad invention.

Berlinde de Bruyckere’s sculpture ‘Quan’, 2010, in Bumped Bodies at the Whitechapel Gallery is a contorted, bruised human figure buried in a cushion, built up from several layers of wax over an iron structure.  It makes one feel uncomfortable, even repulsed, but I was in captivated by the wax skin tones and powerful form she has created.

Closer to home, at Hauser & Wirth Somerset ‘Alexander Calder: From the Stony River to the Sky’, is a beautifully curated exhibition.  His delicate balanced mobiles and stabiles and their shadows fully occupy the space. Conversations between artworks, recurring forms and his upcycled jewelry, some seen in UK for the first time, offer scope for new ideas.

Participation in Manifesta12

I am very excited to have been selected to take part in a 10 day workshop in Palermo soon as part of Manifesta12, supported by Bath Spa University Enterprise Showcase Fund. The project ‘Ingruttati Palermo Planetary Garden’ research and fabrication workshop will involve a group of international artists, geographers, urban landscape architects and students who will be exploring the extraordinary hidden underground networks of the qanat waterways.  Metaphorically similar to the mysterious powers of mycelium – also an underground system, which can stretch thousands of miles within one organism, the waterways reflect science’s recent discovery of vast reservoirs of water contained hundreds of miles beneath earth’s surface.   This will be a wonderful opportunity for me to take part in the prestigious international art event, and to develop the aspect of my practice involving collaborative art projects in the community on an international level.

My website will be undergoing some changes in the next couple of months – look out for the rebrand!

 

 

Instead of a Cross, an Albatross

I am relieved that the research-based module 4 of my MA is now over.   I read alot of books – ‘Materiality: Documents of Contemporay Art’ is a brilliant eye-opener to concepts on matter and process.  I now have a fairly clear run until September to work through ideas and create for my final MA show.  I have been working outside for the first time since last summer in the February sunshine. Though cold, it has been wonderful to spread out and get on with new work.

I have become fixated by the plight of sea creatures, dying in large numbers from trash heap gyres in our oceans. I am particularly disturbed by images of Albatross chicks taken by Chris Jordan, a photography initiative at Midway, USA. Their stomachs get bloated full of plastic objects – sharp shards, lighters and bottle tops, fed by their parents mistaking the floating objects for morsels of fish. Their insides reveal a microscopic view of our trash.  My new piece is a response to this terrible reality, to be shown in a residency at Walcot Chapel, Bath, later this month (12-18 Feb).  I am linking the myth of the albatross in Coleridge’s Rime of the Ancient Mariner (‘instead of a cross, the albatross’) with ideas of the crucifixion, using found objects including old steel nails, rope and plastic.

I had to make a 2 minute video of an artist between 1900-49 to present as part of Dexter Dalwood seminars at Bath Spa Uni.  I decided to make one about Graham Sutherland’s Green Tree Form: Interior of Woods.  For a first film, it turned out ok, thanks to my son Jack for his technical help putting it together.  Sutherland’s thorn series brought to mind the association of nails/thorns with the crucifixion for my new piece.

A couple of my pieces (below) will be shown at the Elemental Sculpture Park near Cirencester, Gloucestershire (The Paddocks, Somerford Keynes, Cirencester, Gloucestershire GL7 6FE from 1st April to 30th September, 10:30 – 17:00, closed Tuesday and Wednesday, last admission 16:00).  Do visit if you are in the area.

I have started invigilating at Hauser & Wirth’s The Land we Live in – The Land We Left Behind.  The exhibition is a narrative about our relationship with the rural, featuring an incredible selection of artists including Archimboldo, Beatrix Potter (a lovely drawing of fungal spores which prompted me to investigate her innovative work on lichen and fungi), Samuel Palmer, Henry Moore, Mark Dion.  An intriguing show and so comprehensive, it is worth several visits.  As part of the exhibition there is an Honest Shop where local artisans can sell their work (£20 max).  I have some small copper items for sale – enameled lichen forms, keyrings, incense holder, balls and hearts!

Yesterday I visited Dorothy Cross’s Glance exhibition at The New Art Centre, Roche Court, near Salisbury. I was amazed by her carved marble Bed with its gently creased sheets and soft-looking pillow hollowed by an absent head. She manages to turn a traditional medium into something very contemporary.  Her body fragments – dangling feet and hand casts are also very beautiful.

Here’s to more February sunshine!

 

 

 

 

Material experiments, exhibitions and open studios

Hello to Winter and the festive season!

I am now in my second (and final) year of my MA Fine Art course at Bath Spa Uni.  It has been a great opportunity to reflect on previous work, find new ways of working and research.  I am still expanding and refining ideas, while continuing the thread of using reclaimed materials. This aspect relates partly to the issue of waste and energy – utilising and recycling.  It belongs to a wider subject of our relationship with matter, nature, and ourselves.  In the series ‘Wonders of Life’ Brian Cox explains that energy is eternal, transforming from one thing to another. There is a connection between everything that has ever lived, and an impact, as in the Chaos theory, or Butterfly Effect.  I see Vitalism as energy in all things, although in Science it is the vital force peculiar to only living organisms.

A mass of frass (insect excretions) appeared around tiny entry points in a piece of found wood (above) in which I had inserted glass tendrils as growths. The frass resemble decaying matter on a holdfast I studied. I find them intriguing, referencing life’s recycling, organic matter as bodily forms. These phenomena have been starting points to further investigations. They led to microscopic studies of frass. Microscopic hidden structures vital to our being reflecting the magnitude of life. These images could easily be rock formations – even meteors.

I have since experimented with annealing and beating copper over molds I carved in wood, based on frass forms. My copper project – exploring the materiality of copper and what happens to it under different conditions – included an experiment with copper electrolysis. The alchemic process is fascinating, I have learnt a little more chemistry and made copper hydroxide as a pigment. Two scrap pieces of copper were connected to a low voltage battery charger, with opposite charges. The electricity splits the ions in salty water. A complex chemical process ensues, involving copper hydroxide, chlorine and hydrogen bubbles. The effects of disintegration and patination are wonderful. The harnessing of elemental energy could become an artwork.

I recently visited the exhibition ‘Italian Influences, British Responses’ at Estorick, London. It was interesting to see current artworks alongside the anti-consumerist 60’s group Arte Povera, who broke with tradition believing art should be inclusive.  In their resolution to fuse life and art, nature and culture, they used everyday materials, often incongruous juxtapositions of mundane manufactured with organic. Their work was about energy and the elements. The exhibition included a piece by Mona Hatoum.  She uses everyday objects arranged to signify displacement and confinement.  In her work domesticity becomes ‘menacing’ (Van Assche).  In a Youtube film she explains her intuitive response to materials. She incorporates body parts eg nails, skin, hair, creating modest hair balls, or hair grids. Through these bodily excretions she transforms materials and meaning.

I also saw Damian Ortega at White Cube Gallery and watched him online. He playfully takes apart and re-assembles components, dealing with fragmentation of objects, time, materiality.  It is a philosophical discourse involving material and message.   I like his encyclopaedic geodes made from old maps, which he layers as shells, suggesting geological time, and his visual essays, which question truth, mass media’s effect on our perceptions and judgements. ‘Learning Scheme’ indexes small thumbnail clay pieces according to their similarities. Some forms are similar in different groups/lines. Like convergent evolution, they seem to morph, some are organic, others more mechanical.  Since then I have been working in clay a little.

Last week we opened our MA studios to the public.  I created an installation for it inspired by the organic forms I have been studying, using found and reclaimed materials, some transformed by me. It was a great gathering and the deadline helped me focus on one thing for a while.

On a more commercial note, to make ends meet, I have just updated my Etsy page: www.etsy.com/uk/shop/FionaCampbellArt. Do have a look – there are some possible gifts for Christmas!

Have a lovely one!

 

Exhibitions: Black Swan Arts, Fresh Air and 50 Bees

Just a brief update on a few exhibitions and events that I’m taking part in this Spring.  I hope you will be able to visit some of them.

‘The Future Can’t Wait’, recently opened in the Long Gallery, Black Swan Arts Centre, 2 Bridge St, Frome, Somerset BA11 1BB, 18 March – 5 April (see attached poster/invite).  A show of exhibits from 30 Bath Spa MA postgraduate students across four disciplines – ceramics, fashion and textiles, fine art and visual communication.

I’ve been involved in linking this up with BBC’s get-creative-weekend.  On Saturday 8 April, from 2-4pm, Black Swan artisans will be offering drop-in taster workshops for adults and children over ten years old, and MA artists will work with young people offering activities for children of all ages, exploring concepts of their current exhibition.  I will be doing one of the workshops.

I’m still working on my piece for Fresh Air ’17.  Too large now for my studio, I am making it outdoors.  Spring weather is helping a lot!  Quenington Old Rectory, Quenington, Cirencester, Gloucestershire GL7 5BN, 11 June – 2 July, open daily 10am-5pm, (£5 Adults, children free).

I’m also making a small sculpture for Fifty BEES: The Interconnectedness of All Things, at ACEarts, Somerton, 1-22 July, open Tues – Sat, 10am-5pm.  The topic is close to my heart.

Have a lovely Spring!

Lead Lines

Months of research and writing for research methodologies on my MA  is now finally over and I am looking forward to focusing more on developing my practice.

I have been looking at worms.  I studied an earthworm through a magnifying glass.  Its semi-transparent body enabled me to view its internal organs which buckle and coil as it moves. I am intrigued by a pulsating deep pink artery that runs centrally through the length of their bodies, delineating this coiling movement.  My ideas are revolving around lead lines, reinforced with steel rod in parts, that suggest huge 3d worm forms, skeletal, with linear coiled pink innards made from copper wire, heated red glass, orange twine and plastic strands.  This may change, perhaps it will seem too representational, although the expansive forms meandering through space could be quite breathtaking.

Worm casts, graphite drawingStudy of worm's arteryLead lines

As an experiment, I have created a small worm colony in an old fish tank, with dead leaves for them to munch.  In a few weeks I plan to remove the worms by attracting them to the top, then cast their tunnels.  If it works, it will be interesting to see what their tunnels look like, how they interconnect.

I have cast some more 3d lead lines, using routed wood blocks as moulds, made with a friend (Nick Weaver)’s help.  The wooden lines were gouged with 4 different router cutters, so that I have a range of curved and v-shaped lines.  The process was slow, as the lead didn’t melt properly on my studio electric hob, until I directed a gas blowtorch flame into the hot pan too.  When I poured, the slag remained in the pan, so the lines were smooth, clean lead.   I am considering how these might become more 3d, or whether they don’t need to, and how to convey message with method and materials, creating forms that carry natural associations, bridging the gap between science and art.

Collaboration

'Flock in Flight' All Hallows Prep School group work

Each project brings with it new challenges. Sometimes several projects run alongside each other and the art of juggling can be a challenge in itself. Some of my roles overlap or interlink. This can be a good way to function, ‘killing 2 birds with 1 stone’ (though I hate killing), easing the problem of having too many things on the go, but isn’t so straightforward if you don’t want to compromise the work, and it can create a bottleneck time-wise, amongst other complications. I’ve enjoyed working alongside other artists/makers of all ages. I like collaboration – at its best, combined effort multiplies output and result, it’s more fun and creatively, one can learn so much from working with others.

The past month has been full-on. With a bit of time to reflect now, here’s a look at what went on in my little creative world (in the bigger world – all I can say in a nutshell is PLEASE CAN WE UNITE AND STOP KILLING).

Teaching, Workshops, Talks, Demonstrations

On 12 June I spent a day at the Hidden Garden Art Show (Maureen Michaelson Gallery, Hampstead), part of Chelsea Fringe Festival where my sculptures were on show with other selected artists, demonstrating my work process, running a drop-in workshop and giving a talk about my work to visitors.  Although it poured with rain all morning, the sun brought a magical shimmer and quite a crowd in the afternoon, including Tim Richardson – founder of Chelsea Fringe.

Drop-in workshop at Hidden Garden Art ShowWorkshop participant's beetleMe talking to Tim Richardson (leads Chelsea Fringe)

I teach 2 evenings a week at All Hallows Prep School and as I’ve been involved in the Secret Swans Art Trail (one of Black Swan Arts’ 30th anniversary events and part of Frome Festival), I devised a project to involve the children in the Trail.   We created a flock of flying swans in wire, which were installed on the exterior wall of Black Swan’s historic Round Tower.  Inspired by my recent trip to Sophie Ryder’s exhibition at Salisbury Cathedral, we used her ‘scribbly’ technique to add more black areas.  It was an effective solution given time constraints.  The final lessons getting the work completed was a mission as some children were absent due to end-of-term activities.  Thankfully others stood in (special mention: Ellie West and Nick Somerville!). The swans looked like faint drawings, quite lovely and ethereal, though visitors had to look hard to see them.

Student's work in progress - making the All Halllows swansStudent's work in progress - making the All Halllows swansMy contribution to 'Flock in Flight'Installation on Round Tower, Black Swan Arts Centre

Preparations for Priddy Festival included some ‘birdy notes’ as we called them.  A team of Mendip Creatives made them from wire and paper, for marquee decor.  A large willow hog was also made, led by Angela Morley.

I worked with a couple of schools recently (Bishops Wordsworth & North Town) making wire figures and mini creatures.  Bishops Wordsworth was a 2 day slog over to Salisbury in a hire car (my truck was broken) giving 4 x powerpoints/making sessions to 128 children in fairly swift succession. The short sessions of 2 hours per group had limitations, but it’s amazing what children can do when focused!

North Town Primary students making Giacometti-inspired figureNorth Town Primary student making Giacometti-inspired figureGiacometti-inspired figureGiacometti-inspired figureGiacometti-inspired figureWire Fish by Yr 7 pupil - Bishops Wordsworth School Wire Dragonfly by Yr 7 pupil - Bishops Wordsworth School Wire Seahorse by Yr 7 pupil - Bishops Wordsworth School Wire Crane by Yr 7 pupil - Bishops Wordsworth School Wire Woodlouse by Yr 13 helper - Bishops Wordsworth School

Volunteering Roles

Secret Swans badge (illustration by Belinda Brownlee)

I continue to be very involved in the Black Swan Arts centre as a trustee, especially this year, with its 30th anniversary.  We have held several special exhibitions/events to mark the occasion, which have so far been a ‘resounding success’ (Christina Oswin), with great feedback, overwhelming support from the public, serious funds raised, heightened the BSA profile and engaged the community.
1000 Postcards attracted over 1000 postcard-sized artworks (including 2 of mine) for a massively popular exhibition with over £10,000 of sales so far and visitors galore.  Unsold postcards can still be bought online.  Preparations for the Secret Swans Art Trail, which followed straight after, grew more intensive.  30 artists in 30 venues around Frome.  I made a piece, ‘Resurrection’, (using reclaimed steel, copper wire, tar, rope and scrim) and sited it by the river.  It only recieved slight damage, easily rectified and many positive comments, so am grateful to most Frome residents for their respect!  In addition I worked on the All Hallows piece, helped Nick Weaver with the organisation and was largely involved in the PR for these events.  They are great examples of a huge team effort by Black Swan volunteers.

Sketches for my Secret Swans work'Resurrection' - ‘Black Swan’ is a metaphor for the impossible becoming possible. This piece is about hope, endeavour, yearning, striving for truth, purity (‘we will never know everything’), freedom from constraints, environmental pollution. Swans represent love, which ‘conquers all’, symbolised by the crucifix. 'Resurrection' - ‘Black Swan’ is a metaphor for the impossible becoming possible. This piece is about hope, endeavour, yearning, striving for truth, purity (‘we will never know everything’), freedom from constraints, environmental pollution. Swans represent love, which ‘conquers all’, symbolised by the crucifix. 'Resurrection' - ‘Black Swan’ is a metaphor for the impossible becoming possible. This piece is about hope, endeavour, yearning, striving for truth, purity (‘we will never know everything’), freedom from constraints, environmental pollution. Swans represent love, which ‘conquers all’, symbolised by the crucifix. 'Resurrection' detail 'Resurrection' detail Secret Swans piece (detail) by Edgar PhillipsSecret Swans piece by Tessa Farmer (detail) Secret Swans piece by Alicia Merret Secret Swans piece by Angela Morley - detail Secret Swans piece by Annie Fry

I’ve been involved in various Somerset Art Works meetings, a couple for an exciting new project that might come off next year with Anna Best, and for Somerset Open Studios ’16 (17 Sept – 2 Oct).  As Rep for East Mendip, I’m keen to make sure we do Somerset proud.  I’m part of a cluster group in my area called The Mendip Triangle; we have a specially designed map (by Michel Linthorst) to help direct SAW visitors to our lovely rural Studios in September.  Looking forward to seeing this year’s SAW guides being delivered next week!

SAW flyer 'The Mendip Triangle' by Michel LinthorstSAW flyer (back) 'The Mendip Triangle' by Michel Linthorst

New Work, Exhibitions

I made a new Nest and Mini Dung Beetle & Ball for the Maureen Michaelson Show, in addition to existing work.  ‘Resurrection’ will be sited at the Devon Recycled Sculpture Trail, Teignmouth seafront from 23 July – 4 Sept, and I am now curating our forthcoming step in stone exhibition touring to Salisbury Art Centre (18 Aug – 24 Sept), with Amanda Wallwork’s help. 2 of my main outdoor pieces will be on show.  If you missed any step in stone artscapes last year, try to visit!

Nest detail'Cirri' created for step in stone, installed at Westdown Quarry, found and reclaimed steel, copper, aluminium, twine, wool, netting, rope, plastic. Photo by Duncan Simey

The garden and studio get quite a battering after big projects, so it’s time to tidy up!   My good intention of simplifying life, with less to clutter the brain is still in the development stage – I hope it will happen one day.  In the meantime, the juggling continues!

Secret Swans

I am currently working on a new piece for Black Swan’s Secret Swans Art Trail.

In celebration of the Black Swan Art Centre’s 30th anniversary, the Trail will be part of Frome Festival and Open Studios, running from 1-10th July.  A free event, it involves 30 swan-themed artworks in various media and styles.  Sculpture, drawing, textiles, ceramics, light and other surprising forms will be on display at venues around Frome, such as shops, cafes, public buildings and outdoor locations.  An opportunity for families, art lovers, school groups and adventurers to discover and buy intriguing collectable pieces by selected artists, ranging from silver jewellery, etched and linocut prints to large willow, steel and glass garden pieces.  Visitors can make secret auction bids for the work at each trail venue and the winning bidders will be notified at the end of the festival.  Badges will also be available for everyone who identifies all 30 artworks and there will be the opportunity to enter a prize draw at the Black Swan.  Artists involved include Tessa Farmer, Edgar Phillips, Ian Marlow, Bronwen Bradshaw, Chris Lee, Alicia Merrett, Nina Gronw-Lewis, me, Nigel Evans, Caroline Walsh-Waring and Angela Morley.   I will also be working with pupils from All Hallows School on a group wire piece for one of the trail artworks.   
 
The Secret Swans Trail hopes to raise much-needed funds – sales being split between the artists and Black Swan. Trail leaflets will be available from Black Swan and Frome library during the festival.  Organiser Nick Weaver says: ”It’s been wonderful to see the variety of interpretations of the swan theme and the quality of work by some great artists.  Visitors are in for a treat!
Hope you can come and visit!
Secret Swans poster

Sense of achievement

Around this time I normally write a winter newsletter, but it feels like I’ve only just finished the autumn one!  Time has really flown by.  It’s been a very intense and challenging few months for me, full of achievements and not quite burnt out yet!  ‘step in stone’ – an ambitious art in quarries project I organised – took over my life for many months and is now over.  It was incredible seeing it through to fruition, and so fulfilling working with quality artists whose work I admire.

Overall, ‘step in stone’ was a tremendous success, very well received by an extremely varied and broadly based audience.  Combining the role of project manager and curator with that of being a participating artist was demanding.  Considering time constraints and my other roles, I feel I achieved a great deal, though disappointed that I could not fully explore more possibilities with my commissioned artwork for the project. ‘Cirri’ was intended to be more numerous, (based on Fossilised remains of ancient sea life forms).  I relished the opportunity to explore new concepts and media in my piece ‘Eviscerated Earth’ installed at Fairy Cave Quarry – recycled wax, cloth, scrim, paper and wire combined with found, rusty scrap steel collected from quarries.  It linked to the story of Fairy Cave: destruction of caves and beautiful (speleothem) formations within.  I would have liked to create more work for our Black Swan Exhibition – a beautiful show – but management of the project took over and time ran out.

step in stone catalogue pageEviscerated Earth recycled wax, cloth, scrim, paper and wire combined with found, rusty scrap steel

Now that the excitement is over, and I’ve reached the end of the arduous (but revealing) evaluation process for it, I’m starting to look forward to new ventures and getting inspired.

I visited Ai Weiwei’s exhibition at the Royal Academy, London recently.  It’s not often art brings tears to my eyes, but his work is so powerful, I was deeply moved.  The cell depictions of his sordid incarceration by Chinese authorities made me feel voyeuristic, angry and amazed at the brilliance of them.

A fortnight ago I sold my Nestling Cocoon to Mark Owen of Take That for an anniversary present to his wife Emma.  I drove from Somerset to North London to collect the piece from Maureen Michaelson (Gallerist), then to Sussex where I delivered it, then back to Somerset, in time to teach my evening art classes… all in a day!

I’m currently working on a life-size steel Bishop commissioned for the gardens at Bishops Palace, Wells, and will then start on a new commission for garden designer Sarah Eberle’s Artisan Garden at Chelsea Flower Show 2016, to create a 4 metre square woven canopy.

Bishop design

Other opportunities in the pipeline include showing with Maureen Michaelson again next year for Chelsea Fringe.  In the immediate future, I have been selected to show at the The Grant Bradley Gallery, (1 St Peters Ct, Bedminster Parade, Bristol BS3 4AQ) as part of a mixed show entitled ‘Bristol Green Capital in the Frame’. Celebrating and reflecting on the year that Bristol was voted The European Green Capital, it embodies a green theme: recycling, the importance of green spaces and wildlife.  The exhibition runs from 5 Dec ’15 – 2 Jan ’16.  You’re welcome to come along to the Private View: Fri 4 Dec 6-9pm!

In case you’ve tried viewing my website gallery pages – apologies!  There is a plug-in issue due to server updates, so some images are failing to open.  Hopefully it will be sorted soon!

 

Spring in my Step

Hello to budding spring!  (I guess there is a spring in my step, though sometimes I feel like my feet are dragging – especially early mornings).

A few updates about events you might be interested in.  My Art in Quarries project ‘step in stone’ is progressing well, having achieved a fantastic result through generous donors via crowdfunding on Ideas Tap and more recently a successful Arts Council England/National Lottery application. Heavily involved in bringing it to fruition, I am trying to reserve slices of time to make art. We have a new step in stone website, in addition to our facebook and twitter pages, so do please visit, follow and share. The best bit of the project is working with artists and other experts I admire.  I’ve been getting increasingly inspired by the history, geology and nature of the quarries, with new sources of information from scientists such as Gill Odolphie from Somerset Earth Science Centre and friend Nick Weaver.  I hope you’ll be able to visit the project this summer.

Fairy Cave Quarry

Part of the step in stone project will involve a young Sculpture Design Competition, kindly hosted by Black Swan Arts online from 1st April – 18th May. The winner will create their design as a full-scale sculpture to feature in our Trail, and all entries will be shown at the Black Swan, so any under 20 year old budding artists you know might like to have a go: http://www.blackswan.org.uk/sculpturedesign2015. Somerset Earth Science Centre (BA3 5JU) are hosting a Launch for us to explain more about this on Monday 23 March, 6-8pm. Come along if interested!

Sculpture Design Competition Poster

I feel honoured to have recently been elected onto the Black Swan board as a trustee and hope I can do the role justice in time. I love the Black Swan, it continues to provide excellent quality Arts in the South West, despite it’s huge crash in Council funding a few years ago. I hope it will gain further funding to be the best it can.

Nest 1 - final idea for Sunflow radiatorIdeas for Nest radiator

A radiator company, Sunflow Ltd, commissioned me to produce a 3-d sculptural piece for their new line of interesting Arty Radiators earlier this year. A challenging concept, I created an organic piece (no surprises there) involving copper piping and a woven nest on a layered backing of cut out metal, which we then sprayed (see design left and link above). These radiators are unusual – beautifully engineered, slim and very low heat. Mine is a prototype, so further one-off versions can be commissioned from me via Sunflow.

This June I will be featuring in the GROW London Fair, Hampstead Heath, London (18-21 June) represented by Gallerist Maureen Michaelson. My work will also be on exhibition at the Hidden Garden Art Show, Hampstead, London NW3 from 6-28 June and ArtParks International Exhibition, Sausmarez Rd, St Martin, Guernsey GY4 6SG.

Workshops and teaching continue to keep me connected with surrounding schools and the community. I’m looking forward to some great projects ahead with students, making large insects, birds and a dragon.

Spring - Wire work class

 

 

 

 

 

 

 

 

 

 

Fundraising success!

I was elated when news came through in January that my grant application to Arts Council England/National Lottery (via Grants for Arts) for step in stone was successful!  This is the icing on the cake after several hard-going months fundraising and a few other succcesses including our crowd funding on IdeasTap.   It’s really not my thing, so I feel a huge sense of achievement and relief!  I owe thanks to several people who helped and supported me, particularly Nick Weaver, for his patient editing.

Since then, work’s got even busier!  In between organising our step in stone Artist Research Trip (image below), doing step in stone PR and some art teaching, I have a commission I’m working on.  Once complete, I will post images.  It’s a new departure for me and I’m sworn to secrecy about it at the moment.

I was also delighted to be invited to join the Black Swan Arts Centre team as a trustee.  It’s a great honour, and I’m looking forward to getting more involved with the Centre.

step in stone Artist Research Trip, Jan 15