Time To Move On

My intense 2-year MFA course at Bath Spa Uni has now come to a successful end.  I threw myself into it mind and body, so the past few weeks have been a strange time of re-adjustment and reorganising, sadness, but also hope for exciting work ahead.  Time to move on.  Below are some images of the 3 works I presented for the final module and MA Show – thanks to John Taylor for some of these photographs. Through the MA, my practice has undergone a series of shifts; it has developed more integrity, an expansiveness, but also a paring down in approach.  I was happy with the results and delighted with my grade.

Some info about the pieces:

Inspired by reading ‘Planet of Slums’ (Mike Davis) – rich/poor divide, precarious lives, cruelty to humans/animals; watching ‘Our Daily Bread’ (Nikolaus Geyrhalter) – factory farming; ‘A Plastic Ocean’, and grief over the death of my dog, my response is a form of suturing.

Concerned with waste, ‘Glut’ is a set of wrapped, woven and stitched tentacular entrails, viscous hybrids transformed, suturing trash into treasure, both seductive and disgusting. The materials (especially personal items) speak of past lives, loss, textiles, craft. In contrast, the organic forms symbolise death, violence, but also vulnerability and renewal – the duality of horror and tenderness. ‘Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. It is an abject object.  It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms.  Like pulling hair out of a plug, it is repulsive, ambiguous.

We are all of the earth; the earth is flesh and bone. ‘Of Bones’ demonstrates a relational play of human-made and organic materials. The juxtaposition of fragile, translucent parched ‘bones’ against metal and wood sets up dynamic tensions. Cast branches as limb-like forms are playful abstractions. It references Picasso’s Crucifixion series inspired by Matthias Grunewald. Christ’s tortured hand is interpreted from the cast of a found piece of gnarled wood. The work also references Goya’s ‘Disasters of War’ series and Mark Dion’s trees. Regarding humanity, Christ’s words from the cross: ‘they know not what they do’ resonate.

Since re-entering the outside world I have been catching up on loose ends, establishing new connections, working on a commission, running workshops and other bits and bobs.  In a one-day workshop at Beckington First School (via SAW) working with tinies aged 4-9 years old, we made a whale, fish & other sea creatures. Every child in the school took part in making the sculptural artworks using recycled materials, especially plastic as an environmental project highlighting waste.  It was linked to the story of Jonah and the Whale to tie in with the school’s current theme Retell, Reused, Recycled.  After I fixed all the components together, the sculptures were installed in the school grounds for permanent display.

One morning I taught acrylic painting to a group of 17 U3A adults.  They all produced lovely still life paintings – a few illustrated below.

I was commissioned to make a set of copper bird feeders for Horatio’s Garden, Stoke Mandeville. Some commissions are more interesting than others. This one has increased my understanding of copper and the process of annealing.  I love watching the colours change through application of heat. Copper expands when hammered into a sunken mould. For moulds I used found steel objects and carved a couple in wood, thanks to Nick Weaver. Quite a long process but a fascinating transformation.

I am using these copper processes for a range of shop Christmas decorations (Fosse Beads and Friends, Frome).   Next commission is to make a 1 metre Great Crested Newt for Carymoor Environmental Centre using recycled materials.  It has a lovely backstory, which I will relate in another blog soon.

Yesterday I sold a large sculpture made a few years ago to a lovely couple, who I know will give him a great home. ‘Man Models Himself On Earth, Earth On Heaven’ (my longest title to date) will be added to as a site-specific residency, returning to my original plans for him to be more densely woven.

I occasionally invigilate at Hauser & Wirth Somerset.  I am elated that Berlinde de Bruyckere is now showing there with her Stages & Tales exhibition.   During my MA I researched her work, which became a key influence to my practice.  Her new body of work is more abstract: in her powerful series Courtyard Tales, she uses layers of decomposed, torn blankets as a metaphor for bodies, intimacy, decay, shelter, vulnerability, lust and war.  There is a duality of love and suffering.  I burnt my thumb badly with a glue gun the other day, and the scarred fleshy wound reminds me of details in her work.  It was fantastic to have the opportunity to speak to Berlinde at the opening.

There are crossovers between Berlinde de Bruyckere’s work and Takesada Matsutani’s adjoining exhibition ‘A Drop in Time’. It has been mesmerising to watch the stages of transformation since Matsutani performed the piercing of the bag of ink suspended over a wooden ball.  Over time, single droplets fell repeatedly onto the ball causing remarkable splatters of ink, making an eclipse, flowing to the edges in its own way.  The piece has developed over time. I find his work very beautiful.  I love the simple gesture, the aspect of time and timelessness, the gestural hand-made labour-intensive process with graphite pencil marks on paper, canvas and wood.  Like de Bruyckere, the work refers to the ‘endless cycle of life and death’.

I am pleased to now be a small part of the education team at the Holburne Museum, Bath. Next month I will be running a Life Drawing session for A’ Level students linked to the ‘Rodin: re-thinking the fragment’ exhibition.  It may well re-ignite my own life drawing passion from years ago.

I am allowing myself some head space before properly starting new artwork.  Meanwhile this website is being changed (watch this space).

Next exhibition coming soon ‘Line and point’, will be at Centrespace Gallery, Bristol (25 Oct-1 Nov). If you didn’t get to the MA Show, this exhibition features work by a group of MA alumni and final year postgraduate fine artists, including me.  Contemporary practices across installation, drawing, painting, sculpture, mixed media, objects and digital work is tiered with connections relating to the theme ‘line and point’.  My piece ‘Glut’ will be on show: Line and Point, Centrespace Gallery, 6 Leonard Lane, Bristol BS1 1EA.  It runs from Saturday 27th October – Wednesday 31st October, open daily 11am – 6pm.  Preview, Friday 26th October, 6pm – 9pm – all welcome!  http://www.centrespacegallery.com

Hope you can come along!

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!

 

 

Spring News

Now that the cold spell is over, I feel a Spring update is due.

In my week’s residency at Walcot Chapel, Bath last month as part of my MA, I made a piece (image above) in response to the site, current waste issues, and Coleridge’s Rime of the Ancient Mariner.  It was inspired by the plight of 1000’s of albatross chicks dying from stomachs filled with plastic.  Entitled ‘Instead of a Cross, an Albatross’, it is a kind of altarpiece. The steel and copper components echoed the trees and shadows through the window.  Later this year I’m hoping to make work involving some participatory interaction with the public using waste materials.

Ongoing work is also being influenced by a book I’ve just read Planet of Slums by Mike Davis, which reveals horrific realities as a result of our rapidly growing worldwide poverty, rich/poor divide – cruel slumlords, neglect and harrowing deaths.  Factory farming (particularly a film ‘Our Daily Bread’) is also affecting my thoughts, and the loss of Tilly, our beloved boxer dog, who died at the weekend.  These experimental process pieces are all made from scrap materials.

On a lighter note, I continue to teach All Hallows Prep School students extra-curricular art.  I’m proud to see some of their work selected for the Black Swan Young Open, starting this Saturday.  Last week I ran a workshop with several groups of children Years 4-8 at Hazlegrove Prep School, making a 1.75m flying albatross sculpture out of recycled plastic and wire.

This Saturday, I’ll be running a collaborative workshop with Aya Kobayashi and Stephen Ives as part of BBC’s Get Creative event and Black Swan Arts Young Open exhibition, sponsored by Visual Arts South West.  It will explore the creative process – how to shape an idea into form – experimenting with sculpture and sound technology, combining found/reclaimed materials.

Book soon via Eventbrite (https://goo.gl/SNdgny) – spaces are filling up!

This season, I’ll be showing 2 of my sculptures in the The Cotswold Sculpture Park, The Paddock, Somerford Keynes, Cirencester GL7 6FE http://www.elementalsculpturepark.com/ from 1 April – 30th September, 10.30am-5pm (closed Tues and Wed),  admission £5.

I’ve visited a few exhibitions locally including Messums Museum’s ‘Myth, Material & Metamorphosis’ (that’s a mouthful!) – fantastical sculpture by Kate McCgwire and Ann Carrington (image below), ceramics and narrative paintings with many surprising gems.  It’s always a joy to visit the wonderful tithe barn showing consistently high quality, exciting contemporary art.

At The Edge, Bath, the Jerwood Drawing Prize comprises some great pieces.  Amongst others, I loved the thick roll of paper covered in pencil – like a gleaming sheet of metal.

I’ve been invigilating at Hauser & Wirth Somerset for ‘The Land We Live In – The Land We Left Behind’.  It’s been good to be able to keep returning to study the exhibits (numerous artworks/artefacts of interest).  I’ve also managed to sell a couple of small pieces through the Honest Shop – part of the show.  I’m doing a talk for Hauser & Wirth’s Sound Bites programme on Beatrix Potter’s drawing of fungal spores entitled ‘Absidia’, Thursday 29 March, 2pm. Come along, it’s free!

Happy springtime!

 

 

 

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!

 

Questionnaire

I have created a brief questionnaire as part of my MA research (see images below).  If you have the time to download the document (link below), fill it out and return it to me via email (e: fionacampbell-art@sky.com) by 1 January 2017, that would be fantastic!

To download click here: questionnaire

questionnaire-p1questionnaire-p2questionnaire-p3

(Photo credits:1: Yellowtrace; 2: Amanda McCavour; 4: Laurie Lax; 5: Tate) 

Thank you in advance!

 

Worms, Oil and Graphite

Egg sac inspired drawing/sculptureEgg sac inspired drawing/sculpture

Since finishing my egg sac drawing/sculpture (above), worms have been a recent preoccupation.  Last week I went on a worm hunt (in a harmless way) to photograph and draw them for my research. There’s a special technique for this: by vibrating the earth, they rise to the surface (apparently to seek mates in the rain – more important than the fear of being pecked by birds or moles).

wormswormsworms

This is a layer of research over my investigation into possible uses of graphite (and linseed oil) as a medium. Graphite, interestingly, is a form of carbon, which, I’ve recently learnt, is a primary element (4th most abundant in the universe) that comes from the beginnings of life – brought from the stars via buckyballs. All living things contain carbon in some form. Julio Gonzalez, when he first coined the expression ‘to draw in space’ was initially inspired by constellations and the points between them as a metaphor for drawing in space.  Graphite, due to its carbon property, is the thinnest medium and can stretch to only 1 atom thick, whilst retaining great strength.

Earth worms have been of interest to me for several years.

worm-drawing-graphite

I respect their status as recyclers and importance within the cycle of life.  I like their grey to maroon transparent skin tones (some with clearly visible red veins delineating their contours as they move) and their form that resembles many others – limbs, tree roots/branches, neurons, filaments…

I hope to create a series of works in 2-d and 3-d – drawings/sculptures/installations that could be immersive, possibly worm-like!  The drawings might start flat on oiled paper with graphite, leading to graphite as 3-d.  I need to explore other possibilities – perhaps using perpex to back the paper so it can arc into space.  It’s early days, and seems a little slow to get going, but I’m enjoying the process of investigation.

Autumn Events

Somerset Open Studios invite

It’s been a wonderful summer. I often feel a little sad at the end of this season, but what makes it more bearable for me is that autumn is beautiful and in UK we tend to have ‘indian summer’ weather in September. Tied in with that is Somerset Open Studios running 17 Sept – 2 Oct (see invite). It’s something to look forward to and work towards. I will be showing my work alongside Nick Weaver (elegant, organic wood furniture and sculptures) in my rejuvenated garden and studio. Our work compliments each other – we both use reclaimed and found materials that harmonise within natural surroundings. If you missed seeing our focal pieces earlier this year in the Mekong garden at Chelsea Flower Show, which received gold and best artisan awards, we will have these on show during Open Studios. I’m also looking forward to visiting a few other Open Studio venues when possible.

My work is currently on exhibition in ‘step in stone’ at Salisbury Arts Centre until 24 Sept. Curated by Amanda Wallwork and me, the exhibition tells the story of last year’s art-in-quarries project. Selected artworks by all 14 artists include re-created dioramas by Tessa Farmer and a GPS soundscape around the grounds by Ralph Hoyte. You can download this on your smartphone via this link.

I will be taking down my work from the Devon Recycled Sculpture Trail, Teignmouth seafront this weekend, so if you’re around that area before Saturday evening, take in a beach stroll, fish and chips and a look at the artworks before they disappear!

In October, I’m taking part in the Quartz Festival’s ‘Outside In’ exhibition (Queens College,Taunton), 5-15 Oct, with over 40 other South West artists and makers working in different media. The theme is the natural world.

I have decided to donate my Giant Spider sculpture to Carymoor Environmental Centre, (Castle Cary) where I know it will have a great permanent home. Originally created for Glastonbury Festival’s Greenfields ’10, it has travelled to various shows around UK since. Look out for it if you visit.

I hope you’ll be able to make it to one or more of these events – have a great start to autumn!

‘step in stone’ revisited

We are gearing up to our ‘step in stone’ exhibition at Salisbury Art Centre, which I am curating with Amanda Wallwork. The exhibition runs Thursday 18 August – Saturday 24 September.

“This exhibition tells the story of a unique event held last summer in the South West.  Fourteen artists, all with connections to South West England (including two from Wiltshire) but from as far afield as Norway and Australia, created a collaborative and multidisciplinary series of site-specific artworks that fused art and the natural landscape in response to the nature of quarries and their place in the environmental, cultural and industrial heritage of the region.

The pieces were installed in six venues (three disused and working quarries and three related indoor exhibitions), and staged in three “steps”, the quarries’ natural history, ecology and geology inspired works in surprising forms. Aiming to link culture and the environment, the extraordinary artscapes gave over 8000 visitors a free opportunity to encounter contemporary artworks while exploring the spectacular, wild landscapes of abandoned and working quarries in rural East Mendip.

‘step in stone’ really engaged audiences, encouraging them to consider the environment around them, our place in it, how it evolves, the benefit we get from it, our impacts upon it and how nature responds and reasserts itself. It engaged a whole spectrum of the public, including school children, families and the elderly, many who had never visited these interesting spaces.”

Exhibiting artists include Artmusic, Catherine Bloomfield, Bronwen Bradshaw, Duncan Cameron, Fiona Campbell, Duncan Elliot, Tessa Farmer, Stuart Frost, Suzie Gutteridge, Ralph Hoyte, Sally Kidall, Caroline Sharp, Amanda Wallwork and Christina White

We’d love you to join us for the launch event on Friday 19 August from 6 – 8pm

http://us7.campaign-archive2.com/?u=b2079d5a8ed14f73b9a18f049&id=c0be67ca0b&e=08ce98bbc4

I will be showing my large ‘Cirri’ pieces and sketchbooks:

'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

Other artists’ work will include the following:

Caroline SharpChristina White, Magnificent Meadows, Halecombe quarry - ST ST697474 Pigment Inks on St Cuthbert's Mil Somerset Photo Satin PaperSuzie Gutteridge Tessa Farmer The EmergenceAmanda WallworkDuncan Cameron Fairy Cave Cabinet

 

PRESS 2016

Frome Standard, March ’16 – Local Artists’ work focal pieces/Chelsea Flower Show story

Frome Times, March ’16 – Chelsea Flower Show commission

Fine Times Recorder, March ’16 – Bishop unveiling at Bishops Palace

Wells Journal, March ’16 – New sculpture unveiled at Bishops Palace

The Visitor Magazine, May ’16 – Somerset artists net Chelsea Flower Show commission

BBC Get Creative Day, April ’16 – workshops at Black Swan Arts

Bruton Town website – Chelsea Flower Show commission

The Fine Times Recorder – Chelsea Flower Show commission

Bishop commission – Country Gardener

Bishop - Country Gardener

Mendip Times, May ’16 – Bishop and Chelsea

Mendip Times May '16

Gardens Illustrated, May ’16 – Chelsea

Gardens Illustrated May '16

Sunday Telegraph, 29 May ’16 – Chelsea canopy

Sunday Telegraph 29 May 16

Viking Cruises brochure for Chelsea Garden, May ’16

Viking Cruises brochure for Chelsea Garden, May '16

Somerset Live – Chelsea artists return

Frustrated Gardener blog – Chelsea Mekong Garden

Garden Design Journal – Chelsea

Garden Design Journal

Country Life, Collectors’ Issue, 1 June ’16

Canopy and Boat, Mekong Garden, Chelsea - Country Life June '16

Chelsea Fringe website – Hidden Garden Art Show

Frome Standard, 9 June ’16

Frome Standard 9 Jun 16

Ham and High – Hidden Garden Art Show

Ham & High - Secret Garden Full of Gems Ham & High - Garden Events

The Artiscape – Gold and Best Artisan Garden Awards for Somerset Artists

The Visitor Magazine, June ’16 – Gold and Best Artisan Garden Awards at Chelsea Flower Show for Somerset Artists

Bruton Town website, June ’16 –  Secret Swans Art Trail

SculptSite.com, June ’16 – Secret Swans Art Trail Adds Mystery to Frome Festival

SculptSite.com - Secret Swans Art Trail

Frome Festival, July ’16 – Secret Swans Success Story

Somerset Cool Blog, July ’16 – 30 Years of Art – Black Swan Arts, Frome

Frome Standard, July ’16 – Secret Swans

Secret Swans - Frome Standard 21:7:16

Frome Times, August ’16 – Black Swan – Beacon for the Arts

Black Swan - Beacon for the Arts - Frome Times 28:8:16

Salisbury Journal, Aug ’16 – step in stone tours to Salisbury Art Centre

step in stone at Salisbury, Salisbury Journal 11:8:16

 

 

 

 

 

 

 

 

Bishop Unveiling and Chelsea Flower Show

My steel Bishop was unveiled on 7th April by Bishop Ruth of Taunton at Bishop’s Palace & Gardens.  The sculpture represents the local myth about the medieval Bishop Jocelyn of Wells, Somerset who slew the Dragon of Worminster, saving the people of Dinder from further ravaging of their children and stock. He is looking up at the huge Dragon (to be made later), grasping his crozier and sword, in the stance of imminent attack.

I was originally asked by Head Gardener James Cross to create a topiary structure – hence the style – but as it evolved it was decided the Bishop would remain purely a sculpture. He is, in effect, like a 3d linear sketch. I drew a friend, Nick Weaver, posed in the Bishop of Taunton’s cope, to help me obtain the right stance and movement of drapes. A vicar at Wells Cathedral also kindly posed briefly for me in his robes in Dragon-slaying stance, which amused him! As the Bishop is a ‘man of cloth’, I tried to devise ways of not being too anatomically figurative, so that the inner structure only hints at his body, and that the drapes of his robes, cope, cross and mitre are the focus.

His ethereal appearance means visitors may need to look twice when they come across him!

Below are a few pics.  To see how the work developed please visit my Art Facebook Page

Bishop (detail) steel Fiona Campbell. Photo by Jonathan SawyerBishop Ruth of Taunton unveiling the sculpture. Photo by Jonathan SawyerBishop Ruth of Taunton unveiling the sculpture. Photo by Jonathan SawyerBishop and me. Photo by Jonathan SawyerBishop and me. Photo by Jonathan Sawyer

I am now fully focused on finishing my canopy/net for Chelsea Flower Show’s ‘Viking Cruises’ artisan garden.  It took me a month and a half just to weave the net (in 25 sections) by hand with fine copper wires; it’s been more fun collecting materials and building up the coloured layers.  Fish skeletons and feathers are some of the interesting additions!  A few pics below show how it’s going so far.

Working outside on the Chelsea Flower Show canopyCanopy in progressCanopy in progress (held up)