New Work in Progress

Stilt Structure II (work in progress), found, recycled & waste materials: wood branches, coir, copper wire, handmade naturally dyed & recycled fabric, leather, plastic netting, polyester stuffing, jute, sisal, wool, thread, nylon tights

I’ve been creating hybrid forms around the notion of resilience, adaptation, making do. These precarious, awkward sculptural assemblages incorporate hand-stitched and woven textiles, which carry histories of land, past lives, labour, craft, trade routes, consumerism and waste. Labour-intensive processes relate to care and repair.

Grateful to Roger Spear for the use of his wood workshop and technical assistance.

As Old as the Hills

I’m co-curating a project As Old as the Hills, rooted in heritage and environment, highlighting issues of sustainability. It culminates in a contemporary art exhibition plus events for SAW Festival in the Bauhaus building, Glastonbury. 10 artists will create site-responsive work, some with the community, developing collaborative art: installation, sculpture, textiles, film, photography, performance. Our artworks will respond to place, deep time, climate change: floods, water pollution, and precarity of the peat bogs. The project will be approached as a collective conversation. We want to celebrate biodiversity in the levels & marshes, re-framing the notion ‘as old as the hills’ as forward-thinking rather than anti-progressive.

Upcoming Drop-in Workshop at Collett Park Day, Shepton Mallet, 8 June, with me & Jan Ollis making simple paper casts and embedding river & sea debris. All day; all welcome! Work made will be part of the final As Old as the Hills exhibition.

Awaiting news on our ACE project grant application; work + events will be scaled according to funds. Visit @as.old.as.the.hills for more about the project and my Artist Instagram Takeover this week.

Played and Remade (launched this week)

Thrilled to be part of a new collaborative art & music project with The Piano Shop Bath. Discarded piano parts have been upcycled and transformed into artworks. My 3 pieces Nest, String Theory, & Starfish are for sale. All artworks are available to view online and in The Piano Shop Bath, 1&2 Canton Place BA1 6AA. See article in The Guardian and visit @playedandremade for more info.

Nest, for Played and Remade

Elysia

In April I collaborated with dance artist Vanessa Grasse on her Elysia R&D project in a residency at Create@#8, Shepton Mallet for a week. We collected materials on walks, hand dyed natural recycled fabric remnants with homemade botanical inks, and made eco sculptural wearable artworks. The work relates to hybridity, interconnection between the human and non-human world. The name’s inspired by Elysia chlorotica, a sea slug with plant-like qualities - living testament to hybridity and symbiosis.

It was fascinating creating sculptural textiles to move with the body, and see elements in action.  We shared work in progress on our last day, encouraged people to make a small part, and were treated to a performance - those watching were transfixed. See more in my previous blog.

Elysia, work in progress

Upcoming

Solastalgia Exhibition, Truro Cathedral, Cornwall, 1-14 July. This follows an excellent publication about Environmental art, edited by Summer Auty.  I’ll be showing Glut and Pyre.

Site visits for future projects

Tout Quarry, Portland; Avalon Marshes; Bridies Mount; Mendip Hills

Take a look at my website additions, and follow my instagram channel for more regular updates

Spring blog

Happy Easter!

I’ve been busy with prep and planning for As Old as the Hills, a community art project I’m co-curating with Jan Ollis. Just submitted an ACE project grant application - second attempt - fingers crossed!  The submission process has been a bit of a slog, but great exercise in working up more detail into our project. As a result, we’ve met and involved new people and organisations in the development of As Old as the HIlls. We now have an even richer social engagement programme leading up to and during our exhibition (Sept-Oct, Somerset Art Weeks Festival). Events will include riverwalks talks, workshops, podcasts and performances led by collaborating artists. If you’re in Somerset, pop along to our drop-in workshop, Collett Park Day, Shepton Mallet (8 June).

I’ve also been making new work for sale, for a recycling project to be revealed soon…

A few upcoming exhibitions and events I’m taking part in:

Casting Shadows ACEarts, Market Place, Somerton, TA11 7NB;  ends on 6 April (open Tues-Sat); with Royal Society of Sculptors members. Stilt Structure I (below) is on show.

Solastalgia Exhibition, Truro Cathedral, 1-14 July. This is connected to an excellent publication on Environmental art, edited by Summer Auty.  I’ll be showing Glut and Pyre.

Tongue, cover of Solastalgia Magazine (issue 2: Terrafurie)

Looking forward to a cross-discipline collaboration with dancer/choreographer Vanessa Grasse.  We’ll be in residence at Create@#8, Shepton Mallet later this week and next. Work will involve collecting materials on walks, and making eco sculptural wearable artworks.

Upcoming Art Courses

I’ll be running some new adult Love 2 Learn art courses at Bath College from 17 April:

Sculpture: (Wed am and/or pm)

https://www.bathcollege.ac.uk/course/view/3109/introduction-to-sculpture-23-24

Drawing and Painting (Wed or Thurs)

https://www.bathcollege.ac.uk/course/view/3069/drawing-and-painting-23-24

Life Drawing (Thurs)

https://www.bathcollege.ac.uk/course/view/3140/life-drawing-23-24

Browse for all courses here:

https://www.bathcollege.ac.uk/love2learn

‘Really varied & enjoyable course - Fiona has a wealth of knowledge - sharing many techniques - and is excellent at encouraging and problem solving personal projects.  The focus of environmental considerations in sculpture is really admirable.’ (L2L Sculpture student) 

'Really enjoyed the course - lots of variety and opportunities to experiment with different techniques and media’ (L2L Drawing & Painting student) 

If interested do book asap.

Images of work by previous students

Other exhibition plans are in the pipeline, more details soon.

Happy New Year!

Stilt Structure, maquette, found & recycled materials, ‘23

Looking back on 2023, I’m grateful that my Arts Council England DYCP award enabled me to complete major new pieces, exhibited in some fantastic settings. I also appreciate all the support and encouragement from so many wonderful people. It’s a tough juggling act surviving and thriving as an artist - hats off to all creatives who keep at it, pushing boundaries.

Residency and Solo in a large disused shop space Create@#8, Somerset, ‘23. Photo Russell Sach

Above and Below, created during my residency, ‘23. A response to the entanglements of matter. Reclaimed & found materials, each with a story

Me with work, The Fall, detail. Photo Russell Sach

Flags of the Forest began as an indoor piece. Photo Russell Sach

Flags of the Forest developed into an ambitious outdoor installation for Wander_Land at Tremenheere Sculpture Gardens with Royal Society of Sculptors members, ’23. Photo Russell Sach

Above and Below, Tremenheere Gallery, with assisted curation by Martin Holman.  Loved working with the steering group on Wander_Land. Photos Russell Sach

I’m currently working on a series of small sculptures and collages. I’ve been thinking about precarious stilt structures, and resilience.  Looking at overladen camels of nomadic Somali tribes (camel = symbol of adaptability, endurance, trade routes), boats and homes on stilts, and French shepherds who walked the bogs on stilts. In our unstable climate of floods, famine, overconsumption, and waste escalating in the name of ‘progress’, these hybrids - part vessel, house, creature - feel relevant.  I plan to make large sculptures based on some of these ideas.

Above: collages of tall thin lines supporting stacked assemblages and heaped bundles, made of discarded materials (paper, plant debris, found wood, textiles..)

Upcoming:

I’ve been planning and fund-raising for a new project I’m co-curating with Jan Ollis: As Old as the Hills. Residencies will lead to an immersive exhibition with events in the historic Zig Zag building, Glastonbury for Somerset Art Weeks Festival ’24. Rooted in heritage and environment, with community engagement, we have some excellent artists on board. Fingers crossed we receive grants to make it the best we can. If you’d like to contribute, please let me know!

I still have a few spaces on my forthcoming online sculpture course (8 Jan-11 Feb).  If you’d like to join let me know asap!

Running a Free workshop with writer Polly Hall, part of the Snowdrops Festival ‘Nature Unbound’ (Feb ‘24) to create a giant scroll-like mixed media collage installation, with text, to span the galleries of the Baptist Chapel. 20 Jan, 10am-4pm, Create@#8, 8 Town St, Shepton Mallet. Bring your own lunch. Free but please book via eventbrite as places are limited.

Back to Bath College next week running various short courses (sculpture, painting, drawing and life drawing, in case you’re interested in joining)..

Next month I’ll be off to Portugal for a PADA art residency. I’m looking forward to the creative challenges and adventure.

My work will be featuring in Casting Shadows ACEarts, Somerton, 2 March - 6 April ‘24, with Royal Society of Sculptors members.

At the end of last year I gave a talk, Matter Ongoing, focusing on my Dust of Stars installation for the Hatch exhibition ‘Death and Microwaves’, and other recent work.  The live talk is now published online (thanks to Elaoise Benson for filming).

Here’s to peace, care and creativity in 2024!

Kenyan Research Trip

Graphite bark rubbings - handmade book (detail)

For the past 3 weeks I’ve been in Kenya on a Research trip as part of my Arts Council Developing Your Creative Practice award. I immersed myself in Kenyan culture, visited galleries, museums, markets, other places of interest, and met contemporary artists & curators.  In the final week I went to Nanyuki, on the edge of Ol Pejeta game reserve which overlooks Mount Kenya, for more wildlife, sketching, a bit of relaxation and family time.

I stayed at the inspiring Untethered Magic, Ongata Rongai (↑), on the outskirts of Nairobi. Situated on the edge of the national park it overlooks a dramatic river gorge, where artist Syowia Kyambi has her studio. She was away collecting her work from Venice Biennale (Kenya Pavilion), so I was hosted by her colleagues. Loved all the conversations and art-based adventures we had. We visited Neo Musangi (writer and performance artist) and Justus Kyalo (etched rust works on steel); walked through the bush and across a rope bridge to Kitengela Glass, where we watched glass works being made. Saw lion paw prints, and learnt to recognise hyena poo (white). 

Then a trip to Malindi and Watamu on the coast (↑), where I learnt more about the complex history, physical geography, flora, fauna and cultures there. A Swahili port, Malindi has a turbulent past, having been colonised by the Portugese (Vasco da Gama visited in 1498), Sultan of Zanzibar, and British. On the beach at Watamu, I drew, collected found objects, and made a couple of impromptu sculptures, attracting local interest. I invited a couple of beach boys to make a collaborative sculpture with me. We had a little performance at the end! Went snorkelling - the best part was watching a pod of 50+ dolphins swimming - quite a rare sighting.. Very sad to see the coral depleted so much since my childhood in Kenya due to climate change...

I visited Hell’s Kitchen (↑), Marafa, a mini ‘grand canyon’ depression of sandstone, comprising dramatic layers of calcium, sulphur and iron. Colours range from whites, pinks, ochres and reds, formed into giant folds, pillars, gorges, pinnacles. I arrived late afternoon to experience the colour changes at sunset. Too hot for much life, I was fascinated by the few trees which hang on by strangely formed roots. Myth tells of a rich selfish family who bathed in milk rather than water, leading to angry gods causing them to be swallowed up. There are many other Giriama stories. I went on a detour expedition to find a couple of rare surviving Giriama grave posts in a dwelling nearby.

I’ve discovered more about the rich variety of Kenyan trees - many have healing properties and are used for timber/ house building poles (often combined with earth, sometimes coral), eg: Mukinduri, Mung’ambo (which I can now pronounce), Neem, Mukula... Encountering trees up close, drawing and making bark rubbings, helped me get to know the trees, and I had encounters with creatures in the process. In one instance, a monkey came to touch my graphite pencil!  Visited Gedi ruins, (12th c. Swahili city near Malindi, abandoned aprx 600 years ago, due to plague) once a wealthy trading city, with palace, sultan, governors, and sophisticated water, bathroom and air conditioning systems. Now, the ruins are overgrown with magnificent indigenous forest trees, including ancient baobabs.

I walked around Ndoro Sculpture Garden, a vast private collection of Zimbabwean stone carvings.  Owner Carola Rasmussen was welcoming and explained the background of the work - especially one her favourites Bernard Matemera..  Each sculptor has an individual style, not to be copied. The value of these works in the context of African art is significant. The garden is open by appointment.  I appreciated Carola’s excellent personal tour.

Back in Nairobi I visited Kuona Artist Collective (hub of artists’ studios ↑). I saw Dennis Muraguri’s matatu prints & mixed media sculptures: patches of metal components attached to wood with copper stitches. There were colourful woodcut prints of heads with headwear by Ndunde Bulomo; jacaranda wood sculptures of dancing guitars and totemic figures by Mosoti Kepha. Yassir Ali incorporates Sudanese text into abstract paintings, some with figures. I enjoyed chatting to artists about their ideas.

Circle Art Gallery’s exhibitionThe Forest and Desert School Revisited, curated by Michelle Mlati, brings together Sudanese artworks, reflecting on African Arab hybrid identity, referencing the ‘60’s Sudanese movement. Forest symbolises African culture; Desert its Arab counterpart. I found Eltayeb Dawellbait’s work: scratchy lines depict faces on salvaged wood; a peeled football, it’s sphere made from reconstituted concrete from a Palestine wall by Kaled Jarrar; lyrical paintings of plant forms by Gor Sudan; Donald Wasswa‘s globular albizia wood sculptures. Loved the fragile hangings made of bark cloth & paper fibres by Sheila Nakitende, which resonated with my recent work. I’m sourcing bark cloth..

At Kobo Trust Studios/Gallery I was given a brilliant tour by artist David Thuku. A papier mâché boat with heads, and distressed paintings of walls with overlaid text (Onyis Martin) recalls the refugee crisis. He uses posters peeled off city walls.  David Thuku has developed his own techniques using paper as surface, an intricate process involving cut and peeled layers to reveal different shades/surfaces. Results are striking images of figures and chairs, ordinary objects referencing temporality, past, present, future. Other artists there, manly figurative painters, use different techniques: pattern, layering, bleach into ink…  I was engrossed by the range and unique approaches. Each artist has an individual style. A common element is using materials from what’s around - making-do. Grateful to Jim Shamoon for driving me around!

I visited One Off Gallery (↑) and met owner Carol Lees, and Marc van Rampelberg, celebrated furniture maker and serious collector of East African art. We had a great conversation about the contemporary art scene in East Africa. Marc was involved in a significant book Thelathini (published by Kuona Trust) featuring artists who are a main part in the story of contemporary East African fine art from the ‘60’s onwards. Found Harrison Mburu’s animal metal sculptures humorous. Paintings by Ehoodi Kichapi had an ‘outsider’ quality, upstairs a treasure trove of stacked works, and more in the lush sculpture garden. At Redhill Art Gallery I was welcomed by owner Hellmuth Rossler. Rashid Diab’s etchings are on show, some with bird imagery as poetic, ancient mythological symbols. His use of faded calligraphic Sudanese text adds mystery.  Artist Dickens Otieno met me there, with one of his alluminium can weavings to show me. It was a privilege to meet him and study one of his pieces. He was one of the artists representing Kenya at Venice Bienale 2022.

Next day I visited the impressive Nairobi National Museum (↑) . I was intrigued by the artefacts, relics, wildlife specimens and historical narratives. Especially captivated by the gourds displays. The Abuu (musical horn) is made with gourds attached by wax/grounded bark. Africans have been recycling for centuries, using metals and found objects to make ornaments. Many masks, headdresses, and skirts are made from plant fibres, animal skins, shells, beads.. In the art gallery is a chair made from pangas (knives). Nairobi Gallery houses Joseph Murumbi’s extensive collection of art, artefacts, books.  Acclaimed ceramicist Magdalene Odundo is one of several pioneer East African women artists. Her smooth wide rimmed vessel greets in the entrance, with signature pinch marks, and tangible human form. Also there: hammered relief metal panels by Asiru Olatunde, paintings of animals, etchings, Benin sculptures, Lamu chair, Mali mud cloths with stylised geometric patterns, Giryama grave posts, and lavish Yoruba costume with exquisitely decorated cloth lappets - all fascinating. I met with curators Lydia Gatundu and Betty Karanja, who offered their thoughts on the development of visual arts in Kenya. We discussed the success story of Ruth Schaffner’s Gallery Watatu, Ngeche art movement and Banana Hill group.

On show at NCAI (founded by Michael Armitage) is Mwili, Akili na Roho (body, mind and soul), a figurative exhibition ‘shaping the broader understanding… of East African Art.’ (↑) It features 10 artists of different generations and approaches through religion, landscape, human/natural environment, supernatural, sexuality and politics. Artists include: Sam Joseph Ntiro, Asaph Ng’ethe Macua, Elimo Njau, Jak Katarikawe, Theresa Musoke (fluid symbiotic relationships of humans, animals, landscape), Peter Mulindwa (confronts post colonial.. uses local narratives in place of western iconography), Sane Wadu, Chelenge van Rampelberg, John Njenga, and Meek Gichugu (interrelated plants, creatures..). The exhibition follows Haus der Kunst & Royal Academy of Arts with Michael Armitage. I found the book Thelatheni and had a good look through it.  Some of its artists were on show in the exhibition. It was interesting that the title of the show reflects a quote in the book: ‘The early Greek philosophers defined Man as body, mind and ‘thymos’. It was great to meet curator Don Handa.

Finally, at Ol Pejeta, Nanyuki (↑), I made paper casts of found baboon jawbone and antelope horn, best left in Kenya, and had a play with collected found objects on an acacia tree.  I drew acacia galls, which intrigue me. On the surface, the bulbous forms with long sharp spikes is a compelling mix. But deeper than that, the symbiotic relationship between acacia-ants and their host acacia trees is fascinating. Acacia trees produce hollow bloated structures to shelter and feed the ant colony, and the ants, in turn, defend the tree against herbivores. Other man-made African structures interest me too.  Patchwork mabati (corrugated steel), found sticks, plastic and sisal that make up shop stands and homes. And travelling, temporary structures, carried from place to place on the backs of cattle, bikes, donkeys and camels..

Graphite bark rubbings - handmade book

Throughout, I collected materials, documented with daily notes/drawings in a sketchbook, and made a few sound recordings.  I’ve gathered quite a collection of bark rubbings, which I’ve made into a book (↑). I’ll be thinking about this awesome Kenyan trip for a long time. There are many meeting points where new ideas converge with past, and I’m excited to see where it might lead me in my practice and future projects. I hope to return for a longer residency, perhaps an exhibition.

I’m very grateful to Arts Council England for supporting this trip, and to those who hosted and supported me in Kenya including Untethered Magic, Ian & Andrew Campbell and Jim Shamoon.  Also, thanks to all the artists, curators and galleries who’ve given their time and connected with me.

I’ll be making a film of the trip which will include video footage. I’ll also be developing work on the back of it in a residency & solo at Create@#8, Shepton Mallet (mid Feb-March ‘23). Watch this space, visit my instagram page @fiona_campbell_dycp which documents my DYCP work, and do sign up to my newsletter for monthly updates (↓).

Thanks for reading this long post!

On a Christmas note, you can still order from my shop in time for Christmas! I’m offering a 15% discount on my forthcoming sculpture course (9 Jan-12 Feb ‘23) for pre-Christmas orders, and you’re the first to know! Use code PREXMAS at checkout. Book now as places are limited!

Wishing you a very Happy Christmas and all the best in 2023!

New Work Developing

Maquette; found objects: pondweed, buddleia dyed fabric, khadi paper, plastic netting, leaves, wire, sisal, steel, aluminium

Developing Work (Developing Your Creative Practice funded by Arts Council England)

I’ve been revisiting concepts of Life in the Undergrowth, reading Entangled Life (Merlin Sheldrake), and experimenting with making new plant dyes and ink. My latest discovery, literally on my doorstep, is buddleia, which produces a wonderful vivid yellow, ochre and olive green.  So abundant, buddleia is ‘one of our best wild sources of yellow in the UK… plenty to share with butterflies and bees…’ (Flora Artbuthnott).  A studio tidy up gave me a chance to pick through a few collected objects to inspire.  I’ve been drawing roots and iris bulbs, which had survived in a bucket since a pond clean up 2 years ago.  They will potentially provide me with some black iris bulb ink soon..  This has led to a few small trial sculptures. ‘Radical’ derives from the Latin ‘radix’ = root. Excited to see where the roots take me.

For more info and to follow my development please visit my new instagram page: fiona_campbell_dycp dedicated to my ACE DYCP work.

Together We Rise

It’s been over a month since Together We Rise opened at Chichester Cathedral.  Last Saturday I revisited and really enjoyed showing London Art Critic Tabish Khan round our exhibition, along with Maria (Royal Society of Sculptors), Jo (Jo’s Art History) and Nia (Tate). Photo credits (below): 2 Martyn Sheppard, 7, 8, 9 Paul Gonella

I’ll be taking part in an Artist Talk event alongside fellow sculptors and curator Jacquline Creswell, this coming Wednesday 17th August at 11am and 2pm, Chichester Cathedral. ‘Hear about how the show was conceived through meetings on zoom during the pandemic, learn about materials and processes, and join in the discussion on how the works resonate with the architecture and context of the Cathedral.' Tickets £6, book here - or call: 01243 813586

Hope to see you there! There’s a month left to visit the exhibition - it ends on 6 September.

The Gleaning

I’ve been working on textiles panels and leading workshops for The Gleaning - a community arts project I’m co-curating with Gill Sakakini.  The work involves gleaning materials, ideas, people, cultures..  We’ve had some wonderful collaborative sessions, most recently at Collett Park with a group of people drawing together on fabric for our Shepton panel, which will represent the town’s iconic landmarks.  We used wax crayons and oil pastels, followed by ink - mainly homemade botanical mixtures including turmeric, onion skin, avocado pit, oak gall and buddleia inks. The wax resists the ink - a great way to build up colour in layers. We return to the bandstand on Tuesday 16 August, 10-12 for another free workshop. Do join us!

I’m delighted to have been supported by The Eaton Fund, enabling me to buy a sewing machine and other materials for The Gleaning.  Hand-stitching is important for some of my work, but it’s not always ideal for large-scale pieces! Thanks also to our funders Shepton Mallet Town Council, The Arts Society Wessex Chrisi Kennedy & Cranmore Parish Council. We’re still seeking some funding - get in touch if you can help.

Check out our instagram page: thegleaning_shepton

Tomorrow I’ll be running a free swan sculpture workshop at Wells Museum via Somerset Art Works - free drop-in!

'Art is always about reappraising the way we look at the world. It can speak more eloquently than propaganda because it can inject emotion into facts. And sometimes it can work like a Stealth Bomber: it can slip under the radar and hit home’ Cornelia Parker.