Art Exhibitions

Kenyan Research Trip by Fiona

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!

Studio Time by Fiona

Collage, recycled materials and found objects: paper, plant debris, metal, botanical dyed fabric remnants, plastic, tea bags, wool

Maquette, recycled and found steel, copper, sticks, wire, pondweed

Flags of the Forest (detail), recycled and eco-printed fabric, wool, plastic, leaf

Drawing, inks, plant-dyed fabric, netting, paper

I’ve been working through new ideas in the studio, making sculptures, textiles pieces, collages, eco-prints and drawings.

Developing a series of flag pieces that might all work together. Large-scale drawings in space with fields of colour, celebrating diversity/bio-diversity, hopeful of nature being more cared for, and thriving. Flags represent a shared ideal. Hoists may become growing lines.

A series of maquettes and collages are chasing an idea for larger pieces in conversation. Interconnected entangled substrates with vertical lines supporting infinite small life forms in cyclical transformation. Layered surfaces made up of debris and ‘found’ objects - some found on walks. Vertical lines piercing woven surfaces. Intersecting roots, rhizomic systems, strata, fragile edges. Life above and below.  ‘Fungal networks lace woodland soil… slow stories… making and remaking’ (Robert Macfarlane, Underland).

Been eco-printing on fabric and paper with some success, thanks to Nicola Brown's free bootcamp videos, and online botanical printing demo with Suzanne Ledesma-Sikkerbøl via Zen stitching.

Mentoring sessions with Mark Devereux Projects are helping to challenge my practice. Still overjoyed and so grateful to have been awarded an Arts Council England ‘Developing Your Creative Practice’ Award. My instagram account @fiona_campbell_dycp is documenting progress.

In between making, I’ve been preparing for my Kenyan research trip later this month. Really excited to be meeting the team at Untethered Magic and other Nairobi-based artists. I’ll also be visiting art galleries and museums around Nairobi and Malindi.


Lovely to have been interviewed by Art Etcetera editor Jordan Brinkworth and featured as an artivist in a special edition on eco-art. The Artivists is almost twice the size of their standard digital editions, with an extra 30 pages dedicated to eco-artivism.  In an effort to push for greener alternatives to paper, they are offering a special digital environmental edition for just £1.99 using promo code GODIGITAL on their website.  The edition is partnered with Art From Heart (who selected me as artist of the month in March).


I took part in ‘Lore & Draw’, an event celebrating Coleridge’s 100th annniversary at the Ancient Mariner. We made mud and charcoal mixes, and used sticks/feathers as drawing tools. Inspiring ideas for future workshops.


Recent Inspiration:

Books: Underland - Robert Macfarlane (highly recommend); The Man Who Planted Trees - Jean Giorno; Women on Nature - edited by Katharine Norbury

Podcasts: Brilliant talk by Frances Morris on Louise Bourgeois (currently on show at Hauser & Wirth Somerset, where I occasionally invigilate). Becoming Fungus: poetic sound art with reading by Merlin Sheldrake - extract Entangled Life

Exhibitions: Visited William Kentridge at Royal academy of Arts. A mind-boggling range of powerful expressive multi-media work focusing on South African politics: apartheid colonial oppression, conflict, loss. The impressive scale of work spans drawing, prints, film, theatre, collage, tapestries, sculpture. One large room with 5 films features multiple charcoal drawings as animated films (drawings for projection), through an erasure technique ‘palimpsest’ and stop-motion camera. I wish I could have stayed longer, there’s so much to take in.

Art and Community by Fiona

My focus this past month has been The Gleaning, a community art project I’m co-curating with Gill Sakakini. It’s thrilling to see all the installations looking so fabulous in the church windows, and to receive such wonderful reception. it’s been a huge success - all-consuming, as usual with ambitious projects involving numerous strands and people. We had a great Launch on 22 September, opened by Rt Rev Bishop Ruth Worsley (of Taunton, and Bath & Wells Diocese), and have since had excellent attendance at our exhibition with numerous events almost daily, still ongoing. This weekend is the finale of our exhibitions/events, part of Somerset Art Weeks Festival.  The project has been rewarding in many ways, and I’ve enjoyed collaborating with so many different people.

Open Sat 10-5, Sun 12-5, St Peter & Paul’s church, Shepton Mallet, Church Lane BA4 5BW

Events

Sat 8th Oct, 3pm, "Song & Celebration" - Local School Choirs perform a specially-commissioned song for The Gleaning with a balletic response by dancer Joe Ducille

Sun 9th Oct, 8-10pm, Evening at the Gleaning. A celebration: poets, musicians and artists share their responses to The Gleaning

We’ll reopen for Shepton on Show next Friday evening, 14th October 6-8pm.
We’ve had some excellent publicity. This evening (Fri 7 Oct) I’ll be chatting to Jenna on BBC Somerset Radio at 6.10pm 95.5FM, if you fancy listening in!

To see the development of the project visit instagram page

Thanks to supporters including Shepton Mallet Town Council, The Arts Society Wessex Area, Diocese of Bath & Wells, Glastonbury Festivals, Tesco, The Eaton Fund, Cranmore Parish Council and Chrisi Kennedy.

Special thanks to Polly Hall, Bella Frey, Chris Lee, Rosalind Teesdale-Ives, Lizzie Britain, Steve Bruce-Jones, Alastair Bolt, Dominic Weston, Mark Adler, Vaughan Ives, Martyn Sheppard, Jenny Short and Beacon Photography Group. And thanks to the many people who joined us in the making process, and who donated recycled materials to the project. The project relied on a great deal of time, labour, goodwill and voluntary work. We have a donate button on the website if you’d like to support.

Do visit if you can!

Curators Gill Sakakini & Fiona Campbell, with Polly Hall, Shepton Mallet church. Photo Vaughan Ives

ACE Developing Your Creative Practice Award

I’ve been researching Kenyan artists in advance of my trip to Kenya later next month. Have also been sketching, walking, stitching, and gathering a few more ideas. Visit my DYCP instagram page for details.

The Gleaning by Fiona

Over the Summer, I worked with various people on textiles artworks in my garden and locally for an exhibition The Gleaning launching this month.

Earthlings in progress, created by me with community involvement. Test hang in St Peter & Paul’s church

The Gleaning is an inclusive arts project co-curated by Gill Sakakini and me, working closely with writer Polly Hall. For over 5 months, we’ve been working on several large-scale textiles panels concurrently. Each panel has a theme, including Earthlings, War, Peace, Gratitude, Ruth’s Story, Place, Care and Repair, Journeys, Generosity. Stories reflect different styles and cultures using found and recycled materials, all created with involvement of local community. People from all walks of life around Shepton Mallet have joined together in making elements for our collaborative exhibition. Translucent textile and paper artworks will be suspended in front of 11 clear glass windows in Shepton Mallet’s beautiful 12th century church, as part of Somerset Art Weeks’ Festival, supported by events. They combine a range of found objects gleaned from our locality, incorporated into mini artworks, hand-stitched together. Parts have been printed in workshops on fabric dyed with rust, indigo, buddleia, onion skins, tea, and other home-made botanical inks, which I’ve enjoyed developing. Other processes include drawing, collage, tie-dye, batik, appliqué and patchwork on recycled fabric, paper and plastic. Sustainability has been key.

The exhibition launches Thursday 22 September, 6-8pm, open from 23 September-9 October, Mon-Sat 10am-5pm, Sun 12-5pm. Hope you can visit!

See our instagram page @thegleaning_shepton and do follow!


It was an immense privilege to be part of Together We Rise at Chichester Cathedral, an exhibition by members of Royal Society of Sculptors, curated by Jacquiline Creswell. Delighted that London Art Critic Tabish Khan selected it for his Top 5 summer exhibitions! I took down my installation Martyrdom of the Ten Thousand this week. The work related to the plight of pangolins - most trafficked mammal, care and repair. It was sad to leave that wonderful space.

Time playing with ideas in my studio has been precious. I’ve been making small scale 3d sketches with found objects, revisiting the concept of taking a line for a walk and line as life, energy.  Entangled Life (Merlin Sheldrake) - a great book about fungi - describes the way mycelium infiltrates roots and other life forms - fascinating and vital. Mycelial ‘highways’ interact across boundaries/species, and can be environmental remediators.

I’m gradually discovering new plant dye colours (iris bulbs produce an intriguing pale lilac grey) and experimenting with bundle-dyeing, a multi-staged process of gathering flowers/leaves, mordanting/fixing, creating the bundle (sandwiched flowers etc in fabric, wrapped round stick), steaming and untying to reveal the imprints.. it’s addictive!

Work in progress inspired by roots and algae hanging into the water at Vobster Quay where I’ve started swimming.

Play is an important element in the process.  There’s a synergy between consciousness and chance, allowing intuitive, tacit responses.  I’m allowing myself to explore various paths, not necessarily leading to conclusions. Hoping to spend longer hours developing new work over the coming months.  Check out my instagram page @fiona_campbell_dycp dedicated to my Arts Council England funded ‘Developing Your Creative Practice’ work.


Deeply saddened by the passing of our Queen, I am so grateful for her support of Arts Council England, and the arts and culture sector in general over so many years, from which I have benefitted along with so many others.

New Work Developing by Fiona

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.