Thursday, 3 November 2011
Here's an installation shot of the video work that was shown on the big screen in the WISE lecture theatre.
Over the 6 days that this exhibition was on we welcomed 450 people into this beautiful space. We had great feedback from staff and visitors at CAT, it was a thoroughly enjoyable experience.
Two small digital collages are still on show at MOMA Wales in Machynlleth.
This is a small sculptural work that I (Bridget) made for the CAT exhibition. It displays the animation that I screened at the Blacksmith's Shop in Allenheads on a very small screen inside a spar box that I made with minerals local to the North Pennines.
Friday, 28 October 2011
During our exhibition at The Centre for Alternative Technology (or 'The Quarry' as it is sometimes called) we were interviewed by Claire Bracegirdle about the experience of working there and the effect it has had on our art practice. Click on the link below to listen to the podcast...
Sunday, 23 October 2011
Preview: Sunday 23rd 5pm - 7pm
Closing Event: Friday 28th 5pm - 7pm
WISE Lecture Theatre, Centre for Alternative Technology, nr. Machynlleth, Powys
Entry free during Preview and Closing Event but at other times CAT entry fees apply
Exhibition runs from 24th -30th October, 10-4 pm
Artists Bridget Kennedy and Mair Hughes are exhibiting a series of large-scale digital collages and a video animated mineral 'spa box', inspired by their research in to radical experiments that have taken place in Mid Wales and North East England. It is the first exhibition to take place inside the beautiful rammed earth lecture theatre in the WISE building at The Centre for Alternative Technology, opening with a preview on Sunday the 23rd from 5 - 7pm.
The artworks Bridget and Mair have created reflect their encounters with Ecology, Geology, Phrenology, Futurology and some very unusual social engineering initiatives. Their artistic research has found them exploring a North Pennine lead mine, helping to disassemble a wind turbine at the Centre for Alternative Technology and rummaging in the Newtown archives of industrialist turned social reformer, Robert Owen.
Reinterpreting progressive and utopian ideas from the time of the industrial revolution such as communitarianism and educational reform, the two artists look for parallels to what is happening today, as we envisage another big societal shift, this time towards a less exploitative future.
Sunday, 25 September 2011
Last week I spent some time with Phil Ogg (a friend and collaborator) recording the Glass Alphabet.
This is me with Max (Phil's son), Phil told me that the Glass Alphabet had certainly made an impression on him because the other night Max brought out some wine glasses and initiated a glass jamming session.
I'm hoping to use the sounds of the glasses as a sound track for another version of the animation I made for the Blacksmith's Shop.
Mair and I are in full swing getting ready for the show at CAT at the end of October. It will be part of Powys Art Month, check out the link at the side if you want to know more about it. Our work will be opening in the WISE building at CAT on Sun October 23rd, preview: 5-7pm, usual opening hours 10am - 5:30pm.
We will also be showing some work at the Museum of Modern Art Wales (MOMA Wales) between the 26th October and the 19th November.
So back to work.....
Friday, 16 September 2011
Our exhibition "Scientific Stranger" took place over four days in September (8th/9th/10th/11th) as part of Heritage Open Days.
We installed two projection works in the Blacksmith's Shop in Allenheads and received 57 visitors over the four day period.
It was the first public showing of the first works we have produced for exhibition in this project. We spent the four days discussing the works amongst ourselves and with visitors. The more time we spent in it, the more the Blacksmith's Shop seemed to be a very fitting place to site the works as themes of making, construction and planning emerged from these discussions.
Bridget's work was downstairs in The Blacksmith's, her work was inspired by the systems of crystal formation of minerals in the region, a piece of text by Robert Owen and an extract from Thomas Sopwith's diary. Bridget has used a computer modeling programme to create a virtual sculpture that explores these sources of inspiration.
Mair installed her work up stairs in the Blacksmith's Shop.This work was inspired by the Appropriate Building Materials course that she observed at the Centre for Alternative Technology. In it Mair explores the visual drama and the intimate communication that occurs when constructing something together, as well as the continued appeal of primitive hand-built forms as models for future living
Thursday, 15 September 2011
A variety of different sized and shaped glasses, one for each letter of the alphabet.
This relates to the animation Bridget made from a text by Robert Owen, in the animation each letter of the alphabet which forms the text "General Arrangements for the Population" takes shape as a column that has specific colour and height. By using this system a three dimensional structure is created.
The glass alphabet will be used to create an accompanying sound track for the animation.
Wednesday, 7 September 2011
Mair modeling one of the prizes from the Silent Monitor Tombola.
Last weekend (Sept 3rd) we took part in The High Forest Show at Allenheads. It is a traditional village show meaning people living in the area partake in good humored battles over who has grown the biggest and best leeks or baked the best scones etc.
There are also a variety of stalls in the village square, this year Mair and I took a stall to join in the fun and give people a little taster of what we have been up to in this project so far.
We were busy with eager customers from start to finish, kids and adults were keen to try their luck on the Silent Monitor Tombola to see if they could win some colour co ordinated sweets and have their state of moral well being assessed. Many people were fascinated by and ,with a little training, enjoyed spelling out words on the Glass Alphabet.
We are now busy preparing for the next event in Allenheads which is a Heritage Open Day exhibition in the Blacksmith's Shop.
The exhibition will be open on the 8th, 9th, 10th and 11th of September between 11 am and 4 pm.
There's more info about it if you follow the Heritage Open link to the right.
Thursday, 11 August 2011
The first public event of this project is fast approaching.............. September 8th, 9th, 10th and 11th for Heritage Open Days.
I went down to the place were Mair and I are going to show some work today. I had a particular spot in mind for a projection.
The above image is a quick test of this spot, it needs a bit of working out still but I think it's a good place for my work.
I've also been enjoying looking at David McCandless's work (see info is beautiful link at side).
I've just finished making a "virtual sculpture" using Google SketchUp. I thought I wanted to make a "real sculpture" using coloured acrylic blocks, but I've been contemplating how to reduce the amount of "stuff" I use in my practice (particularly "stuff" that could have a harmful impact on the environment), not to mention clogging up my living space! So I opted to make a computer model instead. I think seeing Suneil's CAD designs for the components of his RepRap machine also had a big impact on me.
Anyhow the" virtual sculpture" (yet to be named) is a colour coded interpretation of a piece of text by Robert Owen. In the text he writes about arrangements of population, I guess it is a town planning policy but in very grandiose language. So I have been plugging away on my computer for the past week turning letters of the alphabet into beautifully coloured transparent columns.
The up shot of this is I have been lost in my own psychedelic world and was overjoyed to see colour just as vivid in the real world.
The photo above shows my husband's chilli crop.
Sunday, 31 July 2011
Ballard's 'The Drowned World' is full of references to biological memory in humans, a kind of mammalian genetic hangover which (especially in a future drowned, heated planet) would account for our revulsion of reptiles, left over from the days when the planet was a similar temperature and dinosaurs held sway. He has his character Kerans muse... 'a more important task than mapping the harbours and lagoons of the external landscape was to chart the ghostly deltas and luminous beaches of the submerged neuronic continents.'
I've also just got hold of a copy of 'The Sheep Look Up', a dystopian 1970's fiction set in a heavily polluted America. I like the idea of sheep being the sensors of change, the 'canaries in the mine', particularly in relation to Wales. If something nasty were to happen here then no doubt, as in the case of Chernobyl, the grass-munching species would find out pretty fast. The reference comes from a poem by John Milton titled 'Lycidas'....'The Hungry sheep look up, and are not fed, But swoln with wind and the rank mist they draw, Rot inwardly, and foul contagion spread...'. (Hmmm, nice!)
We visited Suneil again to see how his Rep Rap project was coming on. He had just put one of the moving parts together so we were witness to the first powering up of the machine. It all went well and Suneil seemed happy. I went back later to photograph his work space as I liked all the diagrams and plans he had up in it. Creating diagrams is one way that Mair and I might bring all the information we have gathered together.
This one was a very immersive experience as we spent six days living on site at CAT. There is an on site community of between 12 and 15 people which fluctuates depending on how many long and short term volunteers there are. The core of the community who live on site all the time consists of three families, two of whom we had the pleasure of sharing house space with over our week long stay. The generosity of the people we encountered was very touching and we were able to slip into a comfortable domestic routine with offers of bedrooms, bathrooms, kitchens, conservatory and garden spaces all gratefully received.
Staying on site gave us a small insight into a more sustainable life style. There are no fridges or freezers in the houses, food can be gathered as and when from the communal food store, which is like a large pantry and cool enough to store butter and cheese in. There are also bulk supplies of cleaning products so you can re fill containers and a whole host of food stuffs from basic dried goods to tofu and fresh fruit and veg. Hot water can be produced either via solar panels in the spring/ summer or via wood burning stove in autumn/ winter. The main cottages have conventional bathrooms but there is also a composting toilet which Mair and I used on occasion. Apart from that the cottages were equipped with all the mod cons to live a pleasant modern lifestyle, wi-fi connection and even a projector for home movie nights were an unexpected bonus.
We started our stay by volunteering on the Wildlife Weekend (23rd and 24th July). CAT works with a great variety and number of volunteers so we were well looked after and able to participate in a number of the activities ourselves , the beautiful sunshine was also a great bonus.
The following week saw us filming and photographing various locations around CAT as well as having many, many conversations with the enormous number of knowledgeable and passionate staff and volunteers. One of the great things about day to day life in CAT is the food. Now Mair and I are very attached to our tea and cake rituals, but CAT goes that bit further by providing a marvellous midday meal for all staff and volunteers. This communal meal takes place in the beloved Tea Chest, one of the older buildings on the site and home to some of the short term volunteers. This lunchtime gathering was a brilliant way for Mair and I to meet and catch up with people. CAT is quite spread out with offices in many nooks and crannies, plus a body of staff who are not always chained to their desks, so tracking people down is not always easy. However chatting to them whilst munching your way through the very generous helpings of tasty vegetarian food, accompanied by fresh salad produce from the on site garden, is possibly the most pleasant networking experience I've had.
Over the period of our stay Mair focused much of her attention on documenting a short course on sustainable building that was taking place, whilst I re visited my favourite spots up at the reservoir and the small turbines. We also spent time together in the WISE lecture theatre, taking a closer look at what might be possible to install there for our show in October.
We seemed to pass our days going out on individual forays punctuated by meetings during which we would share information and ideas. This seemed to be a good way of maximizing our time.
Friday came around all too quickly and we emerged from CAT buzzing with ideas and possibilities both short and long term. These will develop further over the coming weeks, plus Mair and I will blog about specific things that caught our interest during the stay at CAT.
Monday, 25 July 2011
Whilst exploring the archives at the Mining Institute in Newcastle we came across a poetic ode which positions coal as a monarch presiding over his geological subjects. It's written in a humorous style but there are some nice attempts at personification of rocks and minerals based on their physical properties. The section above describes what happens when king coal gets angry and chases his subjects out of his caverns, and imagines how each mineral would suffer its own unique form of structural damage on the way. It also serves as a reminder of the reverence coal was held in and the positive, powerful associations connected with it in a time before there was a strong awareness of it's polluting potential.
Saturday, 16 July 2011
I got really excited because I thought "This is it, I feel this is what I want to make for the Blacksmiths Shop exhibition in September." (more info about this nearer the time)
Now I've let that all settle down for a week and it still feels good so I'm going to pursue it further. I recognise that my creative process is like a slow filtration, a mental sifting. Sometimes it needs a bit of stirring up (nothing like a deadline to spur you into action), but at other times things just need to sit for awhile. In fact certain ideas can get deeply embedded, for years sometimes, and then an image or piece of text causes it to rise to the top again.
This seems to be the case with some small sculptures I made in the first year of my MA at Glasgow. They were three dimensional interpretations of text (an extract from the Book of Genesis), and I've been thinking for a long time that I'd like to continue that idea.
I've been latching onto the use of systems by both the historical figures we have been looking at (Thomas Sopwith and Robert Owen). Sopwith with his drawings and models of the landscape, Owen with his Silent Monitor and numerous texts on the improvement of society.
I am going to experiment with some of each of their texts, using them to create a sculptural work. I'm thinking along the lines of "What sort of city / dwelling / society would have arisen if Sopwith and Owen had worked together on a plan. A kind of physical realisation of an amalgamation of their ideas.
I've also been thinking about the structure of the minerals at Killhope and I've found some really great video clips. See Britannica link to right. Check out Crystal Systems and Natural Resources Law videos in particular, they are in a vertical menu on the left of the page once you have opened up the Britannica link. I like the music that is used in the background of natural resources law, I think that I might like to use something like this for an installation or video.
Oh and check this guy out, he is great. I love the way he explains things using the periodic table and the mineral examples in front of him. See minerals guy link to right.
I think making a model based on a hybrid of ideas / systems from both Owen and Sopwith to sit along side the other models in the Blacksmiths Shop is something I'd like to pursue. It might be a straight forward translation of text or blending of texts together to some how form a systematised structure.
I also like the idea of something that then gets taken over by crystals or some kind of growth. I like the work of Roger Hiorns and Cath Keay because of the way they have worked with architecture and organically formed structures. Roger Hiorns is well known for his work "Siezure" in which he filled a flat with liquid minerals and then allowed the interior of this building to be taken over by crystal formation. I saw it a few years back and it was pretty impressive. Cath Keay has worked with wax models of buildings, allowing them to be taken over by bees and exhibiting the collaborative result.
I found a really nice interview with Roger Hiorns, never realised he was from Birmingham. See Roger Hiorns link to right.
Wednesday, 6 July 2011
Tuesday, 5 July 2011
This is a picture from The Centre for Alternative Technology archives, probably from the 70s or early 80s, when caravans for people living on the site were sprayed with a layer of foam, and then paint, to improve insulation. Although the image doesn’t display any particularly ‘green’ technology (in fact the foam has probably since been discovered to be highly toxic to the environment), I like the image because of how it now looks kind of retro-futuristic. It combines this space-warrior-like figure with the homely and familiar caravan. For me it suggests the practical experiments that have gone on bit by bit since the beginning of the CAT project, the fact that this is a site where tests and trials can occur, such as ‘how to make a caravan a viable low-tech living option in the Welsh winters’, Mistakes can be made and learned from, pathways explored and rejected for newer ideas, but things are directed away from the purely theoretical by the hands on nature of the organisation.
Sunday, 3 July 2011
It has taken me longer than I would have liked to have a good look at this book, but as anticipated it is a treasure trove of images and a ideas centering on typography and design.
Mair and I both use text in our art work, it is an area that we are considering in relation to the collaborative element of this project. I'm getting more and more into the idea, I like the fact that lead was used to create typeface and that this printing technology enabled ideas to be circulated over ever increasing distances, contributing to the formation of networks of people who shared those ideas.
I also like the language that has been used in this book. Josef Muller-Brockman (the author) is so passionate about his subject I thought I would share the section called Grid and Design Philosophy with you.
"The use of the grid as an ordering system is the expression of a certain mental attitude in as much as it shows that the designer conceives his work in terms that are constructed and oriented to the future.
This is the expression of a professional ethos: the designer's work should have the clearly intelligible, objective, functional and aesthetic quality of mathematical thinking.
His work should thus be a contribution to general culture and itself form part of it.
Constructive design which is capable of analysis and reproduction can influence and enhance the taste of a society and the way it conceives forms and colours. Design which is objective, committed to the common weal, well composed and refined constitutes the basis of democratic behaviour. constructivist design means the conversion of design laws into practical solutions.
Work done systematically and in accordance with strict formal principals makes those demands for directness, intelligibility and the integration of all factors which are also vital in sociopolitical life.
Working with the grid system means submitting to laws of universal validity.
The use of the grid system implies
the will to systematize, to clarify
the will to penetrate to the essentials, to concentrate
the will to cultivate objectivity instead of subjectivity
the will to rationalize the creative and technical production processes
the will to integrate elements of colour, form and material
The will to achieve architectural dominion over surface and space
the will to adopt a positive, forward-looking attitude
the recognition oft he importance of education and the effect of work devised in a constructive and creative spirit.
Every visual creative work is a manifestation of the character of the designer. It is a reflection of his knowledge, his ability, and his mentality."
So there you go......... Vive La Grid!!!
The tone of this passage really reminds me of Robert Owen's writings about the formation of a New Society.
Muller-Brockman's book also gives a lovely potted history of some of the early type face or font designs. For example GARAMOND which was designed in 1535 by Claude Garamond in Paris.
Friday, 1 July 2011
I've posted a whole lot of stuff retrospectively, it is a good way for me to reflect upon the experiences Mair and I have shared.
I hope over the next few weeks to move forwards and share some more developed ideas with you. What I have posted thus far is a tiny slither from the mass of information and images I have collected and I have no doubt there will be much more to come!!
We will probably dip back and forth between us and there are things that we shared right at the beginning that will come to the fore as well as things that will slip back into the shadows of time.
For now I'm going to stop and walk down to the village for some fish and chips......
"In 1779 Abraham Darby built the first iron bridge at Coalbrookdale and a velocipede was seen in the streets of Paris. In 1780 British coal production hit ten million tons for the first time and the County of Yorkshire petitioned the government to reform its finances and put an end to corrupt political patronage. The following year James Watt patented his rotary steam engine paving the way for the next phase of technological revolution. For the first time a new source of power was available: to drive machinery that had previously been propelled by wind and water. Rotary engines could be built where ever coal could be supplied, relieving the dependence of mills like Cromford on water power alone."
I couldn't help thinking when I read this that there may be a point in time when we come to the exact opposite end of this technological achievement; I'm wondering how long it will be before we once again have to rely on wind and water for our major sources of power.
CAT have a great illustration of our use of the earth's resources, it's a timeline that spans the length of a wind turbine blade showing how our use of energy sources has changed over the ages.
Sopwith seemed to sense the significance of this switch to coal power, below is a quote from his "Stranger's Pocket Guide to Newcastle and it's Environs" published in 1838
"The copious amounts of smoke emitted by these, and other manufactories and engines on the banks of the river Tyne and Wear, present also a marked feature of the district, and in some particular lights the appearance is very curious, as regards picturesque effect. these clouds of smoke, stretching mile after mile across the coal fields of the Tyne and Wear, indicate at once the present abundance and rapid consumption of that most important and valuable of our subterranean products, coal, and suggest the propriety of adopting every reasonable economy in its use."
I wouldn't for a moment hold up Sopwith as an early environmentalist, he was as excited as the next man by the rapid pace of technological change and exploited it to his fully advantage, but the quote above does show he had the breadth of vision to reflect upon it.
CAT provides a place where people can reflect upon our current state of affairs in relation to the environment and our use of its resources, it also offers practical solutions and alternatives.
I hasten to say I did not spend the whole day staring out of the window.... We came across lots of fascinating information about Robert Owen, not least his social hymns. Mair and I had a happy moment singing one of them to the tune of Auld lang syne, one of the more surreal moments in the project.
Another strange thing we came across was Owen's Psychograph, published in the Dublin Journal May 9th 1823 (see picture posted later). In the accompanying article Owen describes what this diagram represents:
“The slides are drawn out to the right in order to represent the extent or degree to which the faculties, qualities and propensities are at present cultivated. The dotted lines mark the extent or degree to which they will be extended or repressed under the ‘New System’ Nos. 1, 2, 4, 5, 8 and 9 will be cultivated to a high degree, and Nos. 3, 6, 7, and 10 will be kept within due bounds, as marked by the dotted lines across the slides”.
Owen writes in "The Book of the New Moral World":
"the most intricate and important discoveries have been made in some of the physical sciences, while mental and moral sciences have remained in total darkness."
He was very concerned about the moral well being and general health of society, he made it his life's work to design systems for improving the lot of his fellow human beings. The confidence and conviction he writes with is astonishing.
In 1838 Thomas Sopwith and Robert Owen met (in Newcastle), below is Sopwith's opinion on Owen's radical ideas (from Sopwith's biography) :
" Mr. Owen is very communicative, and is willing to answer any questions, which he always does with a distinct reference to his particular views. His notions of classifications of society, although based in some measure on the results of his own practical experience at New Lanark, and comprising many very enlightened and benevolent arrangements, are yet so very Utopian that it is difficult to attribute his sanguine anticipations to any other cause than monomania or a delusion on that particular subject. Even those parts of his plans which may be considered practicable as improvements in the general habits and constitution of society, will, in my humble opinion, require the lapse of ages to be accomplished, — I would say two thousand years at least ; and this opinion I have always urged on Mr. Owen".
So, according to Sopwith, Owen certainly was ahead of his time!!
The museum has a beautiful print on silk of a plan for a cooperative living space, designed by Owen and called a Phalanstery. These designs never came to fruition, by the time Sopwith met Owen he had lost the fortune he made at New Lanark in America, trying to build a New Society in Indiana. There are a couple of variations on this design and mentions of a model of it in various writings, once again the miniaturisation of an idea or a dream.
Mair and I started off at the Robert Owen Memorial Museum in the centre of Newtown. Robert Owen was born in 1771 in Newtown and returned there to die in 1858. Although he travelled the world and his largest achievements happened miles away from this small town he was born and died on the same street with two or three buildings bridging the gap between birth and death. Mair and I met with Pat Brandwood (the museum curator) and her husband John. They are absolutely dedicated to running and promoting the museum, which houses the largest collection of artifacts relating to Robert Owen, many more than the bigger and better funded New Lanark visitor Centre. Pat is extremely generous with her time and let us roam the museum at will. She also gave the resource room up for us as a kind of base camp. The museum has a whole host of publications by Robert Owen, which I will mention in more detail in later posts. We had two days in the museum, taking a break on Tuesday to pop across to the Oriel Davies Gallery to talk about potential exhibition space.
On Wednesday we went over to Machynlleth to visit MOMA Wales and the Centre for Alternative Technology (CAT). We met with the curator of MOMA, Ruth Lambert, who has very generously offered us some space in the gallery in October. Next we headed up to CAT. We were to give a talk to the staff in the early evening so we were a little preoccupied (and nervous) as Sylvie Fabre (our main contact at CAT) showed us round various possible sites for us to exhibit work in October. We needn't have worried as Sylvie had managed to drum up plenty of interest for us and we left that evening feeling very energised by the response to our talk.
Mair's Godmother (Hillary) lives near(ish) to CAT so we stayed with her for the next couple of nights. She lives in beautiful place and runs an exquisite B + B, so we were well looked after. Next day at CAT we walked up to the reservoir that provides some of the power for CAT as well as running the cliff railway: a most enjoyable ride up from the car park to the visitor centre all powered by water. We got some stunning views of the old slate quarrying works on our way up and I enjoyed filming the reservoir before we went all the way up to the small wind turbines to get an overview of the CAT site.
We scuttled down the hill to join the CAT staff and volunteers for lunch in Tea Chest (the staff dining area and accommodation block for short term volunteers). It was really great to be able to meet and chat with all sorts of people in a relaxed and informal way and it felt like connections were beginning to form. People seemed to really relate to the ideas we are juggling in terms of sustainable and cooperative living and a connection with and respect for the place that you live in. Ideas and thoughts of and for the future are very much on the agenda for CAT, they have recently published a document called Zero Carbon Britain, which puts forward a strategy for energy consumption and production, looking towards a more sustainable future for Britain in 2030.
On Friday (10th June) we went back up the hill to help take down a small wind turbine that had ceased working, the engineers suspected it had been struck by lightening. The lowering of the turbine was a very well organised affair, Arthur (an engineer), made it an educational experience too. He laid out some facts about wind power and turbine size and I started to understand how these spinning things actually make electricity. This was beautifully illustrated when we opened up the turbine and found some very melted magnets. Diagnosis (90% certain): lightening strike.
We only had a few days at CAT but it felt like a very privileged insight into the workings of an extraordinary group of people. Our last day coincided with the 1st Birthday of the WISE building (a wonderful educational facility on site at CAT) so we joined in the celebrations partaking of a giant cake and playing a monster game of table tennis!!
Mair and I have already made plans to return to CAT at the end of July when we hope to deepen our understanding of the issues we have touched upon and discuss them further with the people we have met.
In the meantime its back to a relative degree of normality and lots of mulling over of ideas. And blogging.......
We checked into the youth hostel on site at New Lanark and started our exploration of the many buildings on this World Heritage site. The place itself is tucked away in the valley of the river Clyde, this makes the first glimpse of it all the more impressive after driving through what appears to be a small housing estate to get to the visitor car park.
There is a lot going on at New Lanark, I was keen to concentrate on water as I see it as a linking factor between the places we are looking at during this project. However I did find some other interesting things too.
I kind of fell in love with the mill production area which was a very noisy place but I really liked that there was still some work going on in the two hundred year old factory (see photos of thread spinning machine and carding machine). I spent a while in there taking video clips and being mesmerised by the tiny actions of the threads.
On top of this massive mill building is a lovely roof garden which gives a great over view of the site. I found a monitor which was displaying footage from what I can only assume was a surveillance camera. The cover of the dome around the camera was wet, this gave the footage a strange dream like quality. The act of surveying and monitoring seems to tie in with both Robert Owen and Thomas Sopwith's ideas. I recorded some of the camera's circular sweep around the site, some how the roof garden looks quite futuristic sat up amongst the roof tops. I'm not sure what I will do with this footage yet but it is useful to mull over it.
There is a beautiful woodland walk up to the Falls of Clyde which I did, stopping along the way to take footage of water and hydro electric installations. I think water and water power are going to feature quite heavily in this project, but who knows, at this point it is all information and ideas swimming around in my head....
Monday, 27 June 2011
For now I want to just expand further on mine and Mair's first shared experiences in the North.
The Mining Institute in Newcastle is going to host one of the creative outcomes from this project, so it is important to talk a bit more about what we discovered there.
As I mentioned earlier we looked at texts and maps, but the building itself is also very inspiring. Aside from the beautiful library there is an awesome lecture theatre which has photographic portraits of all the past presidents. It is a great place which we hope to use during the course of this project.
One of the texts Jennifer the librarian found for us was Sopwith's "Treatise on Isometric Drawing", the Institute have very kindly offered to scan this for us so we can refer to the diagrams in more detail. What Mair and I have begun to talk about is the various methods which Sopwith employed in order to understand his surroundings more fully and to convey these findings to others.
OK so I'm back to Sopwith again.....
He developed a simple surveying tool called the Sopwith Staff (Killhope Museum has three of them see pictures to follow), he developed a way of drawing the landscape that could be easily translated into three dimensions (Isometric Drawing) and he made models of these landscapes. I like the move between real and represented landscape together with the shifting between two and three dimensions: actual landscape, drawing, sculptural model. It is also something that Mair has explored in her work as she moves between drawing, sculpture and installation. More on this later.....
We also discovered a really amusing poem / set of verses by John Safe Esq from 1818. It's called "King Coal's Leeve" or "Geological Etiquette", we are having the whole pamphlet scanned so I'll be able to bring you more later. It is a great story about coal exerting it's power over the metals by melting them down.
One of the things I am particularly interested in within my artistic practice is the idea of a sense of place. I find the extract below from Sopwith's diary wonderfully evocative. He talks of taking Faraday for a walk round Byerhope Dam, one of the many reservoirs in Allenheads which were constructed in order to service the lead mines.
" In the evening we walked and talked — a long walk and a long talk — to Byerhope Reservoir, and in the garden. Seated at the end of Byerhope Reservoir, the conversation turned on subjects which I had at that very place once discussed with Robert Stephenson, and it is a pleasing memory ever to associate with that spot that it has been the scene of philosophical disquisitions, in which the minds of Faraday and Stephenson were freely opened on some of the most curious and wonderful problems which philosophy has ever disclosed. If I mention that at this place and on this occasion Faraday unfolded in a clear, perspicuous manner his views respecting centres of force, the undulations of light, the difficulties surrounding the received theory of atoms, and other similar matters, it will be readily understood how full of deep and engrossing interest such a conversation must have been”.
Faraday was developing his research into electro magnetism, a process which must have seemed truely magical at the time. Sopwith was also very good friends with William Armstrong and Robert Stephenson both of whom he took for walks around Byerhope. Armstrong was developing ways of producing electricity by harnessing the power of water. He demonstrated this to Sopwith and Sopwith noted in his diary:
“The hair or fingers held in the jet of steam are brightly illumed with electrical light, and the effects are not less beautiful than curious, new, and important."
The photograph posted below was taken from the location around the dam that Sopwith describes in his diary, looking out over Killhope (the hill in the distance). I get a bit of a buzz thinking about all of this taking place within view of my sitting room.
Saturday, 25 June 2011
When we talked with Colin at the Mining Institute he told us how the mines were put to bed in the late 1800's. Cheaper imports of lead ore were coming into Britain from Northern Europe so it was no longer a profitable operation to extract lead ore at Allenheads and WB Lead withdrew from the area. However, they did not just up sticks an leave. Colin told us that underground machinery was carefully wrapped up. Copious amounts of tallow (animal fat) was applied to preserve metal from deteriorating in the wet conditions. At the time they must have thought this was just a temporary suspension of works and that the market might recover and they would recommence mining in Allenheads, little did they know that these mines would not be worked for lead ore again in their life times. In fact, apart form a brief exploration for Fluorspar by British Steel in the 1970's these mines have remained dormant for over 100 years.
The imagery from the Gin Hill Shaft made me think of a piece of writing I came across about Thomas Sopwith. He is reputed to have told his biographer WB Richardson that:
"the mountain led him towards the skies and made him familiar with the stars;
the earth kept him from being too aspiring, and in return made him familiar with the treasures of old which lie on her surface;
and the mine took him under the earth, a still humbler sphere, to seek out knowledge in darkness, and goods that are held in secret".
For a man with so many practical interests: geology, engineering, economics etc; Sopwith could be quite poetic.
The model of Allenheads is housed in the Blacksmith's Shop and it's is a beauty. The building is owned by the Allenheads Trust and its open to the public, although it's undergoing some restoration at the moment.
The model shows an Allenheads of the 1800's. It shows lots of features of the lead mining industry that dominated this village during that period.
The image below shows the building that is now the pub in the foreground to the left and to the right is the Heritage Centre, in the background is the mine yard where the lead or was processed once it had been brought out of the mine. Modern village life revolves round the pub and the Heritage Centre which hosts community events and also houses a contemporary arts space (see ACA link).
The wooden tower is a structure that no longer exists, it would have housed winding gear for the Gin Hill shaft. I have been really taken by the view down this shaft and managed to capture some of it on a small video clip (see a still from this in the next post)
Tuesday, 21 June 2011
Below is a brief synopsis of our time together.
We kicked off with a rather wet, but none the less, interesting and informative guided walk around Allenheads. It was part of the North Pennines ANOB Northern Rocks Festival and couldn't have been more fitting for our purposes. Ian Forbes, our guide for the day, was focusing on Thomas Sopwith, his relationship with Sir William Armstrong and their impact on the village and the surrounding landscape.
Next we headed into Newcastle to visit the Mining Institute. No photographs can do justice to this architectural gem. Going in for the first time is a bit like unearthing a beautiful mineral. If you are ever in Newcastle near the central station I urge you to go, you will not be disappointed. It also contains just about anything you might possibly want to know about mining. We were delighted to find that our very own Thomas Sopwith had designed the furniture for the library. Call me strange but it tickles me to sit on a Sopwith chair at a Sopwith table reading about Sopwith, perhaps I'm loosing it. He came from a family of cabinet makers, hence his ability to realise many of his ideas in wood. The wonderful librarian Jennifer was able to summon up a choice selection of publications for us to peruse, but I left with that "tip of the iceberg" feeling and a large dose of the "biting off more than you can chew" blues. Here's where the beauty of having a partner in crime comes into it's own, on the way home Mair was able to talk me round, when you have been planning and thinking about something for so long it is really hard to just relax into. I soon realised I was just being impatient.
Mair also managed to talk me round to a trip to Scotland. As you will discover if you follow this blog we are also looking at the life and works of another nineteenth century gent, an incredible man called Robert Owen. His model workers village, New Lanark was the inspiration for this project. Mair had come across him a long way back, as he was born in her home town, Newtown in mid Wales. So on Thursday we set off over the border to visit New Lanark. We stayed the night there at the youth hostel and spent a happy two days looking round this World Heritage site. It is an inspirational place and we most definitely want to work with them in stage two of this project. In the meantime it provided us with many, many photographic images and video clips, which may develop into works during stage one.
On Saturday we had the pleasure of spending the day with several of the Friends of Killhope, a charitable organisation associated with Killhope Lead Mining Museum. I have a close relationship with the museum as I have worked there for 5 years as an information assistant. However, I had never really met any Friends of Killhope or fully understood what they do, so this is a great opportunity for me to find out more information which will be of benefit to me as an artist but also assist me in my "day job" too. Dick, Margaret and Shelagh very generously gave up their Saturday to show us numerous items for their extensive archive. They are also very well connected and gave us contact details for a host of useful people in the field of geology.
Finally on Tuesday, after a few days of digesting information and planning our next get together, Mair and I made our way back into Newcastle for a second visit to the Mining Institute. We had requested some maps of the Allenheads area to look at, these maps are quite lovely, I especially like the way the mineral veins are marked with gold. I also like how some maps are virtually bank with just a tiny bit of information in one corner. Once again we met some great people. Aaron is a photographer who is undertaking a commission at the institute. Colin is an ex mine manager who has travelled extensively and knows a canny bit about Sopwith.
At this juncture I am going to try to put together some images and pieces of text to reflect this experience. It is not an easy task as there is such a mass of varied information swimming round in my head. I"m hoping the act of editing for this blog will help clarify things.......
This man was Thomas Sopwith.
He was born in Newcastle upon Tyne in 1803, he died in London in 1879. In 1845 he was appointed as mine agent by WB Lead and moved to Allenheads.
I must say now I am not an historian by any stretch of the imagination. If you want to find out more about Thomas Sopwith you might like to follow the link to the side of these posts to read extracts of his biography by B W Richardson. Sopwith kept an extensive diary for the majority of his life which he re-wrote in later life (burning the originals). I've been looking at these diaries on mirco film at the Robinson Library (University of Newcastle upon Tyne). They are fascinating as he had so many interests and socialised with so many of the important thinkers of his day. However, I don't want to get lost in the mists of time..........
You will see as these posts unfold how his ideas permeate my artistic practice. For now see below for a portrait of Sopwith with some beautiful wooden models that he designed and produced as geological teaching aids.
Mair and I have been fortunate enough to gain some funding from both the Arts Council Wales and the Arts Council England to help finance this project. So we are now able to travel between the North East of England and Wales and spend time together at a variety of locations in order to explore ideas concerning technology, co operative living and sustainability in relation to the geographical characteristics of these places and the people that live and have lived amongst them.
This blog will chart our journey from exploratory visits to the exhibition of finished art works. We are going to work very closely together on this project, producing at least one collaborative art work. We will both be making posts here so if you follow this blog you will be witness to the development of a collaborative practice. Part of my interest in contributing to this blog is to make our creative process as open and accessible as possible so please feel free to comment and enter into the discussion.