Portals for Mortals exhibited over the weekend of August 20th and 21st as part of the Park Tales festival at Thorpe Meadows, Peterborough. The installation was received with enthusiasm by participants despite gusty conditions and the occasional heavy shower.
I’m pleased to announce that I have been commissioned by the Harlow Art Trust to undertake a virtual residency at the Gibberd Gallery, Harlow, culminating in an online interactive art work to launch in November 2016. The commissioning strand is called ‘reframe’ and I’ll be posting thoughts using the tag ‘reframe’ until as and when I think of a better name for the final work! Essentially, I’ve been asked to ‘reflect, challenge and celebrate the Harlow aesthetic, its post-war collections and the unique and utopian New Town values.’
Having been over to Harlow only briefly to discuss the commission with staff at the Gibberd, I thought I would visit today purely to get my ‘feet on the ground’ and find out a bit more about the way the town as it is came into being.
Harlow was one of the ring of new towns built around London in the aftermath of the Second World War when strategic planners attempted to cater for and manage population growth and movement rather than let it expand organically. Harlow was unique among the designated development areas in that its original population was particularly low at 4,500 being chiefly dispersed between small hamlets and villages. Perhaps this unique situation was thought of as a particularly ‘blank canvas’ by town planners led by Frederick Gibberd, namesake and forefather of the Gibberd Gallery.
“The design of a town – like the design of a car – is based on function. It has to work smoothly and efficiently. But, as with a car, we like a town to give pleasure to the eye, to be beautiful. So the history of Harlow’s design is also concerned with art, with the imagination that has been put into soving the practical problems.” Frederick Gibberd, quoted in ‘Harlow the Story of a New Town’, 1980.
The process of creating a new town such as Harlow was certainly imbued with idealism. It had to be as there were no immediate comparable precedents that had proved succesful although the earlier Garden City Movement was certainly an influence. The pre-war development of new housing estates outside of London, such as at Dagenham, was seen as problematic due to lack of local infrastructure and employment opportunities. Conversely, the post-war development strategy was to create self-sufficient, self-employing new towns that would attract industry and be able to provide for themselves.
It seems unthinkable now that central government would have the audacity, let alone the political will, to commission the planning and development of new towns designed for 70,000+ inhabitants on green field sites.
Calling Peterborough music makers. Do you want to have some musical fun?!
I’m inviting Peterborough-based musicians, music makers and wannabe musos of ALL kinds to help devise and record a series of weird and wonderful fanfares.
There are four sessions available, with a maximum of 12 participants for each session:
- 9/7/2016, 10am – 12pm
- 9/7/2016, 12pm – 2pm
- 23/7/2016, 12pm – 2pm
- 23/7/2016, 2pm – 4pm
To see registery pages for all sessions, click here.
What is a fanfare? A short musical passage that makes us think of celebration, probably dramatic and possibly quite loud. Ta-daah!
Why does it need to be weird and wonderful? It doesn’t, that’s just a way of saying that any instrument and musical style can be used to create a fanfare, at least that’s what the project hopes to prove!
What’s it all for? The final recordings will be used as part of an interactive art takeover of a high-profile sculpture in Peterborough, details to be announced very soon.
Do I need to be a virtuoso? Musical talent is optional but certainly appreciated! More important is imagination and willingness to try something out with other music makers.
What kinds of instruments are suitable? Literally anything that you can bring down to the studio and plug in or that can be mic’d up, including your voice.
What do I do next? If you are interested in coming along to a local recording studio and helping to create a unique fanfare on either the 9th or 23rd of July 2016, simply register yourself for one of the recording sessions currently available. First come, first served, so what are you waiting for?
I’m pleased to announce that I have been commissioned to create an artistic intervention at the Nene Valley Sculpture Park in August of this year. The Nene Valley Park itself is a lovely area of water, woods and fields that plays host to a variety of activities including dog walking, fishing, rowing, running, cycling and sailing to name but a few, let alone being a great space to simply wander round.
The sculptures themselves occupy Thorpe Meadows, an area close to the city of Peterborough, accesed simply by following the river Nene upstream. The majority of the pieces were originally purchased by the Peterborough Development Corporation which then set up the Peterborough Sculpture Trust in 1988 to manage the collection, incidentally which includes a Gormly and a Caro. More sculptures were commissioned by the Trust in the following years and many were relocated from outlying towns to the Nene Valley Park where they now stand, mostly in Thorpe Meadows.
Although they have their basic needs catered for (!) the sculptures are in need of a little TLC. Signage is generally overgrown. Some nearly floated off in a recent flood. One or two are in need of repair. One has been rather unsympathetically ‘re-plinthed’. Sadly, another was stolen. Many people who regularly pass by the surviving exhibits are not particularly aware of them and do not feel that they have much relevance to themselves. This is evidentally a situation so problematic that is has been turned over to a bunch of half-crazed artists to have a go at solving! Or at least that’s my take…
As part of a strategy to reinvigorate the sculpture park and re-engage the attention of the people of Peterborough towards this quite extensive collection, Vivacity, the not-so-long-ago outspun Entertainment, Culture and Leisure capability of Peterborough City Council, has awarded a series of arts commissions to be (mostly) realised at a weekend event it is organising to take place 20th/21st of August. The ‘Myths and Mini Beasts’ family friendly weekend will certainly help to pull in local families of the area.
But I think each of the five commissioned artists probably hopes to develop a more artistically interesting outcome and somehow create a more profound connection between the people of Peterborough and their semi-forgotton sculpture collection.
The other artists are:
Watch this space!
I’ve been investigating use of the Mogees contact mic system to sonify sculpture.
In-play footage of the Talking Trees of Chalkwell Park.
Last Friday evening I was working with producer/writer/choreographer Lydia Fraser-Ward and dancer/physical actor Philippa Hambly at Rich Mix, Bethnal Green where Hi Siri was presented as part of the Women of Mass Destruction 3. Hi Siri featured pre-recorded and live interactive visuals created with the latest version of the Kinect sensor which is basically even better all round than the first version, in itself quite excllent.
Hi Siri is about a relationship between a woman, Iris, and her phone, Siri. It begins with Siri being plugged into the ‘flat OS’ thus giving her control of all domestic services, signalling the start of a general takeover bid by Siri upon Iris’ life. The interaction design follows a trajectory from Siri being a jumble of curves and lines to a recognisably human (albeit digital) form.
It was great to work within the performance environment for a change. After a lot of pre-design I only had to press a few buttons on the night, but obviously they still had to be the right buttons in the right order! That 20m USB extension finally came in handy. Thankfully the perfomance went well and congratulations are due all round. A couple of stills follow…
Now that the dust of the summer holidays has settled, I’ve had chance to edit some video of the Play Table R&D project as it appeared at FACT, Liverpool, in August.
Installed at The Minories Galleries, Colchester.
I am pleased to introduce the ‘play table’ project.
“An innovative art technology project that will develop an experiential artwork with which four or more participants may interact simultaneously. A video image projected from above onto a large tabletop surface will be calibrated to allow multiple-participant touch interaction. Participants will be invited to manipulate virtual objects on the surface using bodily interaction resulting in an audiovisual experience that is a direct product of social playfulness.”
It’s an iterative project with key stages taking place in public. This video documents the first stage.
Supported using public funding by the National Lottery through Arts Council England.