Hey guys, here are a few mock-ups I've done for the allotment direction signs. Let me know what you think, Aoife (fh06a2f@leeds.ac.uk) xxx
The show is finished now, we thank everyone for their tremendous support.
The red arrow indicates the location of the exhibition, please come to the studios first.
Saturday, 12 May 2007
Allotment signs
Hey guys, here are a few mock-ups I've done for the allotment direction signs. Let me know what you think, Aoife (fh06a2f@leeds.ac.uk) xxx
Friday, 11 May 2007
Tuesday 8th May - Minutes from Allotment meeting
LOCATION - Allotment
Present - usual posse plus Vanalyne
-THURSDAY AT 9am - Deadline for all Situation Leeds based work to be in studio, finished if possible, to be photographed by Catherine for the blog. Decided that only a small portion of each piece of work will be shown - in order for people to come to exhibition and see the work in entirety.
-A space needs to be found to store Vanalynes work while we use her room. Maybe at Lifton, make sure there is no damp! Ask Ron and Peter.
ORGANISING THE EXHIBITION
-How are we going to direct people to allotment from studio space? Idea of 'snail trail' leading from studio to allotment. Check with University of this is possible/if we can use posters etc to direct people who come exhibition to the allotment.
-By Friday - everybody will be assigned with what they need to bring to the opening night - food etc - Liv to send emails.
-WEATHER ISSUES - check on internet for weather forecast - what will we do if it is windy/raining? Rain - Umbrellas - we could possibly use binbags as raincoats for ppl...festival stylee!
Matt will talk to technitions about issues regarding HEALTH AND SAFETY of exhibition, on Friday.
-How are we going to label our work in both studio and allotment? Should we include a small explanation of what each piece of work is about? Idea of using foam board to mount labels on - maybe we could all make individual labels?
-Inviting people - continue to promote exhibition to public/friends etc, round uni - Alice will email Paul Kidson (man we planted bulbs with) and invite him to the exhibition.
-Issue of possibly needing another laptop in studio, as one will have blog on it - Matt said we may be able to use his laptop.
SOCIAL - Library at 9, then on to HiFi! Marks bday/end of term!
NEXT MEETING - FRIDAY 3PM, Allotmet/Marks place if weather is miserable
- Issues to be resolved on Fri include - allocation of what food people will bring on opening night, continuation of discussion about weather issues, how we are going to label our work, a TIMETABLE of who will be at alloment/studio during exhibition days, how we will direct people to allotment from studio (need to make final decision by Fri!). Also - we need to check everything on blog is grammatically correct..!
Over and out!
Present - usual posse plus Vanalyne
-THURSDAY AT 9am - Deadline for all Situation Leeds based work to be in studio, finished if possible, to be photographed by Catherine for the blog. Decided that only a small portion of each piece of work will be shown - in order for people to come to exhibition and see the work in entirety.
-A space needs to be found to store Vanalynes work while we use her room. Maybe at Lifton, make sure there is no damp! Ask Ron and Peter.
ORGANISING THE EXHIBITION
-How are we going to direct people to allotment from studio space? Idea of 'snail trail' leading from studio to allotment. Check with University of this is possible/if we can use posters etc to direct people who come exhibition to the allotment.
-By Friday - everybody will be assigned with what they need to bring to the opening night - food etc - Liv to send emails.
-WEATHER ISSUES - check on internet for weather forecast - what will we do if it is windy/raining? Rain - Umbrellas - we could possibly use binbags as raincoats for ppl...festival stylee!
Matt will talk to technitions about issues regarding HEALTH AND SAFETY of exhibition, on Friday.
-How are we going to label our work in both studio and allotment? Should we include a small explanation of what each piece of work is about? Idea of using foam board to mount labels on - maybe we could all make individual labels?
-Inviting people - continue to promote exhibition to public/friends etc, round uni - Alice will email Paul Kidson (man we planted bulbs with) and invite him to the exhibition.
-Issue of possibly needing another laptop in studio, as one will have blog on it - Matt said we may be able to use his laptop.
SOCIAL - Library at 9, then on to HiFi! Marks bday/end of term!
NEXT MEETING - FRIDAY 3PM, Allotmet/Marks place if weather is miserable
- Issues to be resolved on Fri include - allocation of what food people will bring on opening night, continuation of discussion about weather issues, how we are going to label our work, a TIMETABLE of who will be at alloment/studio during exhibition days, how we will direct people to allotment from studio (need to make final decision by Fri!). Also - we need to check everything on blog is grammatically correct..!
Over and out!
Thursday, 10 May 2007
Aoife Flynn and Emily Phelps
'Sounds of the Allotment':
In order to create a mirror between the external and internal 'allotment' spaces, Emily and Aoife have manipulated audio footage extracted from their collaborative video that documents the experiences, discussions and development of SLUG. The build up of layers of sound reflects the incoherence of the group as they struggled to find a united voice that might connect each thread of individual enquiry. The samples used varied from birdsong and conversations from the allotment and studio spaces, to sourced sampling of natural history programmes, in order to invoke the biological nuances of growth and cultivation as exemplary principles of the allotment.
Sarah Baumann
My project is based around the concept of climate change and its growingrelevance to the UK’s agricultural industry. Studies have shown that due to aminute temperature rise in the months of spring, vegetables are sproutingearlier, though the heat rise also leads to erratic occurrences of frost,thanks to the saturated air. Inevitably the sprouts of the plant are damaged, causing the yield to develop bearing signs of their earlier frostbite. The waxsculptures of broccoli and cauliflower, vegetables chosen thanks to theaesthetic form of their flower buds, manifest the concept through the medium,as the shattered glass alludes to the danger, but the recyclable properties ofboth the wax and glass, illustrate the perennial dangers of global warming.Olivia Leahy
Community is intrinsic to the concept of an allotment. A gardening communitydraws upon nature, hard work and beauty to sustain a relationship with the landas well as like-minded people. On one excursion to the allotment we wereinvited to join a family for pancakes and tea. This event stuck me because ofthe family itself, who were happily in their own little world, a microcosmhidden by hedges, as well as the fascinating situation we were sitting in it.My aim is to capture this moment again through the use of photography and sculpture.Matthew Newbigin
With my piece I wanted to create an image, preferably a painting about workingon an allotment. After debating about how to take on such a task and get thefeeling of the manual labour and working with the mud and nature I decided touse nature as my medium as it might create a bond with the canvas and theviewer. I chose to have a figure digging as I have always been influenced andhave enjoyed looking at realist paintings like that of Millet and after a longprocess of looking at angles of having the figure and looking at Milletspaintings of workers I chose the angle I have now.Luke Farookhi
The scarecrow is a common figure in an English rural landscape, and is literally defined as something that frightens or is intended to frighten?. This definition led me into a study, involving fifty facial studies investigating the grotesque, where the grotesque can be found in the human face, the ability of the grotesque to frighten and the manner in which the grotesque can still possess elegance of form. From these fifty drawings, five designs were chosen; these were translated into three dimensions, by building modroc features over polystyrene mannequin heads. These heads will then be displayed in the allotment, making use of natural light to highlight their features.Louise Thomas
Both my character driven, sculptural artefacts centre on the vision of Utopia and the method of trying to discover it through nature on this planet. With the current global issues circling the destruction of our natural habitat, it seemed a relevant time to construct a system whereby our own waste was reused to aid growth, rather than destroy. The Unstable Open Air Dry Compost Toilet for the Experienced Exhibitionist comically explores self sustainability in an allotment. Created out of found scrap materials, it exhibits the bare essentials needed for a functioning compost toilet and the simplicity of preventing waste. The Underground Shed on the other hand, is a model which illustrates the notion of a parallel reality within the allotment. It is an idealistic design of a habitat below ground, occupied by a cosmonaut searching for a utopian lifestyle.
Joanne Lewis
I chose to take on a role in the evaluation team to reflect and respond to my fellow peers’ attitudes and contributions to Situation Leeds. My work is presented in the form of sketch books as I wish for people to have an experience different to the other work produced for Situation Leeds, which I believe a diary gives. It is a very intimate object to put on display. This is my personal reflection of Situation Leeds and the allotment and my involvement in it.James Noonan
Maps are containers for the vast amount of information required to describe thephysicality of landscape. They themselves are often of a physical nature, butin this digital age maps are increasingly taking on binary form within theelectronic memories of the internet, the hard drive, satellite navigation andthe PDA. Maps still however retain their dependence on the systems of languageand visual interpretation. Through the creation of an audio map of theactivities that take place in the allotment, this project aims to test thedurability of the map through its transition into the aural form. Maps made ongraph paper of people’s movements, actions and activities during allotmentsessions will be converted into sound through various media, and recorded on to a CD.Georgia Mills
I am making a ‘scarecrow’ figure for the Hyde Park allotment space relating tomy memories of outdoor space. I have been interested in the childhoodfascination of watching something grow. I intend to incorporate a variety ofmaterials including fabric and text. I also plan use bird feeders in thestructure of my figure to encourage wildlife into the space rather than ’scare’the birds away.I also have a small journal following the progression of our allotment ideasfrom holes to sheds to scarecrows.Gail Galt Williams
When I was younger my parents had a very small area of land at the back of our house which was concrete as opposed to a garden. My mum and I created a virtual garden by writing the names of all the flowers we love on bricks and placing them around the space. Although this sounds silly it was really enjoyable for both of us, as we didn’t have a ‘real’ garden and therefore we used our imaginations. I intend to explore the idea of ‘negative space’ in the allotment. An allotment – ‘negative space may be most evident when the space around a subject, and not the subject itself, forms an interesting or artistically relevant shape’. This is going to be represented by creating holes which could otherwise be filled with plants – i.e. a ‘virtual’ space. I may write the names of plants on objects and place them around a small area of the allotment. I also plan on placing photographs of flowers as opposed to the real thing in certain areas of the allotment.
Frances Sheehan
My work is based around the notion of having our own personal ‘allotment’. Adefinition from the Oxford English Dictionary describes the allotment as ‘Asmall portion of land let out for cultivation’. In my piece of work I willconsider the allotted space we have been assigned to in relation to the bed,bedroom and home as an area for growth and cultivation, life and death. I willexplore the notion of one’s own personal space and how we can define this areain different ways for example through the use of objects or even plants. I amalso interested in the relationship between my exhibiting space and the spaceof others that is why I would like to exhibit in the studio itself as there willbe more work to interact with.Catherine Graham
My final piece is a reflection both to my own practice as an abstract artist and my role within this project, as the leader of the ‘evaluation team’. In relation to my own practice, it has provided an opportunity to explore the abstraction of the allotment environment through the use of a three- dimensional form, whilst concentrating on the aesthetics and making the composition as successful and beautiful as possible. The piece also reflects my evaluation work, as I have suspended pieces of dialogue that document the process and images that show this process.Aoife Flynn and Amelia Fletcher
'Allotumentary': In the same way that, in a garden or allotment, the growth of plants orvegetables can be stunted or skewed - by lack of nourishment or by conflictwith other plants, vegetables or weeds - the ALLOTMENT PROJECT has experiencedconflict and tension and, has at times, been victim to lack of concern,interest and participation from those involved. At other points however, it has been a project of growth and development, ofideas coming together and blossoming, and then giving birth to new ideas – asimilar sort of thing can be said for the development of social relationswithin the group during our journey. In our video, Amelia and I hope to documentthese periods of fecundity, as well as the periods of –might you say – drought(of intellectual insight) and of deterioration (of social togetherness). Fundamentally our video is an evaluative documentary exploring the conceptsof community, social relations and process - we will include footage of themeetings, and of interviews with individuals involved at the project, both atthe allotment and in the studio - the two arenas that are serving as our two‘allotment spaces’. We also plan to consult those who are not, or have made adefinite choice not to be, involved with the project, the stray seeds perhaps –and find out their opinions on the state of the allotment spaces, and of theproject, from germination to completion.Andrew Nizinskyi
Scarecrow is a response to my exposure to the allotment project and the space itself, in relation to my experiences and the theories I have learnt throughout the year. Working from the perspective of Greenberg yet rejecting the methods, I present the view that the allotment space takes the base elements of nature and manipulates them to its own purposes stripping away the purity and beauty that the natural rural world represents. I find that throughout my experience with the allotment, it holds few positive aspects to take advantage of, neither productively (such as a farm) nor aesthetically (such as the untouched Highlands of Scotland) and is simply a crude imitation of the beauty that the earth presents to us.Due to the condition of the aesthetic similarities between the scarecrow and thee crucified Christ I choose to express the allotments human intervention and the lack of purity and growth in comparison with religion’s perversion of the true nature of God by modeling my scarecrow with the symbol of the Catholic Church, stating that the allotment has as much to do with nature as religion has to do with God. The crucified scarecrow presents through contrast a critique of both institutions complemented by an ungainly drawing technique presenting both to be imperfect and no greater than human.
Amelia Fletcher
I have made a collection of pieces all individually 15cm in diameter approx.,and would like to exhibit them on a shelf or white surface, inside. So in total Iwould hopefully be aiming to obtain about 1.5m in wall space, within which it would either be possible to put up a shelf or to place a table or cabinet against. The piece itself is made up of multiple sculptures of blooming flowers made from modified light bulbs. The fragile nature of the glass combined with the necessity of light to complete the light bulb’s function, I feel emulate the growth of an allotment, not only literally but socially.Alice Lea
The small scale vaginal-resembling sculptures are rooted in elements from‘essentialist’ feminist artists from the 1960s and 70s. Using semi-dry emulsionslabs I have experimented with engulfing fists or chunks of earth from theallotment and am presenting them as artefacts there. This is a fetishistcomment on the lack of feminine symbols found in pre-historic erotic art and anattempt to impose the vagina in the same way the phallus has been in societyand culture. Nevertheless, the sculptures appear surreal in the allotmentspace, highlighting the unnatural aspects of what we perceive as nature. Forexample, agriculture considered countryside, palm trees in England and so on. The theme of cultivation and intervention with nature has bled into thereasoning behind the marrows. They are Argentine marrows, donated by mygrandmother (Cathy) therefore; the vegetable name itself has another meaningi.e. a reference to blood relations. The video that accompanies the marrow plotacts as a portrait of Cathy and as an example of legacy and story telling.This, seemingly via default, calls to attention broader concerns such as thedisengagement of generations and the shift of moral and political environments.Therefore, the marrows function as a gesture to her, an invitation to adifferent sphere of interest.
Alex Fisher
I am exploring the idea of survival of the fittest and competition betweenspecies and in the same species. I am using this idea, from the fact thateverything in the allotment will be competing for various things to survive,including sunlight, food, space etc. I am going to try and recreate this usingmembers of our class. This will happen through a coin hunt in the allotment, the person who gets the most coins wins. I am going to try and link this inwith human behaviour and competition, asking the coin hunters to fill in apersonality questionnaire and seeing what sort of personalities are the mostcompetitive and least competitive.Tuesday, 8 May 2007
compost awareness week
It's compost awareness week!
My thanks to John Crossley who made me aware of this!
Here's some links useful to the compost toilet project I will hopefully be undertaking this weekend.
Also there's the Yorkshire Garden show at Lotherton Hall from this friday-sunday which might be interesting to check out. http://www.yorkshiregardenshow.co.uk/
http://weblife.org/humanure/default.html- the guide to recycling human waste...
http://www.thecei.org.uk/allotments/toilet.htm- compost toilets in allotments...
http://www.gb0063551.pwp.blueyonder.co.uk/bog/compostbog.htm- Compost toilet made from an old school desk at Dial House(eco friendly commune in essex)
http://www.weblife.org/humanure/images/fig8-4.jpg- diagrams of how to construct the toilet
http://www.spiralseed.co.uk/bog/- Documentry on the making of the bog at Dial House directed by Nick Fenton
http://www.veganorganic.net/comptoil.htm- Facing the Faeces
From Problem To Resource:A Compost Toilet Building Workshopin Essex July 2002
http://en.wikipedia.org/wiki/Dial_House- Information on Dial House
http://www.thecei.org.uk/allotments/default.htm- Allotment regeneration
http://www.wrap.org.uk/applications/dynamic/caw_events_finder.rm?user_postcode=LS16+5PT&id=13055&submit.x=14&submit.y=14
Events in this area surrounding Compost Awareness Week
This is just basic research for my allotment project so not vital you look into the links. But it's worth thinking about when taking care of an allotment.
Louise x
My thanks to John Crossley who made me aware of this!
Here's some links useful to the compost toilet project I will hopefully be undertaking this weekend.
Also there's the Yorkshire Garden show at Lotherton Hall from this friday-sunday which might be interesting to check out. http://www.yorkshiregardenshow.co.uk/
http://weblife.org/humanure/default.html- the guide to recycling human waste...
http://www.thecei.org.uk/allotments/toilet.htm- compost toilets in allotments...
http://www.gb0063551.pwp.blueyonder.co.uk/bog/compostbog.htm- Compost toilet made from an old school desk at Dial House(eco friendly commune in essex)
http://www.weblife.org/humanure/images/fig8-4.jpg- diagrams of how to construct the toilet
http://www.spiralseed.co.uk/bog/- Documentry on the making of the bog at Dial House directed by Nick Fenton
http://www.veganorganic.net/comptoil.htm- Facing the Faeces
From Problem To Resource:A Compost Toilet Building Workshopin Essex July 2002
http://en.wikipedia.org/wiki/Dial_House- Information on Dial House
http://www.thecei.org.uk/allotments/default.htm- Allotment regeneration
http://www.wrap.org.uk/applications/dynamic/caw_events_finder.rm?user_postcode=LS16+5PT&id=13055&submit.x=14&submit.y=14
Events in this area surrounding Compost Awareness Week
This is just basic research for my allotment project so not vital you look into the links. But it's worth thinking about when taking care of an allotment.
Louise x
Monday, 7 May 2007
Allotment Meeting Notes - 4/5/2007
Allotment meeting 4/5/2007
http://www.theallotmentprojects.blogspot.com/
· Aoifa club night at Hi-Fi, 10 / 5/ 2007???
To be done by Tuesday 12 may
· All dates on blog
· All information on blog
· All photos of work on blog
Opening Night - 17/5/2007 at 7.30pm
· Everybody must contribute something food/drink wise (will be decided during curation week)
· Celebration of “hand in” mainly for our self’s and v. informal, but we can invite guests at their own peril!!
The studio will be open to the public, people can come in from Hyde park or be directed from the studio. At our discretion, guests will be invited to the allotment, due to liability/insurance/health & safety, despite this we will still need a HEALTH WARNING on allotment gate, since food will be available. James is going to look into it, and produce a draft.
- We also need to post a notice of invite to the other plot-holders
Curation week 11-16 May 2007
· Protection /back up plan against RAIN for our personal
· Posters and maps around uni directing to be put up Thursday morning (17/5/07)
· Sound piece, mirroring sounds in allotment. Have small amount on Dictaphone, quite clear...need more though
The sound piece
Options
· Natural bird noises
· Us talking
· Us Making bird sounds
Displaying work
· Mishmash of work
· Curiosity shop
· So far, only the sound connecting the allotment and studio
· Embrace the difference rather than forcing it into a marketable organisation.
· Ask Vanalyne about rocks in old mining, can we use them. Gail email her please asap.
Evaluation team
· You need to make some sort of collective work to present in the studio
· Take photographs of everyones work Thursday 10/5/2007 9am in studio
Mark and Alice please give your films to Milly and Aiofa to edit.
Tuesday 6/ 5/ 2007 meeting in allotment 4.10 pm
· Where can work be kept between Thursday 10/5 and Tuesday 15/5
Thank you everyone
Caroline and Gail
Lovelovelove xx
http://www.theallotmentprojects.blogspot.com/
· Aoifa club night at Hi-Fi, 10 / 5/ 2007???
To be done by Tuesday 12 may
· All dates on blog
· All information on blog
· All photos of work on blog
Opening Night - 17/5/2007 at 7.30pm
· Everybody must contribute something food/drink wise (will be decided during curation week)
· Celebration of “hand in” mainly for our self’s and v. informal, but we can invite guests at their own peril!!
The studio will be open to the public, people can come in from Hyde park or be directed from the studio. At our discretion, guests will be invited to the allotment, due to liability/insurance/health & safety, despite this we will still need a HEALTH WARNING on allotment gate, since food will be available. James is going to look into it, and produce a draft.
- We also need to post a notice of invite to the other plot-holders
Curation week 11-16 May 2007
· Protection /back up plan against RAIN for our personal
· Posters and maps around uni directing to be put up Thursday morning (17/5/07)
· Sound piece, mirroring sounds in allotment. Have small amount on Dictaphone, quite clear...need more though
The sound piece
Options
· Natural bird noises
· Us talking
· Us Making bird sounds
Displaying work
· Mishmash of work
· Curiosity shop
· So far, only the sound connecting the allotment and studio
· Embrace the difference rather than forcing it into a marketable organisation.
· Ask Vanalyne about rocks in old mining, can we use them. Gail email her please asap.
Evaluation team
· You need to make some sort of collective work to present in the studio
· Take photographs of everyones work Thursday 10/5/2007 9am in studio
Mark and Alice please give your films to Milly and Aiofa to edit.
Tuesday 6/ 5/ 2007 meeting in allotment 4.10 pm
· Where can work be kept between Thursday 10/5 and Tuesday 15/5
Thank you everyone
Caroline and Gail
Lovelovelove xx
Allotment Meeting Notes - 30/4/2007
Allotment meeting notes – marks Flat
30/4/2007
http://www.theallotmentprojects.blogspot.com/
Present at meeting – Mark, Sarah, Francesca, James, Kat, Alice, Andy, Gail, Caroline
To Do
· Recording sound in the allotment 4/5/2007
· How are we going to mirror the two spaces?
· Potted plants (need to make a group decision/review on 15/5/2007)
· Make/photocopy flyers. 14/5/2007
· Hand out flyers (16/17 May)
Posters to be put up
· Mine – Francesca
· Lifton – Sarah
· Halls – everyone
· Old Mining – Gail
· Chemistry studios – Alice
· Hyde park shops – Caroline
· Co-op – Kat
· Comic stores – Andy
· Leeds met – Andy/Gail
· Student Radio/paper
· Quaker church – James
· Leeds art collage – me and mark
Can Vanalyne email professors?...
Kat email societies
Curating week 11-17 may 2007
· Height and dimensions of work (curating week 11-17 may 2007)
· How is working going to be displayed...room of curiosity?
Need permission to:-
· Post on university campus, the maps etc to allotment and studio
10/5/2007
Meeting in allotment plot 17 with Leeds Met; at 4 o'clock
How are we going to get people to the studio?
· Map
· Arrows?/what kind of sign? ribbon? what's appropriate? around uni? where exactly?
Thankyou everyone see you on Thursday (4/5/2007)
Caroline and Gail
xx
30/4/2007
http://www.theallotmentprojects.blogspot.com/
Present at meeting – Mark, Sarah, Francesca, James, Kat, Alice, Andy, Gail, Caroline
To Do
· Recording sound in the allotment 4/5/2007
· How are we going to mirror the two spaces?
· Potted plants (need to make a group decision/review on 15/5/2007)
· Make/photocopy flyers. 14/5/2007
· Hand out flyers (16/17 May)
Posters to be put up
· Mine – Francesca
· Lifton – Sarah
· Halls – everyone
· Old Mining – Gail
· Chemistry studios – Alice
· Hyde park shops – Caroline
· Co-op – Kat
· Comic stores – Andy
· Leeds met – Andy/Gail
· Student Radio/paper
· Quaker church – James
· Leeds art collage – me and mark
Can Vanalyne email professors?...
Kat email societies
Curating week 11-17 may 2007
· Height and dimensions of work (curating week 11-17 may 2007)
· How is working going to be displayed...room of curiosity?
Need permission to:-
· Post on university campus, the maps etc to allotment and studio
10/5/2007
Meeting in allotment plot 17 with Leeds Met; at 4 o'clock
How are we going to get people to the studio?
· Map
· Arrows?/what kind of sign? ribbon? what's appropriate? around uni? where exactly?
Thankyou everyone see you on Thursday (4/5/2007)
Caroline and Gail
xx
Sunday, 6 May 2007
Tuesday, 1 May 2007
Potential Map
Thought I'd have a go at drawing up a potential map. What do you reckon? Is the arrow correct?
Monday, 30 April 2007
Situation Leeds Artist Statements
Situation Leeds Artist Statements, as of 30/04/07
Minus Francesca's as hers is a spider diagram and I dont know how to get the image in here. keep an eye out whilst I work how to do this!!
Olivia Leahy
Community is intrinsic to the concept of an allotment. A gardening communitydraws upon nature, hard work and beauty to sustain a relationship with the landas well as like-minded people. On one excursion to the allotment we wereinvited to join a family for pancakes and tea. This event stuck me because ofthe family itself, who were happily in their own little world, a microcosmhidden by hedges, as well as the fascinating situation we were sitting in it.My aim is to capture this moment again through the use of photography and sculpture.
Hang the A4 print in the indoor exhibition space and the sculpture in the allotment.
Georgia Mills
I am making a ‘scarecrow’ figure for the Hyde Park allotment space relating tomy memories of outdoor space. I have been interested in the childhoodfascination of watching something grow. I intend to incorporate a variety ofmaterials including fabric and text. I also plan use bird feeders in thestructure of my figure to encourage wildlife into the space rather than ’scare’the birds away.I also have a small journal following the progression of our allotment ideasfrom holes to sheds to scarecrows etc, which I intend to waterproof (somehow)and display alongside my figure.(the figure will be the size of a small child with an umbrella over it.. So thearea of an umbrella- I’m not to hot on ‘dimensions’ hope that gives you a roughidea. I wont need any space inside- woop!)
James NoonanMaps are containers for the vast amount of information required to describe thephysicality of landscape. They themselves are often of a physical nature, butin this digital age maps are increasingly taking on binary form within theelectronic memories of the internet, the hard drive, satellite navigation andthe PDA. Maps still however retain their dependence on the systems of languageand visual interpretation. Through the creation of an audio map of theactivities that take place in the allotment, this project aims to test thedurability of the map through its transition into the aural form. Maps made ongraph paper of people’s movements, actions and activities during allotmentsessions will be converted into sound through various media, and recorded ontoa CD.The work will only require space for a CD walkman and headphones, and wall spacefor four sheets of A4 paper above it, arranged horizontally if possible.
Sarah Baumann
My project is based around the concept of climate change and its growingrelevance to the UK’s agricultural industry. Studies have shown that due to aminute temperature rise in the months of spring, vegetables are sproutingearlier, though the heat rise also leads to erratic occurrences of frost,thanks to the saturated air. Inevitably the sprouts of the plant are damaged,causing the yield to develop bearing signs of their earlier frostbite. The waxsculptures of broccoli and cauliflower, vegetables chosen thanks to theaesthetic form of their flower buds, manifest the concept through the medium,as the shattered glass alludes to the danger, but the recyclable properties ofboth the wax and glass, illustrate the perennial dangers of global warming.Am thinking I could either nail the works to the wall or place them onto thesoil in the allotment. I doubt Vanalyne would like me to put holes in heroffice walls, so I’m thinking of using the allotment space.
Luke Farookhi
The scarecrow is a common figure in an English rural landscape, and is literally defined as ?something that frightens or is intended to frighten?. This definition led me into a study, involving fifty facial studies investigating the grotesque, where the grotesque can be found in the human face, the ability of the grotesque to frighten and the manner in which the grotesque can still possess elegance of form. From these fifty drawings, five designs were chosen; these were translated into three dimensions, by building modroc features over polystyrene mannequin heads. These heads will then be displayed in the allotment, making use of natural light to highlight their features.Space required:The five heads, which are the same size as human heads, will be displayed in the allotment ? they will probably be supported by some sort of very basic framework. It is unlikely that they’ll take up more space than, say, 5-10 people standing in a circle (they’ll probably take up less space than that, in fact).The other thing to display will be the fifty drawings: fifty A4 sheets of black paper with designs in white pencil drawn on them. I think these would be better displayed indoors, but I don’t mind how they are displayed (they could be on the wall, or made into a book, for example).
Alex Fisher
I am exploring the idea of survival of the fittest and competition betweenspecies and in the same species. I am using this idea, from the fact thateverything in the allotment will be competing for various things to survive,including sunlight, food, space etc. I am going to try and recreate this usingmembers of our class. This will happen through a coin hunt in the allotment, the person who gets the most coins wins. I am going to try and link this inwith human behaviour and competition, asking the coin hunters to fill in apersonality questionnaire and seeing what sort of personalities are the mostcompetitive/least competitive.The space I will need will prob be about 1m squared inside, as I will just beexhibiting photographs of the coin hunt.
Catherine Graham
My final piece is a reflection both to my own practice as an abstract artist and my role within this project, as the leader of the ‘evaluation team’. In relation to my own practice, it has provided an opportunity to explore the abstraction of the allotment environment through the use of a three- dimensional form, whilst concentrating on the aesthetics and making the composition as successful and beautiful as possible. The piece also reflects my evaluation work, as I have suspended pieces of dialogue that document the process and images that show this process.
I want to suspend it (an upside-down umbrella), from the material tag, from the roof in the studio. I can just staple gun it to the roof- how I am storing it now. The distance from the ceiling to the bottom of the umbrella is also the same measurements again of the paper that is suspended below it. The evaluation team also has workbooks/ emails/ paper that show the evaluation work- use of a small table to show them???
Matt Newbigin
With my piece I wanted to create an image, preferably a painting about workingon an allotment. After debating about how to take on such a task and get thefeeling of the manual labour and working with the mud and nature I decided touse nature as my medium as it might create a bond with the canvas and theviewer. I chose to have a figure digging as I have always been influenced andhave enjoyed looking at realist paintings like that of Millet and after a longprocess of looking at angles of having the figure and looking at Milletspaintings of workers I chose the angle I have now.
My idea basically became to do a large painting using raw materials like mud andgrass to make a picture of someone working on an allotment. I was going to doit on the big canvas I found in the studio space and would probably have put itoutside the room, I discussed it with Mark over the holidays and we thought ifwe moved the little book shelf thing outside the room it could possibly fitthere.
Andy Nizinskyj
Scarecrow is a response to my exposure to the allotment project and the space itself, in relation to my experiences and the theories I have learnt throughout the year. Working from the perspective of Greenberg yet rejecting the methods, I present the view that the allotment space takes the base elements of nature and manipulates them to its own purposes stripping away the purity and beauty that the natural rural world represents. I find that throughout my experience with the allotment, it holds few positive aspects to take advantage of, neither productively (such as a farm) nor aesthetically (such as the untouched Highlands of Scotland) and is simply a crude imitation of the beauty that the earth presents to us.
Due to the condition of the aesthetic similarities between the scarecrow and thee crucified Christ I choose to express the allotments human intervention and the lack of purity and growth in comparison with religion’s perversion of the true nature of God by modeling my scarecrow with the symbol of the Catholic Church, stating that the allotment has as much to do with nature as religion has to do with God. The crucified scarecrow presents through contrast a critique of both institutions complemented by an ungainly drawing technique presenting both to be imperfect and no greater than human.
It’s going to be in the allotment for a few days to get dirty and so I can take photosbut it’ll eventually be going in the studio/exhibition. The scarecrow will be life size (as big as myself) so it might need quite a bit of room.
Louise ThomasMy work centres itself on the vision of Utopia and the method of trying todiscover it through nature on this planet. With the current global issuescircling the destruction of our natural habitat it seemed a relevant time toconstruct a system whereby our own waste was reused to aid growth rather thandestroy. I am attending a compost toilet workshop and will create a composttoilet in our own allotment out of scrap materials. Along side this, I amworking on a proposal for an underground shed, designed using architecturalplans and diagrams but will never be constructed, this draws on the idea of aparallel reality.The work will require a small space in the allotment grounds to construct asmall toilet out of wood, whether it will be temporary or permanent will laterbe decided. The shed plans will need minimal space in the studio; the designswill be rolled up and perhaps stacked in one corner.
Jo Lewis
I chose to take on a role in the evaluation team to reflect and respond to my fellow peers’ attitudes and contributions to Situation Leeds. My work is presented in the form of sketch books as I wish for people to have an experience different to the other work produced for Situation Leeds, which I believe a diary gives. It is a very intimate object to put on display. This is my personal reflection of Situation Leeds and the allotment and my involvement in it.
Work books to be displayed on the studio floor in a container/ gardening tray.
Aoife Flynn and Amelia Fletcher
'Allotumentary':
In the same way that, in a garden or allotment, the growth of plants orvegetables can be stunted or skewed - by lack of nourishment or by conflictwith other plants, vegetables or weeds - the ALLOTMENT PROJECT has experiencedconflict and tension and, has at times, been victim to lack of concern,interest and participation from those involved. At other points however, it has been a project of growth and development, ofideas coming together and blossoming, and then giving birth to new ideas – asimilar sort of thing can be said for the development of social relationswithin the group during our journey. In our video, Milly and I hope to documentthese periods of fecundity, as well as the periods of –might you say – drought(of intellectual insight) and of deterioration (of social togetherness). Fundamentally our video is an evaluative documentary exploring the conceptsof community, social relations and process - we will include footage of themeetings, and of interviews with individuals involved at the project, both atthe allotment and in the studio - the two arenas that are serving as our two‘allotment spaces’. We also plan to consult those who are not, or have made adefinite choice not to be, involved with the project, the stray seeds perhaps –and find out their opinions on the state of the allotment spaces, and of theproject, from germination to completion.-We are planning to exhibit in Vanalyne's office, preferably on a plain wall orprojector screen.
Frances Sheehan
My work is based around the notion of having our own personal ‘allotment’. Adefinition from the Oxford English Dictionary describes the allotment as ‘Asmall portion of land let out for cultivation’. In my piece of work I willconsider the allotted space we have been assigned to in relation to the bed,bedroom and home as an area for growth and cultivation, life and death. I willexplore the notion of one’s own personal space and how we can define this areain different ways for example through the use of objects or even plants. I amalso interested in the relationship between my exhibiting space and the spaceof others that is why I would like to exhibit in the studio itself as there willbe more work to interact with.My piece of work will be a sculpture made out of existing objects in relation tothe bedroom and to the allotment. The main structure will be a small plastic"mini greenhouse" of 95cm (H) x 69cm(W) x 50cm(D).
Amelia FletcherI have made a collection of pieces all individually 15cm in diameter approx.,and would like to exhibit them on a shelf or white surface, inside. So in total Iwould hopefully be aiming to obtain about 1.5m in wall space, within which it would either be possible to put up a shelf or to place a table or cabinet against. The piece itself is made up of multiple sculptures of blooming flowers made from modified light bulbs. The fragile nature of the glass combined with the necessity of light to complete the light bulb’s function, I feel emulate the growth of an allotment, not only literally but socially.
Alice Lea
The small scale vaginal-resembling sculptures are rooted in elements from‘essentialist’ feminist artists from the 1960s and 70s. Using semi-dry emulsionslabs I have experimented with engulfing fists or chunks of earth from theallotment and am presenting them as artefacts there. This is a fetishistcomment on the lack of feminine symbols found in pre-historic erotic art and anattempt to impose the vagina in the same way the phallus has been in societyand culture. Nevertheless, the sculptures appear surreal in the allotmentspace, highlighting the unnatural aspects of what we perceive as nature. Forexample, agriculture considered countryside, palm trees in England and so on. The theme of cultivation and intervention with nature has bled into thereasoning behind the marrows. They are Argentine marrows, donated by mygrandmother (Cathy) therefore; the vegetable name itself has another meaningi.e. a reference to blood relations. The video that accompanies the marrow plotacts as a portrait of Cathy and as an example of legacy and story telling.This, seemingly via default, calls to attention broader concerns such as thedisengagement of generations and the shift of moral and political environments.Therefore, the marrows function as a gesture to her, an invitation to adifferent sphere of interest.
I'll take up about ahalf to a square metre in the allotment in one of the beds and/or possibly afew of the big clumps of grass- if I'm allowed to keep them i.e. they're notdug up. - I could always bring the grass into V's office possibly- this soundslike blogger speak.I figure we can show all the videos on one or possibly two laptops/projectors tosave space.
Caroline Moore.
Traditionally allotments were used in the 1st world war to provide extra food. They were considered a great place not only to work against food shortages, but also a fantastic place to build relations and interact with others. We now have a very different relationship with allotments to the one we had 60 years ago, I am investigating the relationship ‘humans’ have with the allotment environment, weather it is positive or negative. Allotments are filled with a very wide spectrum of people, and it is the different attitudes and behavior (and interaction with the allotment its self) of the allotment community that I want to portray with the use of photography and text.
To be presented in the studio- maximum of 1m by 1m on the wall.
Gail Galt Williams
When I was younger my parents had a very small area of land at the back of our house which was concrete as opposed to a garden. My mum and I created a virtual garden by writing the names of all the flowers we love on bricks and placing them around the space. Although this sounds silly it was really enjoyable for both of us, as we didn’t have a ‘real’ garden and therefore we used our imaginations. I intend to explore the idea of ‘negative space’ in the allotment. An allotment – ‘negative space may be most evident when the space around a subject, and not the subject itself, forms an interesting or artistically relevant shape’. This is going to be represented by creating holes which could otherwise be filled with plants – i.e. a ‘virtual’ space. I may write the names of plants on objects and place them around a small area of the allotment. I also plan on placing photographs of flowers as opposed to the real thing in certain areas of the allotment.
Objects and photos to be placed around the allotment in no particular order.
Emily Phelps
During this year I have become interested in the ways in which people relate toone another. I have come to consider my work as a way in which to bridgeconnections between people, building relationships and communities throughcommunication. With this in mind I have interacted with neighbouring allotmentowners with the intention of discovering what they, as individuals wouldconsider beneficial to the general operation of the allotment community.Through these efforts I have learnt that due to inflexible administration, theallotment owners are not able to attain one another’s contact details thushindering the organisation of possible community events. My proposal entailsthe production of an interactive website that I would construct for theallotment community, allowing them to communicate via notice boards, and email,as well as share information concerning allotment issues. A further developmentof this notion would involve the production of a manual detailing the ways inwhich to upload photographs of web blogs that might be made available to thecommunity enabling them to entirely take over the management of the website.Hopefully this project would encourage the interaction of a large network ofpeople who share similar interests consequently developing new relationshipsand communities.
The documentation of the process will be exhibited in the studio space? Or maybe display some drawings for ideas for a community area within the allotment?
Mark Whiteman.
I have experienced Hyde Park as a haven away from hectic the city and University lifestyle. At the same time, it is as safety barrier between the 'utopia' of student boozing and the wider scope of the Leeds environment and its permanent residents. Rising dramatically from 10% in the 1980s, Headingley's student presence now counts for 60% of the total population. By the statue of Wellington, the homeless man is a constant to measure by, standing there with his grass-eating German Shepherd for the 3 years we are temporarily here as undergraduates. And what of the Loiners (people born in Leeds) who are here from birth? Who does Leeds belong to? At the allotment, the plot holders view us with suspicion: it is their haven and we have invaded its tranquility. They have experienced the false promises of students who do not commit to their allotment culture. The space of Leeds and the allotment is contested. Looking across to Wellington, I see the pairs of trainers I have tied together by their shoelaces and thrown up to hang off a tree's branches. Perhaps not a symbol of student antics gone too far, but that of gang violence characterised by gritty inner city Hollywood films; to steal a person's shoes off their feet is to humiliate them, to remove their ability to navigate the street. So whilst Hyde Park is what we consider a safe passage to the university, it is a channel to a wider world that threatens to pop our comfortable bubble.
Minus Francesca's as hers is a spider diagram and I dont know how to get the image in here. keep an eye out whilst I work how to do this!!
Olivia Leahy
Community is intrinsic to the concept of an allotment. A gardening communitydraws upon nature, hard work and beauty to sustain a relationship with the landas well as like-minded people. On one excursion to the allotment we wereinvited to join a family for pancakes and tea. This event stuck me because ofthe family itself, who were happily in their own little world, a microcosmhidden by hedges, as well as the fascinating situation we were sitting in it.My aim is to capture this moment again through the use of photography and sculpture.
Hang the A4 print in the indoor exhibition space and the sculpture in the allotment.
Georgia Mills
I am making a ‘scarecrow’ figure for the Hyde Park allotment space relating tomy memories of outdoor space. I have been interested in the childhoodfascination of watching something grow. I intend to incorporate a variety ofmaterials including fabric and text. I also plan use bird feeders in thestructure of my figure to encourage wildlife into the space rather than ’scare’the birds away.I also have a small journal following the progression of our allotment ideasfrom holes to sheds to scarecrows etc, which I intend to waterproof (somehow)and display alongside my figure.(the figure will be the size of a small child with an umbrella over it.. So thearea of an umbrella- I’m not to hot on ‘dimensions’ hope that gives you a roughidea. I wont need any space inside- woop!)
James NoonanMaps are containers for the vast amount of information required to describe thephysicality of landscape. They themselves are often of a physical nature, butin this digital age maps are increasingly taking on binary form within theelectronic memories of the internet, the hard drive, satellite navigation andthe PDA. Maps still however retain their dependence on the systems of languageand visual interpretation. Through the creation of an audio map of theactivities that take place in the allotment, this project aims to test thedurability of the map through its transition into the aural form. Maps made ongraph paper of people’s movements, actions and activities during allotmentsessions will be converted into sound through various media, and recorded ontoa CD.The work will only require space for a CD walkman and headphones, and wall spacefor four sheets of A4 paper above it, arranged horizontally if possible.
Sarah Baumann
My project is based around the concept of climate change and its growingrelevance to the UK’s agricultural industry. Studies have shown that due to aminute temperature rise in the months of spring, vegetables are sproutingearlier, though the heat rise also leads to erratic occurrences of frost,thanks to the saturated air. Inevitably the sprouts of the plant are damaged,causing the yield to develop bearing signs of their earlier frostbite. The waxsculptures of broccoli and cauliflower, vegetables chosen thanks to theaesthetic form of their flower buds, manifest the concept through the medium,as the shattered glass alludes to the danger, but the recyclable properties ofboth the wax and glass, illustrate the perennial dangers of global warming.Am thinking I could either nail the works to the wall or place them onto thesoil in the allotment. I doubt Vanalyne would like me to put holes in heroffice walls, so I’m thinking of using the allotment space.
Luke Farookhi
The scarecrow is a common figure in an English rural landscape, and is literally defined as ?something that frightens or is intended to frighten?. This definition led me into a study, involving fifty facial studies investigating the grotesque, where the grotesque can be found in the human face, the ability of the grotesque to frighten and the manner in which the grotesque can still possess elegance of form. From these fifty drawings, five designs were chosen; these were translated into three dimensions, by building modroc features over polystyrene mannequin heads. These heads will then be displayed in the allotment, making use of natural light to highlight their features.Space required:The five heads, which are the same size as human heads, will be displayed in the allotment ? they will probably be supported by some sort of very basic framework. It is unlikely that they’ll take up more space than, say, 5-10 people standing in a circle (they’ll probably take up less space than that, in fact).The other thing to display will be the fifty drawings: fifty A4 sheets of black paper with designs in white pencil drawn on them. I think these would be better displayed indoors, but I don’t mind how they are displayed (they could be on the wall, or made into a book, for example).
Alex Fisher
I am exploring the idea of survival of the fittest and competition betweenspecies and in the same species. I am using this idea, from the fact thateverything in the allotment will be competing for various things to survive,including sunlight, food, space etc. I am going to try and recreate this usingmembers of our class. This will happen through a coin hunt in the allotment, the person who gets the most coins wins. I am going to try and link this inwith human behaviour and competition, asking the coin hunters to fill in apersonality questionnaire and seeing what sort of personalities are the mostcompetitive/least competitive.The space I will need will prob be about 1m squared inside, as I will just beexhibiting photographs of the coin hunt.
Catherine Graham
My final piece is a reflection both to my own practice as an abstract artist and my role within this project, as the leader of the ‘evaluation team’. In relation to my own practice, it has provided an opportunity to explore the abstraction of the allotment environment through the use of a three- dimensional form, whilst concentrating on the aesthetics and making the composition as successful and beautiful as possible. The piece also reflects my evaluation work, as I have suspended pieces of dialogue that document the process and images that show this process.
I want to suspend it (an upside-down umbrella), from the material tag, from the roof in the studio. I can just staple gun it to the roof- how I am storing it now. The distance from the ceiling to the bottom of the umbrella is also the same measurements again of the paper that is suspended below it. The evaluation team also has workbooks/ emails/ paper that show the evaluation work- use of a small table to show them???
Matt Newbigin
With my piece I wanted to create an image, preferably a painting about workingon an allotment. After debating about how to take on such a task and get thefeeling of the manual labour and working with the mud and nature I decided touse nature as my medium as it might create a bond with the canvas and theviewer. I chose to have a figure digging as I have always been influenced andhave enjoyed looking at realist paintings like that of Millet and after a longprocess of looking at angles of having the figure and looking at Milletspaintings of workers I chose the angle I have now.
My idea basically became to do a large painting using raw materials like mud andgrass to make a picture of someone working on an allotment. I was going to doit on the big canvas I found in the studio space and would probably have put itoutside the room, I discussed it with Mark over the holidays and we thought ifwe moved the little book shelf thing outside the room it could possibly fitthere.
Andy Nizinskyj
Scarecrow is a response to my exposure to the allotment project and the space itself, in relation to my experiences and the theories I have learnt throughout the year. Working from the perspective of Greenberg yet rejecting the methods, I present the view that the allotment space takes the base elements of nature and manipulates them to its own purposes stripping away the purity and beauty that the natural rural world represents. I find that throughout my experience with the allotment, it holds few positive aspects to take advantage of, neither productively (such as a farm) nor aesthetically (such as the untouched Highlands of Scotland) and is simply a crude imitation of the beauty that the earth presents to us.
Due to the condition of the aesthetic similarities between the scarecrow and thee crucified Christ I choose to express the allotments human intervention and the lack of purity and growth in comparison with religion’s perversion of the true nature of God by modeling my scarecrow with the symbol of the Catholic Church, stating that the allotment has as much to do with nature as religion has to do with God. The crucified scarecrow presents through contrast a critique of both institutions complemented by an ungainly drawing technique presenting both to be imperfect and no greater than human.
It’s going to be in the allotment for a few days to get dirty and so I can take photosbut it’ll eventually be going in the studio/exhibition. The scarecrow will be life size (as big as myself) so it might need quite a bit of room.
Louise ThomasMy work centres itself on the vision of Utopia and the method of trying todiscover it through nature on this planet. With the current global issuescircling the destruction of our natural habitat it seemed a relevant time toconstruct a system whereby our own waste was reused to aid growth rather thandestroy. I am attending a compost toilet workshop and will create a composttoilet in our own allotment out of scrap materials. Along side this, I amworking on a proposal for an underground shed, designed using architecturalplans and diagrams but will never be constructed, this draws on the idea of aparallel reality.The work will require a small space in the allotment grounds to construct asmall toilet out of wood, whether it will be temporary or permanent will laterbe decided. The shed plans will need minimal space in the studio; the designswill be rolled up and perhaps stacked in one corner.
Jo Lewis
I chose to take on a role in the evaluation team to reflect and respond to my fellow peers’ attitudes and contributions to Situation Leeds. My work is presented in the form of sketch books as I wish for people to have an experience different to the other work produced for Situation Leeds, which I believe a diary gives. It is a very intimate object to put on display. This is my personal reflection of Situation Leeds and the allotment and my involvement in it.
Work books to be displayed on the studio floor in a container/ gardening tray.
Aoife Flynn and Amelia Fletcher
'Allotumentary':
In the same way that, in a garden or allotment, the growth of plants orvegetables can be stunted or skewed - by lack of nourishment or by conflictwith other plants, vegetables or weeds - the ALLOTMENT PROJECT has experiencedconflict and tension and, has at times, been victim to lack of concern,interest and participation from those involved. At other points however, it has been a project of growth and development, ofideas coming together and blossoming, and then giving birth to new ideas – asimilar sort of thing can be said for the development of social relationswithin the group during our journey. In our video, Milly and I hope to documentthese periods of fecundity, as well as the periods of –might you say – drought(of intellectual insight) and of deterioration (of social togetherness). Fundamentally our video is an evaluative documentary exploring the conceptsof community, social relations and process - we will include footage of themeetings, and of interviews with individuals involved at the project, both atthe allotment and in the studio - the two arenas that are serving as our two‘allotment spaces’. We also plan to consult those who are not, or have made adefinite choice not to be, involved with the project, the stray seeds perhaps –and find out their opinions on the state of the allotment spaces, and of theproject, from germination to completion.-We are planning to exhibit in Vanalyne's office, preferably on a plain wall orprojector screen.
Frances Sheehan
My work is based around the notion of having our own personal ‘allotment’. Adefinition from the Oxford English Dictionary describes the allotment as ‘Asmall portion of land let out for cultivation’. In my piece of work I willconsider the allotted space we have been assigned to in relation to the bed,bedroom and home as an area for growth and cultivation, life and death. I willexplore the notion of one’s own personal space and how we can define this areain different ways for example through the use of objects or even plants. I amalso interested in the relationship between my exhibiting space and the spaceof others that is why I would like to exhibit in the studio itself as there willbe more work to interact with.My piece of work will be a sculpture made out of existing objects in relation tothe bedroom and to the allotment. The main structure will be a small plastic"mini greenhouse" of 95cm (H) x 69cm(W) x 50cm(D).
Amelia FletcherI have made a collection of pieces all individually 15cm in diameter approx.,and would like to exhibit them on a shelf or white surface, inside. So in total Iwould hopefully be aiming to obtain about 1.5m in wall space, within which it would either be possible to put up a shelf or to place a table or cabinet against. The piece itself is made up of multiple sculptures of blooming flowers made from modified light bulbs. The fragile nature of the glass combined with the necessity of light to complete the light bulb’s function, I feel emulate the growth of an allotment, not only literally but socially.
Alice Lea
The small scale vaginal-resembling sculptures are rooted in elements from‘essentialist’ feminist artists from the 1960s and 70s. Using semi-dry emulsionslabs I have experimented with engulfing fists or chunks of earth from theallotment and am presenting them as artefacts there. This is a fetishistcomment on the lack of feminine symbols found in pre-historic erotic art and anattempt to impose the vagina in the same way the phallus has been in societyand culture. Nevertheless, the sculptures appear surreal in the allotmentspace, highlighting the unnatural aspects of what we perceive as nature. Forexample, agriculture considered countryside, palm trees in England and so on. The theme of cultivation and intervention with nature has bled into thereasoning behind the marrows. They are Argentine marrows, donated by mygrandmother (Cathy) therefore; the vegetable name itself has another meaningi.e. a reference to blood relations. The video that accompanies the marrow plotacts as a portrait of Cathy and as an example of legacy and story telling.This, seemingly via default, calls to attention broader concerns such as thedisengagement of generations and the shift of moral and political environments.Therefore, the marrows function as a gesture to her, an invitation to adifferent sphere of interest.
I'll take up about ahalf to a square metre in the allotment in one of the beds and/or possibly afew of the big clumps of grass- if I'm allowed to keep them i.e. they're notdug up. - I could always bring the grass into V's office possibly- this soundslike blogger speak.I figure we can show all the videos on one or possibly two laptops/projectors tosave space.
Caroline Moore.
Traditionally allotments were used in the 1st world war to provide extra food. They were considered a great place not only to work against food shortages, but also a fantastic place to build relations and interact with others. We now have a very different relationship with allotments to the one we had 60 years ago, I am investigating the relationship ‘humans’ have with the allotment environment, weather it is positive or negative. Allotments are filled with a very wide spectrum of people, and it is the different attitudes and behavior (and interaction with the allotment its self) of the allotment community that I want to portray with the use of photography and text.
To be presented in the studio- maximum of 1m by 1m on the wall.
Gail Galt Williams
When I was younger my parents had a very small area of land at the back of our house which was concrete as opposed to a garden. My mum and I created a virtual garden by writing the names of all the flowers we love on bricks and placing them around the space. Although this sounds silly it was really enjoyable for both of us, as we didn’t have a ‘real’ garden and therefore we used our imaginations. I intend to explore the idea of ‘negative space’ in the allotment. An allotment – ‘negative space may be most evident when the space around a subject, and not the subject itself, forms an interesting or artistically relevant shape’. This is going to be represented by creating holes which could otherwise be filled with plants – i.e. a ‘virtual’ space. I may write the names of plants on objects and place them around a small area of the allotment. I also plan on placing photographs of flowers as opposed to the real thing in certain areas of the allotment.
Objects and photos to be placed around the allotment in no particular order.
Emily Phelps
During this year I have become interested in the ways in which people relate toone another. I have come to consider my work as a way in which to bridgeconnections between people, building relationships and communities throughcommunication. With this in mind I have interacted with neighbouring allotmentowners with the intention of discovering what they, as individuals wouldconsider beneficial to the general operation of the allotment community.Through these efforts I have learnt that due to inflexible administration, theallotment owners are not able to attain one another’s contact details thushindering the organisation of possible community events. My proposal entailsthe production of an interactive website that I would construct for theallotment community, allowing them to communicate via notice boards, and email,as well as share information concerning allotment issues. A further developmentof this notion would involve the production of a manual detailing the ways inwhich to upload photographs of web blogs that might be made available to thecommunity enabling them to entirely take over the management of the website.Hopefully this project would encourage the interaction of a large network ofpeople who share similar interests consequently developing new relationshipsand communities.
The documentation of the process will be exhibited in the studio space? Or maybe display some drawings for ideas for a community area within the allotment?
Mark Whiteman.
I have experienced Hyde Park as a haven away from hectic the city and University lifestyle. At the same time, it is as safety barrier between the 'utopia' of student boozing and the wider scope of the Leeds environment and its permanent residents. Rising dramatically from 10% in the 1980s, Headingley's student presence now counts for 60% of the total population. By the statue of Wellington, the homeless man is a constant to measure by, standing there with his grass-eating German Shepherd for the 3 years we are temporarily here as undergraduates. And what of the Loiners (people born in Leeds) who are here from birth? Who does Leeds belong to? At the allotment, the plot holders view us with suspicion: it is their haven and we have invaded its tranquility. They have experienced the false promises of students who do not commit to their allotment culture. The space of Leeds and the allotment is contested. Looking across to Wellington, I see the pairs of trainers I have tied together by their shoelaces and thrown up to hang off a tree's branches. Perhaps not a symbol of student antics gone too far, but that of gang violence characterised by gritty inner city Hollywood films; to steal a person's shoes off their feet is to humiliate them, to remove their ability to navigate the street. So whilst Hyde Park is what we consider a safe passage to the university, it is a channel to a wider world that threatens to pop our comfortable bubble.
Summit
a conference on nonaligned education initiatives called Summit has a web site, and if you register it allows you access to a number of articles that might help inform what you're doing or how you write about it:
http://summit.kein.org/
Go there and register and then you can access the articles, which are from the book ACADEMY:
http://summit.kein.org/comment/reply/251#comment_form
http://summit.kein.org/
Go there and register and then you can access the articles, which are from the book ACADEMY:
http://summit.kein.org/comment/reply/251#comment_form
Sunday, 29 April 2007
I would just like to make it clear that I was meant to put 'Louise Thomas' instead of 'Luise Ammer'- two totally different people, but I did have louise in mind when I sent it. Sorry Louise!! xxxx
Saturday, 28 April 2007
Friday's Minutes.
Friday 12.30pm at the allotment. Caroline, Mark, Alice, Francesca, Andy, Aoifa
and Catherine were present.
General theme of meeting- style and means of curation.
There are 3 weeks until situation leeds, and due to deadlines etc - most likely,
a majority of activity will take place in the week proir to our opening so
please keep those days free.
Publicity- Does anyone know of anyone who works in the union radio station or
its newspaper? A shout out in one of these would be good.
At the outside allotment- a distinct boarder, nothing spectacular, needs to be
constructed to prevent other plots being damaged.
- plot cultivated for visitor seed patch
Inside allotment - defo using V's office
- 4 lifton will b used for storage
Program for monday's meeting (11am at Mark's pad) - logistics and theme for
curation, bring ideas for how this should be excecuted -see Francesca's email
for details.
Enjoy the sun everyone
Alice
and Catherine were present.
General theme of meeting- style and means of curation.
There are 3 weeks until situation leeds, and due to deadlines etc - most likely,
a majority of activity will take place in the week proir to our opening so
please keep those days free.
Publicity- Does anyone know of anyone who works in the union radio station or
its newspaper? A shout out in one of these would be good.
At the outside allotment- a distinct boarder, nothing spectacular, needs to be
constructed to prevent other plots being damaged.
- plot cultivated for visitor seed patch
Inside allotment - defo using V's office
- 4 lifton will b used for storage
Program for monday's meeting (11am at Mark's pad) - logistics and theme for
curation, bring ideas for how this should be excecuted -see Francesca's email
for details.
Enjoy the sun everyone
Alice
Saturday, 21 April 2007
Publicity team
I was walking...Minding my own business...Head to the ground...thinking about the banana in my pocket slowly getting crushed and going black...and there on the floor was a house...a flyer in the shape of a house for a house music gig somewhere in Leeds...remember reading an article on marketing, about this man who made business cards for people with interesting design features...by incorporating a tactile feature, such as a hole, which could be physiologically interrogated, one could relate the form of the marketing card to the business of the person...a touchy feely business card...for example, a folded corner of a business card for a book publisher, since you fold the pages of a book to mark your progression through it...or a hole for a feminist organisation...instead of just a piece of mental information, amongst the thousands of flyers you see every day, the shape of the flyer builds a physical relationship with person to concept...so you see a slug flyer in the shape of a slug, garden fork, flower, is interesting...or a daisy flower flyer with perforated flower petals you could tear off ("she/he loves me, he/she loves me not")...
p.s. i've just read the publicity team evaluation from Catherine. So no flyer it is then!
p.s. i've just read the publicity team evaluation from Catherine. So no flyer it is then!
Clumps of Grass
Does anyone mind if we keep a few clumps of the big grass on our plot? I'd qute like for display purposes.
Thursday, 19 April 2007
Publicity Team Evaluation- as of 19/04/07.
Catherine Graham interviewing Louise Ammer.
. The ‘SLUG’ logo, standing for Situation Leeds Under Graduate is final and will be screen printed by Louise and Luke as soon as possible. However, a decision about the inclusion of information about the public bringing seeds has to be finalised before work can begin on the posters.
. These posters can only be used inside to prevent weather damage. Post Cards of this poster may also be made. Posters that are used outside will not use screen print to weather proof them, and this will also save time. The slug will take a traditional stance and the poster will have very bright colours to make it stand out. This will also be a contrast the traditional slug logo.
. It has been decided that leaflets and pamphlets will not be used as they are too complicated and time consuming.
. People other than the rest of the publicity team will be used to distribute them. People have generally said that they will also distribute a few each in their halls of residence etc.
Catherine Graham interviewing Louise Ammer.
. The ‘SLUG’ logo, standing for Situation Leeds Under Graduate is final and will be screen printed by Louise and Luke as soon as possible. However, a decision about the inclusion of information about the public bringing seeds has to be finalised before work can begin on the posters.
. These posters can only be used inside to prevent weather damage. Post Cards of this poster may also be made. Posters that are used outside will not use screen print to weather proof them, and this will also save time. The slug will take a traditional stance and the poster will have very bright colours to make it stand out. This will also be a contrast the traditional slug logo.
. It has been decided that leaflets and pamphlets will not be used as they are too complicated and time consuming.
. People other than the rest of the publicity team will be used to distribute them. People have generally said that they will also distribute a few each in their halls of residence etc.
Technical Team Evaluation- as of 19/04/07.
Catherine Graham interviewing Francesca Tyler.
. The main issue at the moment is finding out what people are doing, so that the studio area and the allotment can be planned. They need to know what space people need and where they want to exhibit it.
. After that information has been gathered the team can then see how all the work relates to each other. Can also see whether certain work needs to be in a particular place (site specific). Further questions on layout include whether work should be treated as a whole, or should be placed in divided space with the use of boundaries.
. Further questions are also raised regarding how the public should be navigated around the space, should they be made to take a specific route or their own organic wandering?
. Within the allotment space there are major issues to be considered regarding the methods of showing work. This also includes issues of weather proofing art work using screens or umbrellas.
Catherine Graham interviewing Francesca Tyler.
. The main issue at the moment is finding out what people are doing, so that the studio area and the allotment can be planned. They need to know what space people need and where they want to exhibit it.
. After that information has been gathered the team can then see how all the work relates to each other. Can also see whether certain work needs to be in a particular place (site specific). Further questions on layout include whether work should be treated as a whole, or should be placed in divided space with the use of boundaries.
. Further questions are also raised regarding how the public should be navigated around the space, should they be made to take a specific route or their own organic wandering?
. Within the allotment space there are major issues to be considered regarding the methods of showing work. This also includes issues of weather proofing art work using screens or umbrellas.
Wednesday, 18 April 2007
Tuesday, 17 April 2007
Interesting New York Times Article courtesy of Vanalyne
Green, Life-Giving and Forever Young
"Plants, like everybody else, want to spread their seed around and diversify their genetic stock through sexual reproduction, but it’s hard to meet fresh faces when you don’t have legs."
NY article by Natalie Angier
"Plants, like everybody else, want to spread their seed around and diversify their genetic stock through sexual reproduction, but it’s hard to meet fresh faces when you don’t have legs."
NY article by Natalie Angier
Sue Ball visit on the 25th, April
Dear all, Sue will be meeting with you on the 25th of April -- not the 26th. So during next Wednesday's class time, people involved with the Situation Leeds project will meet with her. She'll briefly introduce herself and then you can talk about what you're doing and see how she can help you with your project -- logistically, conceptually, etc. Sue is a vital part of the Leeds art scene -- someone who has nurtured any number of artists and arts organisations:
"Sue Ball/MAAP is a consultancy in Public Arts Development and Strategy. Sue was artistic director of Pavilion, Leeds, 1996-2000 when she initiated projects, which focussed on artist/architectural collaborations in the public realm. Her current projects include the design and build of four micro-architecture 'towers' in Lincolnshire along the river Witham with Gent based architect Robbrechtendaem and a public art strategy for the Wigan Pier Quarter with consortium RKL."
"Sue Ball/MAAP is a consultancy in Public Arts Development and Strategy. Sue was artistic director of Pavilion, Leeds, 1996-2000 when she initiated projects, which focussed on artist/architectural collaborations in the public realm. Her current projects include the design and build of four micro-architecture 'towers' in Lincolnshire along the river Witham with Gent based architect Robbrechtendaem and a public art strategy for the Wigan Pier Quarter with consortium RKL."
Monday, 16 April 2007
Minutes from Monday 16th April 11am.
Team Leaders Meeting.Present: Alice, Mark, Luise, Andy and Catherine.
Exscused: Olivia L, Caroline and Gail.
Minutes taken by Catherine. Going to plan each week- 4 weeks.
. Deadline of all work- TUESDAY 15TH MAY.
. Alice and Mark to talk to Vanalyn on wednesday 18th April to sort out how useher office as gallery space.
. THURSDAY 26TH APRIL- Sue Ball- important person from situation leeds possiblytalking to us.
. EACH THURSDAY FOR NEXT 4 NEXT 3/4 WEEKS AFTER THE SEMINAR- MEETING. to dicussprogress of ALL participants.
. Each participant needs to produce a written statement on their participationand/ or their work. DEADLINE TO BE DISCUSSED ON THURSDAY.
Dates- Thursday 17th May- Preview night in Liften from 7.30pm. open tilTuesday 22nd of May. Ideas needed for opening night- e.g. BBQ. drinks etc.
. TECHNICAL TEAM- FROM TUESDAY 15TH MAY- setting up.
. PUBLICITY TEAM- sorting out posters. Luke and Luise- screen printing them.Size and format needs to be decided. Poster to include the logo of a slug-'Situation Leeds Under Graduate'. Open 11am til 5pm. 17th May to 22nd May.Liften Studios. With the allotment blog address for directions to the studio.Directions to the allotment will be given in the studio.There may be a possiblity that other people can make their own posters- talk tothe coordinators if you are interested.DEADLINES FOR POSTERS: Ready by- MONDAY 30TH APRIL. Distributed from TUESDAY 1ST MAY TO THURSDAY 3RD MAY.Updates for the on going process on the blog.Issues of weather proofing them- laminate? Inside and outside??To be distributed: Canvas, Fine Art studios, Met, College, Street signs. (Streetsigns are to be organised by andy as he has experience with them. Consider fee-need them a week before- deadline of 30th april sufficient).
. Distribution Team- Andy, Sarah- Luise can possibly help out- need other peoplewho are not taking an active role.. Andy to get information of the event posted on the leeds visual forum- 1 weekbefore, 2 days and 1 day before event.. Alice to post invites on facebook. Andy on Myspace- 2weeks, 1 week, 2 days and1 day before.
. MONEY- not to be spent on new equipment for gardening- but in flyers,materials, distribution and insurence.
. EVALUATION TEAM- A4 sheet to be produced to hand out during the exhibition-can be vague- on our show. can write something on each persons art work.therefore need people to write about their work- and maybe their contributionto the show? dEADLINE TUESDAY 15TH MAY. Also need to post images and written comment of everyones art work onthe BLOG- DEADINE THURSDAY 9TH MAY
.Shifts of opneing times. 11am- 5pm. 3hrs each, 2 people in the studio, 2 in theallotment. 8 people per day??????? DEADLINE- MONDAY 14TH MAY.
. Advertisement to be put in local newspapers- Suggestion that BEN HUNTER dothis due to past experience- see Mark for details. DEADLINE- ASAP.
. BUDGET done- THURSDAY 26th MAY.
. Possiblility of external show and tell night- on Thurs 19th and 26th April-see Alice for details.
FINALLY DONT FORGET EVERYONE INVOLVED HAS TO STAY FOR A MEETING AFTER THE SEMINAR ON THIS THURSDAY 19TH. WONT BE THAT LONG.
Exscused: Olivia L, Caroline and Gail.
Minutes taken by Catherine. Going to plan each week- 4 weeks.
. Deadline of all work- TUESDAY 15TH MAY.
. Alice and Mark to talk to Vanalyn on wednesday 18th April to sort out how useher office as gallery space.
. THURSDAY 26TH APRIL- Sue Ball- important person from situation leeds possiblytalking to us.
. EACH THURSDAY FOR NEXT 4 NEXT 3/4 WEEKS AFTER THE SEMINAR- MEETING. to dicussprogress of ALL participants.
. Each participant needs to produce a written statement on their participationand/ or their work. DEADLINE TO BE DISCUSSED ON THURSDAY.
Dates- Thursday 17th May- Preview night in Liften from 7.30pm. open tilTuesday 22nd of May. Ideas needed for opening night- e.g. BBQ. drinks etc.
. TECHNICAL TEAM- FROM TUESDAY 15TH MAY- setting up.
. PUBLICITY TEAM- sorting out posters. Luke and Luise- screen printing them.Size and format needs to be decided. Poster to include the logo of a slug-'Situation Leeds Under Graduate'. Open 11am til 5pm. 17th May to 22nd May.Liften Studios. With the allotment blog address for directions to the studio.Directions to the allotment will be given in the studio.There may be a possiblity that other people can make their own posters- talk tothe coordinators if you are interested.DEADLINES FOR POSTERS: Ready by- MONDAY 30TH APRIL. Distributed from TUESDAY 1ST MAY TO THURSDAY 3RD MAY.Updates for the on going process on the blog.Issues of weather proofing them- laminate? Inside and outside??To be distributed: Canvas, Fine Art studios, Met, College, Street signs. (Streetsigns are to be organised by andy as he has experience with them. Consider fee-need them a week before- deadline of 30th april sufficient).
. Distribution Team- Andy, Sarah- Luise can possibly help out- need other peoplewho are not taking an active role.. Andy to get information of the event posted on the leeds visual forum- 1 weekbefore, 2 days and 1 day before event.. Alice to post invites on facebook. Andy on Myspace- 2weeks, 1 week, 2 days and1 day before.
. MONEY- not to be spent on new equipment for gardening- but in flyers,materials, distribution and insurence.
. EVALUATION TEAM- A4 sheet to be produced to hand out during the exhibition-can be vague- on our show. can write something on each persons art work.therefore need people to write about their work- and maybe their contributionto the show? dEADLINE TUESDAY 15TH MAY. Also need to post images and written comment of everyones art work onthe BLOG- DEADINE THURSDAY 9TH MAY
.Shifts of opneing times. 11am- 5pm. 3hrs each, 2 people in the studio, 2 in theallotment. 8 people per day??????? DEADLINE- MONDAY 14TH MAY.
. Advertisement to be put in local newspapers- Suggestion that BEN HUNTER dothis due to past experience- see Mark for details. DEADLINE- ASAP.
. BUDGET done- THURSDAY 26th MAY.
. Possiblility of external show and tell night- on Thurs 19th and 26th April-see Alice for details.
FINALLY DONT FORGET EVERYONE INVOLVED HAS TO STAY FOR A MEETING AFTER THE SEMINAR ON THIS THURSDAY 19TH. WONT BE THAT LONG.
Situation Leeds Chatshow- Wednesday 28th March
Hello everyone. I went to the ‘Chatshow’ on wed which was very useful, and subsequently highlighted some important jobs that I think will be appropriate for some the teams to undertake – not as another burden but more of a helpful direction for clarity of purpose.
There were three talks given over the two-hour meeting.
The first one concerned public liability insurance. Essentially, due to our plan of giving guided tours to and around the allotment, and simply having people in a room (Vanalyne’s office) we have to have insurance to protect from any accidents that may occur. They literally range from slipping on mud to tripping over cables (which one contributor exclaimed may mean a slight bruise for one person but possibly death for an 80 year old! - Pessimist), and we have to compile a risk assessment form and submit to an insurer.
This raises tasks for two teams: The Technical Team and the Hospitalty and Promotional team. The document for the Technical Team and fundraising for insurance for the latter. A member of Polgfolk(??-I couldn’t catch their name and it’s not googling how I’d like it to) has offered to send round one of her templates for the risk assessment which sounds simple enough.
Artist Mark Gubb was asked to give a talk on ‘legacy’, which largely concerned the importance of documentation and handy tips on how to affectively do so. It was a bit of a self-promotional talk but a couple of things would be of help to the Evaluation Team. For example, photographing work or events throughout the day and night due to the changing light so there’ll be more images to choose from for display and for our blogspot. Speaking of which, he himself finds websites and forums a very positive and interesting approach to ‘legacy’ in that it can be easily accessed and is constantly changing. These also could be looked upon as an alternative to the artist’s studio (‘their world’). Furthermore, he highly recommends documenting the event itself, which seems essential and obvious now but I honestly didn’t consider that before. Plus it facilitates our idea of ‘work in process’ and the allotment as an ever-developing theme. Check out SMARKGUBB.com for inspiration.
Lastly; Polgfolk(??) are an artist cooperative who concentrate on site and context responses. They have begun an archive in Leeds of artists whose work is concerned with this theme and physically display connected resources, in a library type fashion. A submission form, J-peg of images, video etc, and press cutting is an exemplary contribution to the archive, which they’d then store in an appropriate container for the city from whence it came. They transport the various folders and carry cases around the country for people to add to and explore. Through availability of information, they hope to compete with and eventually overtake London’s suitcase with a trunk of work to hold and symbolise the activity of Leeds.
Polgfolk(?) could be something to be looked into by the Publicity team. Submission forms can be obtained from 42 New Briggate and St. Patrick’s studios.
Friday, 13 April 2007
Thought you might like to know about...
Compost Toilet - Humanure Theory and Practical Thursday 26th April, 10.30am-5pm
A 1 day workshop, with possibility of continuing over to Friday to complete construction of the compost toilet.
No prior experience or knowledge necessary, everyone welcome.
Theory of compost toilets and humanure, taught by highly experience designer Tomas Remiarz, followed by construction of a 2-chamber loo. Includes details on hygiene, safety, building tips and composting options in a restricted urban space. The course will take place in a beautiful forest garden, within an ornate Georgian walled garden at Swillington Organic Farm just 6 miles East of Leeds. Easily reached by public transport. For more details please email office@permaculture.org.uk or call 0845 4581805 / 0113 2623536.
Cost: £15 suggested contribution (sliding scale, please ask).
leeds_permaculture_network@yahoogroups.co.uk
A 1 day workshop, with possibility of continuing over to Friday to complete construction of the compost toilet.
No prior experience or knowledge necessary, everyone welcome.
Theory of compost toilets and humanure, taught by highly experience designer Tomas Remiarz, followed by construction of a 2-chamber loo. Includes details on hygiene, safety, building tips and composting options in a restricted urban space. The course will take place in a beautiful forest garden, within an ornate Georgian walled garden at Swillington Organic Farm just 6 miles East of Leeds. Easily reached by public transport. For more details please email office@permaculture.org.uk or call 0845 4581805 / 0113 2623536.
Cost: £15 suggested contribution (sliding scale, please ask).
leeds_permaculture_network@yahoogroups.co.uk
Wednesday, 11 April 2007
example of technical observation
People: Tanni, from the Curatorial module, gave permission for me to quote her recent post on the blog for that class. She's one of the people who is observing the various subgroups for a year-end project taking place in the Dark Arch. You won't have the context to understand the specific issues, but the form of her comments, I think, might be helpful to you. Here goes:
"The post by H., on behalf of the technical team is very important. And the issues raised here, and more importantly by G. reflect my own concerns and thoughts about the project as it stands.
Key Issues:
''The lecturers said many people underestimate how much background noise will interfere with the recorded dialogue-is your project about the ambiance and background of the arch, or the speech?''- G
this i think is a very important issue, that im not sure if we have fully addressed in our meetings. We all have an experience of being in the arch, seeing the arch, conducting ourselves etc. The arch itself has a unique ambiance, and is not a neutral space for sound etc. We are aware of this, but haven't really addressed this as a problem. There is excess amounts of sound and noise that penetrates the space, the railway, traffic, river etc.
Possible Outcome: of this project may be that although we can place as many technical pieces of sound equipment, mikes etc, into the space we might not achieve the desired outcome which is a clear recordings of individual conversations.
The 3 girls on the technical team have no experience with sound , the physics of sound, recording or manipulating sound, and this is essentially a sound project,
I don't see this as a negative, and i think this extend issue extends to most of our group. We are artists not qualified in sound technician. This in itself is interesting part of the project, and will be in terms of outcomes. But we cant rely on ben/george to carry our project for us, to be fair, the amount of work and time they have already put in justifies that they should be re imbursed in some way- seeing as they are technically doing a job for us as sound technicians and advisors. especially if it is a 30hour job.
G. has outlined many different types of constraints and problems we might come across, but he as also come up with some positive solutions."
"The post by H., on behalf of the technical team is very important. And the issues raised here, and more importantly by G. reflect my own concerns and thoughts about the project as it stands.
Key Issues:
''The lecturers said many people underestimate how much background noise will interfere with the recorded dialogue-is your project about the ambiance and background of the arch, or the speech?''- G
this i think is a very important issue, that im not sure if we have fully addressed in our meetings. We all have an experience of being in the arch, seeing the arch, conducting ourselves etc. The arch itself has a unique ambiance, and is not a neutral space for sound etc. We are aware of this, but haven't really addressed this as a problem. There is excess amounts of sound and noise that penetrates the space, the railway, traffic, river etc.
Possible Outcome: of this project may be that although we can place as many technical pieces of sound equipment, mikes etc, into the space we might not achieve the desired outcome which is a clear recordings of individual conversations.
The 3 girls on the technical team have no experience with sound , the physics of sound, recording or manipulating sound, and this is essentially a sound project,
I don't see this as a negative, and i think this extend issue extends to most of our group. We are artists not qualified in sound technician. This in itself is interesting part of the project, and will be in terms of outcomes. But we cant rely on ben/george to carry our project for us, to be fair, the amount of work and time they have already put in justifies that they should be re imbursed in some way- seeing as they are technically doing a job for us as sound technicians and advisors. especially if it is a 30hour job.
G. has outlined many different types of constraints and problems we might come across, but he as also come up with some positive solutions."
Saturday, 7 April 2007
After the holiday I am going to suggest to the rest of the evaluation team that all groups are 'evaluated' individually- as I feel we need to know exactly what is going on! I am also going to post the results on the blog, because I can work it now! I think we need to use the blog more. Hope your all having a good hol, cat x
Friday, 30 March 2007
hey hey thiss is my proposal for exhibiting my response to 'allotment'
I have made a collection of pieces all individually 15cm in diameter approx., and
would like to exhibit them on a shelf or white surface, inside. So in total i would
hopefully be aiming to obtain about 1.5m in wall space, within which it would
either be possible to put up a shelf or to place a table or cabinet against.
The piece itself is made up of multiple sculptures of blooming flowers made from
modified lightbulbs. The fragile nature of the glass combined with the necessity of
light to complete the lightbulb's function, i feel emulate the growth of an
allotment, not only literally but socially.
big love
xx
I have made a collection of pieces all individually 15cm in diameter approx., and
would like to exhibit them on a shelf or white surface, inside. So in total i would
hopefully be aiming to obtain about 1.5m in wall space, within which it would
either be possible to put up a shelf or to place a table or cabinet against.
The piece itself is made up of multiple sculptures of blooming flowers made from
modified lightbulbs. The fragile nature of the glass combined with the necessity of
light to complete the lightbulb's function, i feel emulate the growth of an
allotment, not only literally but socially.
big love
xx
Wednesday, 28 March 2007
if you're adding links please post it in the 'others' section if they're not published by yourself or the school, thanks, admin.
Tuesday, 27 March 2007
research websites, please post yours!
http://www.novelsquat.com/conceptualart.html
http://summit.kein.org/
http://www.imageandtext.org.nz/bruce_work_littoral_practice_interview.html
http://findarticles.com/p/articles/mi_m1310/is_1993_Oct/ai_14591224
http://www.wochenklausur.at/projekte/menu_en.htm
http://www.thereallifesurvivalguide.com/index.php
http://summit.kein.org/
http://www.imageandtext.org.nz/bruce_work_littoral_practice_interview.html
http://findarticles.com/p/articles/mi_m1310/is_1993_Oct/ai_14591224
http://www.wochenklausur.at/projekte/menu_en.htm
http://www.thereallifesurvivalguide.com/index.php
Wednesday, 21 March 2007
Saturday, 17 March 2007
The Jew Fro's Plans
In accordance with Marks recent wishes I have decided to post up my intentions with the allotment. I truth my main role is shared with Andy in looking after the money people have contributed and then deciding how to us it. I have also said to Andy that I wish to help him with the construction of his Scarecrow, which could be fun.
Aside from that, once time and deadlines are less of an issue my services will be free for all to use, within limits of course. So my intention is to help out with the general progress of this big undertaking that we are (or aren't) all in.
Peace and love my fellow artisans.
Oh and brap brap brap
In accordance with Marks recent wishes I have decided to post up my intentions with the allotment. I truth my main role is shared with Andy in looking after the money people have contributed and then deciding how to us it. I have also said to Andy that I wish to help him with the construction of his Scarecrow, which could be fun.
Aside from that, once time and deadlines are less of an issue my services will be free for all to use, within limits of course. So my intention is to help out with the general progress of this big undertaking that we are (or aren't) all in.
Peace and love my fellow artisans.
Oh and brap brap brap
new exhibit at Palais de Tokyo...
A greenhouse for plants and for live interventions by experimental musicians
For Music for Plants, the artist Peter Coffin presents his work Untitled (Greenhouse) (2002), a full-sized greenhouse installed at the Palais de Tokyo, and invites musicians to come and play for the plants. The polycarbonate greenhouse is filled with various types of plants illuminated by halogen grow lights. More than a place for plants to grow, Untitled (Greenhouse) also functions as a concert venue: dispersed within the vegetation is a sound system, an electric guitar, a keyboard, speakers, microphones, etc. The public is invited to enter the greenhouse and play music for the plants. Several times per week, Untitled (Greenhouse) welcomes a musician from the experimental scene who attempts to communicate with the plants. While scientific proof showing that the plants are reactive to music does in fact exist, this artistic project does not seek to validate scientific theories, as much as it establishes a creative dialogue between different forms of organic life and creates a site for a direct and ongoing engagement with plants that is intuitive, improvised, and undetermined.
URL:
http://www.palaisdetokyo.com/M/programme.php
For Music for Plants, the artist Peter Coffin presents his work Untitled (Greenhouse) (2002), a full-sized greenhouse installed at the Palais de Tokyo, and invites musicians to come and play for the plants. The polycarbonate greenhouse is filled with various types of plants illuminated by halogen grow lights. More than a place for plants to grow, Untitled (Greenhouse) also functions as a concert venue: dispersed within the vegetation is a sound system, an electric guitar, a keyboard, speakers, microphones, etc. The public is invited to enter the greenhouse and play music for the plants. Several times per week, Untitled (Greenhouse) welcomes a musician from the experimental scene who attempts to communicate with the plants. While scientific proof showing that the plants are reactive to music does in fact exist, this artistic project does not seek to validate scientific theories, as much as it establishes a creative dialogue between different forms of organic life and creates a site for a direct and ongoing engagement with plants that is intuitive, improvised, and undetermined.
URL:
http://www.palaisdetokyo.com/M/programme.php
Friday, 16 March 2007
VERTICALFARM.COM
hey, just added some links to the bottom of the blog. To add more to the list:- sign in as author - go to the blog page - click the spanner tool thing in the bottom right hand corner - pop up box will appear - type your website address in and title it - then "add link" - then save changes - and hey presto! it appears. magic. just like that.
p.s. I've set up an email address for everyone, please ask me for the details and please don't delete anything from the inbox as people may want to use the correspondence.
Thursday, 15 March 2007
James -- might this be helpful?
http://www.geog.leeds.ac.uk/people/a.evans/psychogeog.html
"brap" on?
"brap" on?
Monday, 12 March 2007
James' use of the Allotment
Yo all :)
Today was sad; after being inspired and coming to realise my practice for the final piece and Situation Leeds I was on my way to the allotment when I bumped into Alice who informed me that alas, there was no-one actually there :'(
My proposed work is an audio map of the activity taking place in the allotment. I plan to document and 'map' what takes place during the allotment sessions (sounds like a groovy EP, and in fact, a suitible title) on paper, and then convert these recordings into aural form using a yet-to-be formulated methodology. The resultant audio piece will most probably be a rather horrendous racket of manipulated guitar parts and sound recordings taken directly from the allotment.
So thar we have it yo'. Any questions, comments or suggestions are totally welcome and much appreciated. If anyone would like or has some specific action or activity to be mapped that would be totally cool and really help me greatly.
Thanks bluds, brap on, James out.
Today was sad; after being inspired and coming to realise my practice for the final piece and Situation Leeds I was on my way to the allotment when I bumped into Alice who informed me that alas, there was no-one actually there :'(
My proposed work is an audio map of the activity taking place in the allotment. I plan to document and 'map' what takes place during the allotment sessions (sounds like a groovy EP, and in fact, a suitible title) on paper, and then convert these recordings into aural form using a yet-to-be formulated methodology. The resultant audio piece will most probably be a rather horrendous racket of manipulated guitar parts and sound recordings taken directly from the allotment.
So thar we have it yo'. Any questions, comments or suggestions are totally welcome and much appreciated. If anyone would like or has some specific action or activity to be mapped that would be totally cool and really help me greatly.
Thanks bluds, brap on, James out.
Sunday, 11 March 2007
Gardens of Heligan, check it out. http://www.heligan.com/flash_intro.html
i look so impressed with myself. how pompous.Anyway, few things here to start the ball rolling.
delicious - used to bookmark web pages so that they can be shared with other people on the internet, good research tool. Also i have a google notebook to copy pictures and extracts from internet browsing. And there's my blog of course.
Below are some guidelines for collaboration, click on the image to get a clearer picture.
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