So, apart from continuing Collections and also making some work for the next Printmakers Circle show (at Sunny Bank Mills in April), I am currently working on a large-scale print installation. This is a huge challenge for me and something that is both exciting and daunting in equal measures. The story behind it (abridged to prevent boredom) is that in 2015 a printmaking colleague asked me if I’d like to join her in creating a print installation in a field barn for the Grassington Festival (highly popular and well-respected arts festival). Never wanting to turn down the opportunity to do something different I immediately said yes. She met with the organisers of the festival who suggested some possible barns and we went on a reconnaissance mission to check them out. This involved yours truly wading about in sheep and pigeon poo to see if the barns were suitable for our idea.
We found one and duly contacted the owner who was very keen and agreed to let us use it. Roll on to September and I took my colleague over to Sweden to visit the Ålgården studio and we enlisted two of my Swedish artist friends to take part in the project (which was to have a Scandinavian theme). Due to the fact that I was getting married during the 2016 festival and already had a large workload on for 2016, we agreed to work towards the 2017 festival and the idea was to try to get some funding.
Unfortunately, in November 2016 my colleague said she no longer wanted to go ahead with the project and it looked like that was that…except that I have always wanted to work on a large scale and had a head full of half-formed ideas. I realised that I couldn’t ask my Swedish friends to be involved with something where I had no funding, nowhere for them to stay and no real idea of what I was doing or how it would work so I thought I’d see if I could do a scaled down version on my own with a view to expanding on it as a collaboration in the future.
Its safe to say that my ideas have grown and I’ve met with Ian (who owns the barn) a few times and, being a fellow fellrunner and also a keen conservationist, we have hit it off and I’m really excited about what I might do in his barn. Roll on to the present day and I have just completed the first of 5 (or 7 if time allows) 12′ long hangings! But let’s not get ahead of myself as I want to document the whole process.
Firstly, I needed a theme. I didn’t actually need to look that far because I was already documenting and making work based on two meadows close to my house. A Yorkshire Dales upland meadow is a thing of beauty, a habitat for abundant wildlife, a valuable winter food source for livestock, has a rich cultural heritage and, unfortunately, is also seriously threatened by modern agricultural ideas and methods. We have lost 97% of our meadows! Ten years ago, the Yorkshire Dales Millennium Trust, in partnership with the Yorkshire Dales National Park Authority, set up the ‘Hay Time Project‘ which aims to work with farmers to protect and restore meadows across the Dales and the Forest of Bowland (there’s a very good book available about the project). A good meadow can have up to 130 species in a field whilst the best meadows can have up to 40 species in just a square metre.
Anyway, I’ve been slightly obsessed not only by the abundant species of flowers and grasses in my local meadows but by the drystone walls and field patterns that form our local landscape. The barn that I will be presenting my installation in is a traditional eighteenth century field barn with a mewstead for storing hay and a shippon for winter housing of cattle. I am developing ideas and imagery that I have been exploring via other projects such as in my bookmaking and via Collections. So that’s a bit of background. Next I’ll be writing about the logistics of getting from cluttered headspace to printing 12′ lengths of fabric!
(NB: Within These Walls is the title of my project for obvious reasons)