Wednesday, 16 October 2019

Negotiating a collective aesthetic

Preston Street Union | Work in  progress| 2019

I’m working with Preston Street Union on the second of two commissions for Exeter’s Royal Albert Memorial Museum on the theme of migration.  Our last piece for RAMM – SERGE/SURGE  – took place outside the museum walls and consisted of a series of live actions we had devised together over a number of months. This time, the curator specifically requested something with a more physical and enduring presence in the museum building – but also something made by us…quite a challenge for a collective with a largely performative approach.

Preston Street Union is a group of artists with widely varying levels of experience, diverse practices and different aesthetic approaches. Committing to physical processes and objects meant moving away from a situation where we are making work in a way none of us would have used individually, to a situation where we are reliant on the drawing, print-making, digital, research or textile experience of different members in order to create the work. And where we must negotiate a fixed collective aesthetic rather than one that comes and goes in the moment.

For this next piece of work, we are drawing on and complementing new research by local historian Michael A Patrick. We're using our making skills to investigate the construction and production of decorative tillet wrappers used in Exeter's historic wood trade (and so, we hope, to add something new to the museum’s understanding of related objects in its collection). Processes so far have included making a collective drawing and a joint prototype design in fabric. Progress has been slow, often painful, and definitely very stretching for everyone. But at its heart is the need to get along, to exchange expertise, to integrate skills and to make different approaches work cohesively together. It feels very appropriate to our subject matter: the way that Exeter’s prosperity was built on cooperation between people of different backgrounds, cultures, skills and expectations.

Preston Street Union's new work Anyone may come and go will be launched at Exeter's Royal Albert Memorial Museum on Saturday 15 February 2020.

Monday, 14 October 2019

Rustly paper bags provided


I'll be presenting a short, participatory provocation - pigeon steps - with Megan Calver at Walking's New Movements, University of Plymouth, 1-3 November 2019. Details and booking.


Sunday, 6 October 2019

A house of leaves

Gabrielle Hoad | A house of leaves (after Alison Knowles) - detail | Made for ‘Building Proposals’ by Nick Davies | 2019

A house of leaves, by a river, using all available lighting, inhabited by friends. 

I'm thrilled to be included in a new limited edition box publication by Nick Davies of Loophole Projects. Made to celebrate the 50th anniversary of Fantastic Architecture, a landmark book by Dick Higgins and Wolf Vostell, this publication features new work by 22 contemporary artists and one architect. They are: Chris Agnew, Sovay Berriman, Ricardo Bloch, Simon and Tom Bloor, Paul Carter, Stuart Crewes, Ryan Curtis, Nick Davies, Polly Gregson, S Mark Gubb, Gabrielle Hoad, Evy Jokhova, Scott King, Sean Lynch, Alex Murdin, Emily Speed, Simon Starling, Mark Titchner, Charlie Tweed, Paul Unett, Ian Watson, Bedwyr Williams, Sam Venables.

My own contribution A house of leaves connects with Alison Knowles’contribution to the original publication, which was a computer-generated poem that described numerous permutations of a house and its inhabitants. My work reflects just one of those permutations.

I had come across some dead Gunnera (‘giant rhubarb’) leaves in the formal gardens of the Dartington Estate in Devon. They were being used to give frost protection to the plants but it struck me that they would be big and strong enough to shelter human bodies -- and that they resembled some sort of encampment. This 'natural' architecture allowed me to tie the built environment back to my personal interest in landscape.



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