Last week was my first site visit to Somerset House, where I and the other Collect Open artists were accompanied by the Crafts Council team on a tour of the East and West Wings of the building, to see the exact location of our allocated display spaces. In 2020 the Collect Open artists’ work will be presented in a different format to that of the previous years, with the carefully curated installations interspersed amongst the exhibiting Craft Galleries at the Collect fair. I was delighted to find out that I will be sharing a stunning space on the ground floor of the East wing along with another artist who’s thoughtful and sensitive work will resonate with mine.. (more details to come later!)
Somerset House -The Courtyard
Somerset House – View of the East Wing from the Courtyard
I’m thrilled to announce that I have been selected as a Collect Open artist and will be exhibiting at Collect 2020, the International Art Fair for Modern Craft and Design. Organised by the Crafts Council, Collect is the only gallery-presented art fair dedicated to modern craft and design and will take place at Somerset House, from 27 February – 1 March 2020. As a Collect Open artist, I will be creating one of the ambitious craft-lead installations, a display of handmade wildflower sculptures using traditional beeswax flower making techniques. I’m delighted to be working again in collaboration on this new project with Dr. Scott McArt, Assistant Professor of Entomology at Cornell University, New York, and I’ll be posting regular updates to show the making process and development of the piece as it progresses.
You can find further information about Collect 2020 and the full list of participating Collect Open artists in the Crafts Council press release.
In November 2017 I attended the Cross-pollination, Revaluing Pollinators through Arts and Science Collaboration conference at Swansea College of Art. The conference marked the end of a successful and pioneering project funded by both the Arts and Humanities Research Council (AHRC) and the Arts Council of Wales, combining Art with Science to explore new insight into perceptions of the value of honeybees and wild pollinators.
As an artist I’ve spent most of my career working alongside scientists on science communication projects and my current work focuses on the protection of nature and features pollinating insects, so the project was of great interest to me.
At the conference I heard many fascinating lectures and discussions but it was my chance conversation with Assistant Professor Scott McArt, from the Entomology Department at Cornell University, that sparked a creative idea which has developed into a collaborative piece of artwork, soon to be exhibited in the new PolliNation exhibition at the Mann Gallery in Cornell.
Scott’s NYS Beekeeper Tech Team at Cornell had been conducting research to promote best management practices to improve honey bee health and reduce colony losses. The team had been examining pesticide levels in wax from honey bee colonies in New York State and had collected many wax samples which were analysed and shown to contain pesticide residues. The honey bees had been visiting wildflowers which were contaminated with agrochemicals and transferring those chemicals to their wax. I specialise in creating botanical sculptures with wax, a skill that I learnt whilst caring for a unique collection of over 1000 wax models in the Amgueddfa Cymru scientific collections. The idea for the artwork was to use the beeswax containing pesticide residues as an artist’s material to create sculptures of the contaminated wildflowers. The pesticides residues would be listed clearly as the materials used to create the work, thus communicating Scott’s research in a subtle and powerful way.
I decided to start by creating some test pieces to see how feasible it would be to work with the Cornell wax. Scott was able to post me some wax samples from his lab, which I melted down to remove any traces of honey, then coloured and sculpted into flower forms. The wax was very flexible and easy to work with in comparison to the refined white beeswax that I normally use.
The next stage of the project was to choose which wild flowers to represent in the final piece of artwork. I was able to look at reports from the NYS Beekeeper Tech Team on pesticide residues and data from Scott’s lab on pesticides in wildflowers that are adjacent to apple orchards New York. One of the wildflowers listed was Fragaria vesca, Wild strawberry, which contained one of the highest levels of total pesticides recorded in parts per billion. I decided to focus on this plant not only because it was loaded with pesticides, but also because it was a common wildflower in both the Ithaca region of New York State and here in South Wales. Luckily I had some wild strawberry plants growing in my front garden which I was able to use as fresh reference material, even if it was winter and there were no fruits or flowers to be seen!
The final sculpture took several weeks to complete. I created moulds from the fresh plant leaves in my garden with silicone and plaster, which I then cast in coloured molten wax. I made stems and plant runners from waxed tinned copper wire, and petals, sepals and stamens from waxed silk fabric and threads. The strawberry fruits were made from wax coated dressmaking beads and I attached tiny plant hairs made from silk to the stems and leaves. The sculpture was finished with acrylic paints and varnishes and displayed in Pyrex glass measuring beakers in reference to the scientific nature of the work.
This is the finished piece and the accompanying title which describes all the materials that I used to create the work.
*These pesticide residues were also found on nearby
Finally the sculpture had to be packed very carefully for its journey to Cornell University. I placed it in a strong cardboard box and secured it with dressmaking pins and Plastazote supports to prevent any movement. It is due to be taken in hand luggage on a flight to America next week by one of the project artists, so it’s certainly getting some special treatment and will hopefully arrive in good condition ready to be set up in the display.
The PolliNation exhibition at the Mann Gallery runs from April 15th until 30th September 2019.
Many thanks to the artists, Linda Norris for inviting me to the Cross-Pollination conference and Sarah Tombs and the Swansea College of Art, Art/Science group for kindly including my work in the Cornell Mann Gallery display. Thanks also to the scientists, Assistant Professor Scott McArt for giving me the opportunity to create a piece of artwork from his research and to the National Museum Wales botany curator Sally Whyman for sharing her expert knowledge of the collections.
Today I had the pleasure of meeting Pauline Griffiths, owner of The Art Shop and Chapel in the market town of Abergavenny. I’m thrilled to announce that she’ll be showing my work at her gallery, in the lovingly restored 16th Century Town House on Cross Street, as part of the 2019 Abergavenny Art’s festival in June. It is such a special venue, with artworks thoughtfully displayed amongst household objects in a domestic interior setting. Many thanks to the event organisers for putting me in touch with Pauline, I’m delighted to have the opportunity to create a collection of pieces especially for this beautiful gallery.
I have long been a fan of the magical textile creations of Mister Finch, so when I heard about his solo exhibition at the Yorkshire Sculpture Park, I knew I had to visit! Luckily I was able to plan a trip over the summer as part of a family holiday and I’m so glad that I did. Each character in ‘The Wish Post‘ display, from toadstools to woodland creatures, has been brought to life with recycled materials and found accessories, and given a role in the artist’s fairy tale story. It was fantastic to finally see the detailed sculptures of this humble and talented maker first hand.
I was also able to walk for miles around the fields, lake and forest of the beautiful sculpture park, following the trail to find some truly inspiring artwork along the way. The highlight of my visit was walking into the chapel courtyard and being able to see and touch the cold cast metal surface of Ai Weiwei’s ‘Iron Tree‘. Then entering the 18th century chapel building itself to see Chiharu Shiota’s ‘Beyond Time‘ installation of woven white threads; a breathtaking experience.
Mister Finch: ‘The Wish Post’ is open until Sunday 23rd September and Chiharu Shiota: ‘Beyond Time’ is open until 4th November. Ai Weiwei’s ‘Iron Tree’ is part of the YSP open air collection along with the other sculptures featured in my images. A visit to this wonderful park is highly recommended.
During my latest trip to London I was able to visit the ‘Fashioned from Nature‘ exhibition at the Victoria and Albert Museum. I was excited to see the display for several reasons, I have a degree in textile design, a love of nature and many years’ experience working with natural science collections in the museum sector, so an exhibition that combines these passions was always going to be at the top of my list. But the display is not just an incredible collection of objects, it tells a complex story of the relationship between the fashion industry and nature from 1600 to the present day. It shows how the beauty of the natural world has inspired fashion designers, how natural materials are processed to create fabrics and used to adorn garments and it illustrates clearly the negative impact that the fashion industry and we as consumers continue to make on the natural world. The exhibition is powerful and inspiring, and I will certainly be thinking more about my fashion choices in the future.
Group of flowers modelled in wax from nature. John Haynes Mintorn (1824-88) London, about 1875. Wax, wire and cloth
‘Russia Collection’ evening gown. Jean Paul Gaultier (b.1952) Paris, 1997. Taffeta with beads simulating leopard fur and rhinestone claws
X-ray showing hat and starling. Hat – Modes du Louvre, Paris about 1885. X-ray photography by Nick Veasey 2016
Fan. Britain 1880-1900. Turtle shell, ostrich feathers probably from South Africa and silk.
‘Floral Helmet’ Philip Treacy (b.1967) London, 2016. Cotton, velvet, silk, and waxed flowers
Engraved clear Perspex handbag, possibly made in France, early 1950s
Earrings. Brazil, about 1875. Male red-legged honeycreeper
Dress. Britain 1868-9. Cotton, gilded metal thread and Indian jewel beetles. Over 5000 beetle wings were used to decorate this dress
‘Bird-witched’ shoes. Masaya Kushino (b.1982) Japan, 2014. Nile crocodile, gilded metal and cockerel feathers