EVALUATION

What an incredible enriching wonderful experience!  This project would not have been possible if not for Grants for the Arts Funding.  I wrote to all the individuals and partner organisations who supported and made possible the last nine months with five residencies, three exhibitions, two installations, with me finding that being artist in residence is great fun, and totally makes for thinking on your toes, when you think of being installed in a basement of an art academy, arranged between large print and travel section in the library, exhibited in a carpenters yard, one bishop's meeting room, a village hall, plus hidden away in a closed museum, and arranged to experience quietude in a pop-up camera obscura transformed into a hermitage by a pond, staying in a tudor room in an abbey, included.

"I never knew it was so big" wrote Rachael on the project,when replying to the letter which outlined the journey and asked for feedback.  Meanwhile, Gemma writes from the RWA saying how thrilled they were that I was so ambitious with the awarded bursary, and how it has been a delight to see the project growing and developing, particularly with regard to storytelling and performance.

Now there is a right performance again, as I try to get the business side of the project management into a box.  How to transform myself into being someone who is brilliant at Excel spreadsheets, paperwork, figures and ticking the right boxes; battle to get envelopes and tiny brown paper bags stuffed full with receipts in order, and worry did I ever settle up with Julie, the incredibly wonderful artist assistant, for that cup of soup from Friska in Bristol, the plastic grass and unicorn, let along the flickering electric bulb or say enough thank you's for the endless trays of teas made at RWA, the library and Lacock.  Time now to complete the Arts Council application form budget and activity report, and there is a gasp when I see that the evaluation report is up to 2,000 words.  That's about a dissertation worth, but a friend reminds me I work well under pressure. I keep muttering never again, whilst thinking, what next?

An invitation is received from Janice Botterill, new curator, for me to take the artist in residency at Lacock project to a new exhibition, A Time & A Place, at Brewery Arts, Cirencester, January-21 March 2015.  She asks me to mind-map the series of residencies, to show people how I think.  Impossible, I muse, as I don't know myself.  So, much for an year of reflecting on practice!  Then suddenly this giant scroll of thought unfolds.... great stuff, back to making, playing, being responsive, having creative fun!

Richard Jefferies Museum

An invitation to run a children's workshop as part of the Swindon Poetry Festival, with an opportunity to install an exhibition at the victorian writer's once upon a time home, from festival organiser and writer/poet Hilda Sheehan.  However, the workshop is cancelled due to poor numbers and I discover the museum, run by volunteers, is now closed for the season. You could be artist in residence, it is suggested.  I install in the hidden away room, my first ever makings of bundles, which had been inspired by working with artist Alex Madden at Coleshill, and developed whilst on holiday in Cornwall.  I present outcomes from Lacock Abbey artist in residence project, and hang the book/bag/bundle created in collaboration with Glen Mason, leather artist, on the quiet walls of the empty space.  With no footfall, I wonder why I am here?  Perhaps, time to meet specific professionals, and a photographer comes to take my photo, and a journalist called Juliet Platt, who also loves journaling, writes a feature on my practice for a local magazine The Link.  New curator, Janice Botterill, comes to talk about possibilities of taking the artist in residence @ Lacock project forwards in a new collaborative exhibition.  Perhaps the museum is a good space in which to write, suggests Janice. Hmm, I say, Yes, I could, I had originally thought to stitch bundles and write, but it doesn't feel right.  Richard Jefferies was a stalwart enthusiast for the great outdoors, but here, outside the farmhouse window a major redevelopment of the landscape takes place, with the building of hundreds of new homes.  I consider how to respond to the spirit of the place as the roadworks outside the window drill loudly.  I decide to call it a day, gather my books, bags and bundles and go home, to reflect, review, write up my notes, evaluate the year, and prepare to bring things to a close.  On arriving to bow out, I discover the jackdaws have nested in the chimney, and their nest has collapsed into the Victorian fireplace.  I think this is a sign, but I not sure what of....!

The Hidden Room

Book, Bundles & Writings,  inspiration from spirit of place - Prussia Cove, Cornwall

I find tiny medicine bottles, and Shiphams Paste jars and decide to borrow a small item.

I reflect on how central it is to my practice to engage in creative conversation and the importance of a dynamic of an audience.  However, it is also about balance.  A quiet space to distill, remember and reflect. I have been asked to give a lecture to Swindon College M A Drawing students.  I decide I best use my time to write up and review, put together affairs for the final days towards the Curious Narratives journey, complete the accounts and report for the Arts Council, England.  Also, consolidate and put together a creative portfolio of best practice which I can share with others, hopefully in the creative/professional/academic circles and think about how the Lacock archive of images can be presented for the future.

COLESHILL CAFE/SHOP/GALLERY

Art exhibition, celebratory evening & workshop in a community setting, a venue where I had previously shown work after my travels to India.  Here now in the old carpenter's yard, transformed to volunteer run cafe/shop/gallery,  I enjoy contemplating how to install the artworks made on my travel bursary journey to Italy, in response to the RWA Residency & Solo Show, plus new works.  The event is days after the highly positive artist in residence one week only experience at Lacock.  I was feeling it was all too much.  However, with the amazing help of local artist Alex, it came together over two days.  Alex and I had been meeting and collaborating every Tuesday during the summer, and was she brilliantly decisive, practically helpful and encouraging about where and how to place work.  We are both deep in thought when Duncan, landscape painter and exhibition co-ordinator, enters the space and gasps, he is horrified my exhibition hanging gear resides in my handbag.  You need a proper toolbox, he said.  I have one, I reply, pointing to a carpenter's wooden toolbox now full of all my tiny treasures gathered on my journey around Italy.  The collection of work feels good in the space, with a shrine created in the alcove, with flicking lights and offerings.   I sit and ponder of the difference between being in the Royal Academy with a large room,  academia's, arty professionals and off the city street public visitors and this smaller informal rural space with a range of local folk, business and creative professionals, ramblers and cafe visitors.  

"Your textiles look good here" said a visitor sipping tea.  "Amazing"...said a volunteer offering me a slice of her orange polenta cake. "Spooky", said the cleaning lady.  "A cut above the rest", said another volunteer, "I just love looking at your work"... 

"The exhibition is generating many comments" he said.  

A visiting textile artist comments that the three exhibited story dolls
are like Peruvian Burial Chamber Dolls,
and tells me to put up the prices of my scroll books.

 Drawing Breath Sunday workshop:cafe/gallery transformed into pop-up studio, and participants,
draw with inks, write, knit, gather, bind, make iStop motion movies in the gifted doll's house, "I love your work ...very theatrical" said a mother of teenage daughter who creates her very own diorama.

LACOCK ABBEY RESIDENCY

"Where will you sleep?" people asked, over and over.  When, as Artist in Residence for one week at Lacock Abbey, Fox Talbot Photographic Museum & National Trust Village, I installed myself in a tiny wooden dwelling in the grounds, a camera obscura/hermitage/infirmary/shrine/hideway/pop-up studio.  You can be our "Sociable Hermit" said Rachael, Visitor Experience Manager.  And, so it was, the tiny wooden dwelling, as a camera obscura, usually placed in the front of the abbey, was, just for me and assistant Julie, moved to my favourite hidden away from it all space. The tree lined pond, the location, which the 13th Augustinian nuns would have used to catch fish for their supper.  The view across the sheep filled field towards the abbey, was, it was said, also, once upon a time, the place of the infirmary. A space to care for the elderly.  That's me, I thought, sagely, and started to move in my travelling museum of possibilities and transform the space daily, to respond to the myself, the people and spirit of place.

"Magical & Moving", said one visitor to my one week only transformed pop-up Camera Obscura, not so much a wooden hut, as a place of refuge, a hermitage/infirmary/studio.  "I feel so much better for taking time to sit inside the space, enjoy the quietness of this inside out, upside world" said another.  "Free and exploratory...I wish there was an artistic hermit here at Lacock all the time", said a beautiful young girl.A visiting elder lady from Switzerland, had such presence. She reached out to hold my hand and said "Tell me your story"...she went on to say, "I think you have started a way of being here, a place people could come each year, a space in which to take refuge and just be...Would you pray for me", she said, as she left.   And so, from the tiny wooden dwelling, located, just for the residency near the old pond, I would make small pilgrimages around the grounds, resting with my book/bag/bundles here and there.   Julie Brandstatter was my 'tender' assistant, who served endless cups of tea, whilst Leather Artist, Glen Mason, from Corsham, came to the rescue with making a fabulous book/bag out of found materials, to which I added my drawings, sewing, dolls and bundle offerings.  The National Trust staff were brilliant and were hugely supportive. Visitors and collaborating artists, engaged in creative exchange, and participated by photographing me at work, rest and play. A rich archive of portrait photographs were created, in response to spirit of place, people and imagined stories.  Thanks to all who participated, documentary photographs taken on my iPhone 4S, yet to be uploaded.  Watch this space!

"WHERE'S JILL?"

To find out more, visit website: www.jillcarterart.com

Curious Narratives is supported by funding from Arts Council England.

Artist in Residence, Lacock Abbey

I love books and I discovered a tiny book the other day.  It fell out of my bookcase.  It was a gift from a friend, a dream/wish book, the page fell open at ....  "I wish I could have a residency at Lacock Abbey".  Written many years ago, that wish has now come true due Curious Narratives receiving Arts Council funding, and amazing collaborations with Lacock Abbey staff.   Rachael, Visitor Experience Manager, has been outstanding.  Since my first meeting with her when I took a collection of curiosities, she has consistently been working to make a residency happen, as part of the Curious Narratives trail.  "You are our first artist in residence" she said.  "What do you think I will bring to this place" I asked.  "Calm" she replied.  She might have changed her mind by now after weeks of emails, phone calls, drawings, plans, correspondence, me visiting back at the location many times and walking quietly through the cloisters, wondering Ela Abbess of the women of the once enclosed order who were the keepers of the books, peering at the Brito, a fantastic book which sadly you can't touch, visits to the Wiltshire Heritage Centre to unearth the Lacock Archive, talks with Sue the Head Gardener, ideas and possibilities of being installed inside the Camera Obscura, transformed as a hermitage, then reading Tom Freshwater's, Head of Contemporary Art's, National Trust report, that said 'No to Huts'; being interviewed by Emma of BBC Wiltshire Sound by the beautiful pond, and later being broadcast on air on the new arts programme, as Emma said "a double parter", collaborating with other artists, the Abbey staff finding me and Julie who, kindly has agreed to support me, a twin bedroom for a week's sleepover in the Abbey courtyard apartments, Rachael bending over backwards to sort rooms to work in, do all the business side of things and keep everyone informed of goings on, then going to meet Roger Watson, Curator, Fox Talbot Photographic Museum, to see 'Capturing Light' and ask if he had a box camera or something I could borrow, and remembering it was Roger whom I had originally written an email to months and months ago after him coming to my exhibition at the Royal West of England Academy, Bristol, and I subsequently wrote asking could he imagine me being installed as artist in residence, and he replying that he was in Paris, and didn't quite know what I was suggesting, but the answer was yes!

So finally, it is a fact, Curious Narratives is listed in the events of National Trust, Lacock Abbey, 12 September 2014, for one week only:

How would Jill Carter, artist in residence, respond to the people and place of Lacock Abbey? How will she explore stories inspired by the spirit of this special place?  Discover Jill making contemplative journeys with book/bag/bundles, enjoying quiet time in hidden spaces, drawing, writing, sewing, gathering plants, unearthing objects, and placing offerings. You are invited to engage and respond in the making of this unique storytelling book of possibilities. 

http://www.nationaltrust.org.uk/lacock/things-to-see-and-do/events/

Suitcase & Shrines

My practice is supported by collaborating with other creative practitioners.  I visited Glen Mason, Leather Artist, at his studio in Corsham, to explore ideas of how to transform an old 1930's suitcase.  The Harrods vintage case had been found by a book artist friend Nancy, who had rescued the case from a bin and gifted to me.  Glen and I worked in his garden, to look at ways of transforming the case into a book/bag/travelling studio, the intention to use on 'pilgrimage' during my residency at Lacock Abbey.  The materials inspire narratives, referencing the nuns enclosed way of life, a love of archives and portable shrines.  I share another collection of materials, found objects discovered with textile artist Monica Hicks drawing upon the once upon a time women's worlds; antique embroidery from an old seat, a mangle cloth, children's blankets, some hemp and sacks.  As we work to bring the case back to life and consider how to make a one-off book/bag, I talk of a visit to Wiltshire & Swindon History Centre, looking at old books documenting Lacock life, and how the religious houses were once the keepers of the books, such as, at Lacock, the Brito. 

I had also been collaborating with artist Alex Madden, who had been generously sharing her outside studio space in her lovely garden at the National Trust village of Coleshill.  Every Tuesday we work and play together, exploring ideas, materials and process, experimenting with natural plants to print, arranging collections in temporary shrines.  It is interesting to take materials and transform their purpose to create a story in the making.  The organic process of undoing, folding, wrapping, laying out, becomes a mindful contemplative ritual.

BBC Wiltshire Sound

BBC Wiltshire Sound have asked to interview me for their new Saturday broadcast Arts Show and document my residency at Lacock.  Emma Coleman, the reporter, has arranged to meet me at the Fox Talbot Museum. I met Emma years ago, when I exhibited at Coleshill NT, and she lives there.  The idea is that we will sit in the lean-to in the Botannical Garden and discuss Curious Narratives and ideas/research towards the Lacock residency, and then she will return in September to discover “Where’s Jill?”  It will make interesting radio if she appears when I am experiencing a time of silence.  Visitors will have to comment about goings on.  She will also go interview Alex Madden, the lovely artist who I have been collaborating with, who also lives at Coleshill, to discuss our weekly creative collaboration in her garden setting, experimenting with light/plant printing, drawing, making and bundling.  Yesterday, after a seemingly frustrating day of trying to make sun prints, with glorious sunshine and beautiful garden plants, a whole series of ‘failed’ processes became interesting pages for my sketchbook, one of them looking interestingly reminiscent of the lean-to at Lacock, if taken laying in one of Sue’s borders.

LACOCK ABBEY...Location, Location, Location

The plan is to be artist in residence, for one week only, September, at the beautiful setting of Lacock Abbey, home of Fox Talbot Photographic museum.  The idea is to explore spirit of place, and be a social hermit, experiencing the reclusive/contemplative life to echo the lives lived of the once upon a time contemplative order of nuns, celebrating the spirit of place, making performative journeys around the site, and like the Victorians, making collections, keeping a journal.

The National Trust staff have been brilliantly welcoming and so supportive.  Decided to explore possibilities and visited with artist friend Jayne, to walk, observe, be nosey like everyone else, and consider the location of a base somewhere in the grounds. On the trail, met Head Gardener Sue, talked timings of possible wild flower collections, hid inside Roger's camera obscura hut, popped out, met assistant Visitor Experience assistant, studied other artworks placed on the site, cruised the allotments and watched the video inside the Fox Talbot museum all about capturing light, researched the uses of a mouse box camera, and placed myself in the no go area of the volunteers garden/kitchen area. 

It was a great time to have a good mull over of thoughts and practicalities, but on reflection, I decided the idea of installing myself and temporary collections inside the camera obscura hut does not need to be part of my residency at Lacock. And, as director of contemporary art for the National Trust, wrote in his comprehensive report of contemporary art in NT properties, he did say "no sheds", and wrote positively about highlighting hidden areas.  I am sure when Rachael, Visitor Experience Manager, learns of my decision she will cry, Brilliant ! And, as much as I would love to use a small wooden structure as a dwelling, Fox Talbot process, etc, I think I need to be a travelling artist, get together a portable storytelling/studio bag, and hide here and there, creating momentary pop-up up interventions, and keep a diary of events.  , 

I had an idea that the do not go beyond fenced area on the far side of the Botanical garden, could work well, a space that I can use to lay out materials, make work, perhaps hide away from the public limelight behind the fenced area, and/or pop out in front of the FT Museum Barn back door, by the beautiful tree, to install and arrange daily temporary collections, leave visual clues about where I could be discovered, when I set off daily on my mindful trails around the site. I have since talked with artist friend Julie and she is up for following me around the place.  Whilst in the hidden enchanted garden, I tested out some of the old furniture there, some slightly risky, and found an old table, and a flower pot stand.  Hmm, I think Fox Talbot wrote a cronky fairy tale.  This could be 21st century setting of another legendary tale.  Perhaps I could ask for what I want, which might have to translate as a tiny lean-to gazebo, instead of magical wooden dwelling, and located instead, if weather dodgy, behind the fenced area with a table and an able to be sat upon chair?  

This getting others to snap portrait photographs is going to be scary!

Everything feels positive, about living in the moment, it could be an experiential and a visual opportunity, and, as I will be inviting folk to take pictures of a story in the making, need to consider how to document and make this work, maybe go back to timeless processes, working in black and white film, old box camera or whatever. On this subject of sharing the story/inviting the visitors to guess where I am, inside the entrance to the Fox Talbot museum area/bookshop there is a window (currently with a mirror placed), a black cloth display board and opposite a small blank display area.  Wondered if this area could be used to display any outcomes, a multi-media journal, any pics, think it would sit well alongside all the books etc.   And, as I had asked Rachael, NT VE Manager, what do thing I will bring, Calm, she said.  I reflect deeply on the possibilities.

Artist's Exchange, Italy

Christina writes from Italy, to share news of herself and family. She talks of an adventure yet to be shared. She has installed the collection of small curiosities I sent, in return for her generosity of making the storytelling shoes.  There are photographs of interior home and workshop space, which she has documented with the tiny gifted camera.  It is a delight to see my work installed in a remote rural location.  Like having a tiny exhibition for one family.  I write back saying her shoes will next be shared with Malmesbury Embroidery Guild, who have invited me to bring Curious Narratives to their June meeting.

Storytelling doll & Curious Narratives poster

Cristina's journal, drawings of the storytelling shoes

Work studio, with gift cards on shelf above

SWINDON CENTRAL LIBRARY

The Time is Upon Us, wrote Sara of Swindon Central Library, who had previously helped me pin down some research into the Sibyls and obtained ancient books from the British Library, a process which inspired a creative exchange towards my planned artist residency, time to enjoy being amongst a world of books. 

An early morning dash and suddenly appears a pop-up installation balanced between travel and large print books.  Exhibition panels were arranged with a small selection of Curious Narratives media, photographs, drawings, treasure box and textile books, dolls and scrolls. Plus too, the purpose made 3-d diorama with collection of small curiosities and Italy soundscape installed.  Arranged two tables for working in situ, together with a shelf to install transformed books and pages.  There was a collection of art materials, sewing machine and boxes of curious stuff which visitors could ruffle through.  

After the dash of setting up in a public setting, gradually people were drawn to engage in discovering "what exactly is going on?"...In response to shared conversations, altered pages and transformed front covers were created and exhibited.  Gradually, more visitors and staff were inspired to join in too, find a word, sentence or add an observation and reflection.  One young woman stayed three hours and stitched two words Order & Chaos and then sang a beautiful song which I recorded on my phone. Another young guy was a newly trained actor and I invited him to speak his page of chosen words, which he did most eloquently.  Folk from 3 years to 84 years created scenes in the diorama, which proved to be hugely popular, and a series of iPhone 4s photographs documented the individuality of the process. At one point fifteen under 5's with their carers visit, and all chose a selection of objects to tell a collective story.  Julie, who had once again come to my rescue brought with her a unicorn for the diorama which was a huge a hit. Later the title The Return Journey was used in her story scene by Hilda Sheehan, one of the Literary Festival organisers, who started to furiously write about what was going on to add to the festival blog, Ben once upon a time Festival photographer, enjoyed using the title The Lies you Told Me, whereas the small school girl asked if she could write her own title The Enchanted Forest.

Admist all the busy goings on, I had found myself feeling unwell and realised subsequently I had shingles.  Hmm, I thought, if I had a real job I would phone in sick.  Instead, Julie was a huge support, as ever, and although at times I felt like crawling under the table, together we receive a collection of people's stories and feel like we have travelled the world with visitors from all nations, backgrounds and interests. About creative practitioners dropped in, and shared thoughts and practice, and about 120 visitors over the four days, engaged and a percentage directly responded, find a word, making a scene, altering a page, or giving me a conversation which inspired an altered front cover. 

See Swindon Library Facebook page.
https://www.facebook.com/media/set/?set=a.749272245112299.1073741839.483894454983414&type=1

On the last day, the exhibition material needed to come down, and all the altered books completed, and, with visitors dropping in all the time and returning to say hello, it was a against the clock challenge.  Then suddenly, with the help of a team of friends who had pitched into assist, the newly made 'raw' published books became a shelf display, a pop-up installation, filled with thirty five 'first editions' created by myself in response to the public involvement, and included visitors and staff responses too, which was there for folk to enjoy over the time of the festival.  I subsequently returned to view the books and photo document, a young artist who had participated, making a beautiful sculptural book, said she loved the individual nature of each piece, and how the process had allowed people to respond at different layers of experience.  I think they are great she said, why doesn't the library make them into a permanent installation cabinet in the hallway?

Evaluating the process, there were logistical concerns of organising a residency, which was the first, apparently for Swindon and the first time for me in a library.  Previously my residencies had been located in streets, homes, districts or working towards a large scale project.  Working out space, how to fit in with other goings on, being in a public institution, trying not to be disruptive, yet create curiosity in such a short time was a challenge. I think it was a privilege to meet so many interesting people and I felt it was like a fast track learning about the structure of books, pages, fonts, paper etc.  It was also insightful about how people access and use libraries.  A rough footfall worked out on the back of a book toted up about 

The main thing noted was generally how people were lacking in observation, and yet there was the family that visited again and again over three days, the children noticed everything.  How did you make that puppet, where did you get that ruler, who is that character?  It was great to have a child like view of the world. And fabulous to collect snippets of conversations. The lady who had believed in fairies but the man who later appreciated and said he was into telling stories about nymphs.  Then there was the 83 year old lady who when I asked her what to do with a page yet to be altered featuring a rather orange camel, she cried "Oh, I love camels, I think they are magical".  Apparently she loved their eyelashes and used to jive in platform shoes.  Not now, said the husband, well, if you do, perhaps go and limber up in the garden first. The small child too from Nepal who pretended to take Polaroid pictures of me, as I drew into a story book, polaroids of her imagined princess and mummy princess, her father saying, she has learnt so much english from just being here with you.  There was that hugely long and difficult to spell word that the bloke passing by at 9.30 am mentioned, but I have forgotten what is what, but not what it meant, to be lacking in courage apparently.  Ohh, you're brave, said a visiting elderly lady quite forcefully, who went on to tell Julie a long personal story about unrequited love and world war two.  So, those momentary shadings together with a series of timeless interventions, were a gift, something to treasure.  On reflection I wondered if it would have been better to be a roving artist, just have a bag of materials and sit in the different areas and create, and developing a collective story series - portraits of people of swindon.

BRISTOL EMBROIDERS GUILD

"Oh, that's different!" cried the Embroiders Guild members as they arrived to find the room had been changed from their usual meeting format.  "Oh, no, what's going on, we never have the space like this, we always sit in rows and watch a slideshow".  Committee members greet, arriving and settling takes place, and there is pride in placing of books on a table, travel books, that start off being made by one person and then journey to another.  There is quick mutterings and catchings up and then the gathering of a circle, business of the day and an introduction.  Within minutes hands were reaching out to touch the array of cloths, spread over the tables arranged in workshop format.  The textiles were kindly loaned personal collections gathered from around the world by Monica, Chairperson (who it was commented, was not wearing a hand stitched personal identification badge).  The room, inside All Saints Church was a deep rich red.  "A bit like sitting under a bishop's cassock" I  had found myself murmuring out loud, going on to share my background, the trip to northern Italy, an interest in Sibyls, women storytellers, religious icons, identity etc and how I loved exploring sacred and contemplative environs.  I told them about walking the walk of silence, crossing in the tiny boat, the enclosed order of Benedictine Nuns who called us to be mindful of being present in the moment.

I introduce the first collection as my 'family', which included the Straight Face makeover doll full of pins, Ela the Abbess of Lacock Abbey, the bundle of friends, the brush doll from my travels, my wrapped journal and textile books.  I talk about the collection of small things in an old Chinese box, items used to tell 3-d stories in a diorama, and how the giraffe and budgie and pretend Bristol grass was such a huge hit.  Without formal flash cards, script or powerpoint, I randomly gush, happy to be sitting within a circle of women, noticing their rather polite and questioning facial expressions, as they observe my arranged treasure trove, boxes and boxes of collections to create curiosity and mystery, and like an magician I enjoy whipping open contents at the start of each story. I share that I felt a bit of a fraud, as I have never trained in textiles, sewing, crafts and certainly didn't know how to properly stitch.  However, I had, once upon a time, sat quietly at home and explored being rubbish at sewing, entered the result, the stitched cloth storytelling book Dreaming & Stitching, to the RWA, Bristol, and won a prize, the trip to Italy and an exhibition/residency.

So, in a rush of memories, thoughts and associations, a series of textile related items, dolls, books, wrappings, bundles, stories and all were passed around the table. I talk about how on the trip I suffered a tooth abscess and I never to visit an Italian dentist whilst he insists on talking to a buddy on his mobile phone whilst tapping one's molars with a metal implement.  Suddenly I noticed that the lovely lady on my left, was almost crying, I ask, are you OK?  She answers by saying that I apparently was pushing her to the edge. I rather anxiously scan her face for tell tale signs.  She leans closely to her friend, another lovely sprightly lady of 86.  She goes on to say that she had received bad news yesterday, felt really depressed and wasn't sure about coming to the talk.  But, she says, well, you have cheered me up, I didn't know whether to laugh or cry.  With an audible sigh, I plonk myself down and started to chat with the members, sharing practice, ideas, shows, events etc and there is talk inspired by my visiting Somerset House to see the beautiful Boro exhibition of Japanese indigo dyed mended fabrics.  Another member crys "what a coincidence, I have just ordered a book on Boro, it is beautiful work"... Suddenly, Monica, with huge smile on her face, calls for order  to the bubbly exchange and goings on, there is a round of applause and I say how truly privileged I felt to be invited to share their circle.  True sisterhood. It is time for tea, there is an offering of amazing biscuits, and I remember to extend an invitation to make and mend ourselves.  I had prepared a collection of cardboard arms.  I say to the ladies, I wondered what the Bristol Branch of the Embroiders Guild would make of a box of tat?  There is a sudden lunge for the box and in minutes hands are stitching hands and they are arranged as an offering at the end of the evening.
As people start to leave there is a flurry of thank you's, the lady who had stitched a woman into a chair leaves her contact details, there is an invite to be on the local radio station and another Guild member stops to say how much she enjoyed the evening.  "I think you should see a psychiatrist", she said, with beaming smile, I have I reply, this is the result.

Discoveries at the library

CURIOUS NARRATIVES, Artist in Residence, 6-10 May 2014 
Working in situ: 10.00 - 5.00 pm daily
Art/literature installation: 6-17 May 2014
Swindon Literary Festival. 

Swindon Central Library, Regent Circus, Swindon, SN1 1QG
01793 463238

Do you know what you are going to be doing at the library? was a question recently asked.  No, I replied, but I do know that today I have about six proposals to write for other projects/events, but most importantly I need to go to the library to pick up a reference book.  The question started me imagining where I will be invited to place my tiny artist in residence self in the library environs, as part of the Swindon Literary Festival.  I love book arts, and visited Swindon Central Library when I first started researching the Sibyls, before my awarded travel bursary journey to Italy. I was intrigued to find ancient books which gave a mention of these mythological women being the story holders, the keepers of the books, foretellers.  Looking through the art books in the reference section, lucky for me, there were some huge tomes with big pictures.  Not a natural researcher, more a discoverer, I find myself discovering Sara at the upstairs reference information desk. In hushed whispers I enthusiastically share that I had been given the gift of a trip to Northern Italy, and my idea was to visit the Island of Silence and also see if I could find paintings/stories relating to the Sibyls, secular women storytellers, who were depicted by Michangelo in the Sistine Chapel, Rome.  

A book of oracles is found...

What a star, Sara the librarian continue to kindly research and found further information, links, books and papers to support my unearthing process.  I had forgotten how great a resource a library could be, with such interested and supportive staff. E-mails were exchanged with notes of books, insight shared and the kindly ordering books from the British Library felt really special, whilst I wrote back and sent a photograph of my desk, which is always of a image of my thinking in 3-D. The whole exchange made me realise the lonely human experience of sitting on a computer with no one but Google or Wikipedia to assist with unearthing stories, associations, facts, fiction or ignite the imagination.  

In the SILENCE and warmth of the library cathedral like space, I had really enjoyed photocopying the pages of the book, and whilst illuminated by the glowing mechanical light, meet also an Art History Lecturer from a local college, falling into an enthusiastic conversation,then getting a nicely delivered telling off for being too LOUD. 

Later, I was to go back to the Swindon Central Library to meet Leon, Outreach Officer, and it is agreed I will located in the Travel Section. I tell him I have already started to flag up to contacts to drop in and have started to blog. I promise to install a story installation as part of the Swindon Literary Festival and feel excited about ideas around journeys, creatively responding to the library and the offer of using out of date books as part of the project. "A gift", said Leon. I wonder what visitors to the library are going to make of books being altered.  When once more back home at my desk, I am inspired to immediately transform pages from found old books, Master's paintings, and why not, only copyright to worry about. 

Time in Nature

I am looking to explore drawing from elements of time in nature.  I need to re-connect with my body.  I am in a right FUG after a very successful show at RWA Bristol, a time of expansion, interaction, generosity of exchange, then you come back home, again, re-fold everything into oneself, and there is a rather full interior, full of people's (positive) viewpoints. Then you find yourself all on your own, again with your own (negative) thoughts. Then you consider, what was that all about? Fabulous, yes, but the next stage of taking things forward is eeeeeky, uncertain stage.  I usually creative out of focussed direct response, playful madness, intuition, fun and direct engagement. Now I have an inside audience pinned to my thoughts.  Double eek.  I have got to take them to the river and wash away. Decided instead to unearth a box of old once upon a time given to me dollies.  Enjoy giving not-much-to-laugh-about-doll, a change of identity, inspired by a memory of a now lost photograph of me at Holy Communion wearing a crooked veil and looking scared.  I send a pic to Julie, after she mentioned about the work of artist Tabitha Kyoko Moses who took x-rays of dolls.  I enquire if there was room for straight face girl, a place of work, whether her Health Service colleague could X-Ray, could make an interesting series for a book I thought.

"Always room for Bride of C", she said.

Then I thought,what about keeping your own books in order; your Arts Council accounts, plans, venues, bookings, sales, organisational worry….Decided to brave up and actually look through my Arts Council bid to see what I said I would do, which makes me hyperventilate to read, and there it is Bristol Embroiders Guild, Swindon Library & Festival of Literature, Richard Jefferies Museum, Fox Talbot/Lacock stuff.  OMG, there it is, I had suggested too an idea to explore a journey to Coleshill.  Indeed, I had so enjoyed a time in Coleshill NT village many years ago, where I installed myself in their tiny cafe, the table brimmingly full of stuff, the interesting conversations with visitors, walks here and there, children's storytelling workshop with Hilds, and meeting Alex, who said I should create a circle on a map and go round talking to people about my work.  Looked up her lovely work, working in nature, prints, books, bundles, origami/organic forms.  Going to book on one of her workshops Bundles & Books.  Wondered if there would be an opportunity to visit Coleshill, share practice, thoughts, uncertainties, perhaps explore make connections, muse and mutter process over a cup of tea?  

A dream of a warm place in nature, in which to wrap, rest and write....

This visiting business to find environs in which to place oneself is an interesting process.  I had been to Lacock House to research as a future potential venue for Curious Narratives. I subsequently went back again at the weekend for a look around with Julie.  We loved the the now no longer opened village shop, once owned by Peggy Butler, her window still forever full of Carter's remedies for health.  We enjoyed the trail through the gardens, photographic museum and abbey, then wishing we had found time for a cup of tea, had our ticket clipped and went wandered from cloisters into Fox Talbot's house.  We peered into a posh cabinet and saw a tiny doll with knitted dress, on a crocheted blanket with a hot water bottle that she could never reach.  Aaaagh, she needs a makeover and some warmth. Previously, at the business meeting with Rachael, visitor experience manager at Lacock Abbey, there was her observation that my own house would be full of collections "I bet your house is a complete treasure trove" she had said.  So, now, deciding to let go of planning, walk away from the desk and off to discover a dolly open to a new look, make a cleansing bathing pool with Sophie's cup, add some herbs, give her a transformation, and make her a new home, a travelling emporium for her. A space in nature for her to heal.

Where next?

I have been on a trail setting out my stall.  It is definitely not the favourite part of my practice.  It would be easier if I just made a particular object, like a painting, and set them out for sale. It is so involved talking to different venues, writing proposals, putting together evidence, researching etc,exploring possibilities, when it is so difficult to explain what my practice is about and the process of working ORGANICALLY. However, discussions with Swindon Central Library together with my portrait looking out at me from the Swindon Literary Festival programme started to focus my mind.  Then a peek at the new exhibition room Richard Jefferies, a visit to Lacock Abbey, where the visitor experience manager kindly took me on a tour of the place, looking for ideas of how to respond to Lacock/story and find appropriate setting.  Then to Swindon College to follow up an idea of wondering if I, as an alumni, could organise a pop-up exhibition alongside their B A Degree Show. Hmm, there is a lot to think about, I don't want to appear as an odd on.

"Have you been making work?", said friend Curator, Karen, as we sat in John Lewis I mutter about my aching shoulders and we talk about blogs, clean cavasses, and stir pots of tea. I reply yes taking out from my bag my made-by-Nancy Chinese Sewing Book, in which I am popping out of the garden inspired folds. Discussions turns to what next? 

My Desk Thursday 10.00 am

I have been wondering how to respond to next setting and event, which will be a residency at Swindon Library 6-8th May, with installation up until 18th to link in with Swindon Lit Fest.  The notion of words/writing/speaking stories inspired me to re-find the warmth of friend and poet Hilda, her literary circle and time at Writers Kitchen at Lower Shaw Farm.  This meeting different people is interesting, we all inhabit different worlds. What will you be doing at the library, asks this rather nice lady called Eve.  Painting? I sigh, if only it were that easy. I think of emails I have been exchanging Sara, who has been brilliant at helping me research the Sibyls.  She has ordered me two books from the British Library, rich with verse, stuffed full of apparently:

Oracular Utterances 

We have been exploring the idea of collecting words, marking the element of time. I write to say thanks for email exchanges, they are so supportive and I tell her I shall be researching too, other women, who were keepers of the books. I tell her of the doll inspired by  Ela, Countess of Salsibury, once upon a time, Abbess of the Augustine Order who were keepers of the books.  Meanwhile, I find another couple of words here and there.

Miracle Child