For Five2Watch this week we've selected work by five artists focusing on interventions: Flora Gregory, Darren Neave, Emma Ainsley, Nikki Allford and Matthew Richardson
Come and Lie in the Hay !, 2018
‘Come and Lie in the Hay !’ is an invitation to do just that. While lying in the hay, there is time to reflect on the loss of our relationship with the land over the last 100 years, and the loss of 97% of our wild flower meadows since WWII. Intensification of farming methods – ploughing, drainage, reseeding, and fertiliser and herbicide, has resulted in an important loss of habitat for a huge diversity of wildlife.
Wedgwood and Adidas.
Co-creative Care Home, 2020
We delivered eight sessions in four Fife and Dundee care homes early in 2020. The focus was on working alongside both service users and staff to create art and music together. We took a laid-back improvisatory 'jamming' approach during the sessions, with minimal planning, to allow things to emerge from our working together. We wanted to create a space where we could all make things up as we went along, rather than having us come in and 'run' the sessions. Participants living with dementia were especially enthusiastic about this approach, embracing the open space and bringing heaps of playful creativity. Drawings, collages and music were made with lots of joy and laughter together.
Otherworlds considers plant life that flourishes in harsh growing conditions and environments to grow in the cracks of a pavement, tucked into the corner of a car windscreen, halfway up the front of a house. Plants with ability to survive climate adversity on the top of a tree, on salt marshes, windblown cliff edges, or in deserts, rainforests or the poles.. The Installation like the plants, grows, and adapts to a given space. Otherworlds also suggests another world, an unearthly world, a miniscule world, it suggests a hopeful world.
Portraits in Code, 2021
A proposal for ‘Cut, Copy, Remix’ at Birmingham Museum and Art Gallery. This was an exploration and re-purposing of portraits in the Birmingham Museums Trust Digital Image Resource.
Published 20 August 2021