Statement of Process, Locating Practice

LOCATING PRACTICE FRAN HEALANDS YR3 FINE ART UNIVERSITY OF LINCOLN

My vision is to form a collaboration of artists wishing to engage the community in the arts and manage a space to be creative.

COMMUNITY ENGAGEMENT PROJECT

COMMUNITY ART HUB

MY ARTISTIC FUTURE

Research led me to Sincil Bank, Lincoln, a deprived area, with the city council in the process of ‘reinvigorating’ the location.

The knowledge that I have gained through the last 2 years has given me a better understanding of myself as an artist, what my methods are, and what defines my practice.

This understanding has given me the confidence to start in motion a project which I feel will help me to establish myself as a socially engaged artist practicing within Lincoln.

By working in this location, I aim to offer artistic opportunities to those that may not feel that they have the confidence or skills to enter the world of art.

Sincil Bank After discussing my idea with my peers and tutor, I contacted Mansions of the future to find out if they were interested in supporting me with my project. Having visited mansions of the future on several occasions, I had observed that it is orientated around engaging adults, it made me think about the young people living locally, and their access to art.

My first visit to the Tate modern was as an adult, in my first year of college, to be honest confused me, modern and contemporary art didn’t make any sense, I was completely naive. I enjoy art so much more now and want to share some of the knowledge and skills I have developed.

Rachel from Mansions asked me to email her a plan of what I wanted to do, this challenged me personally as this is one of my anxiety triggers, however I was able to do this without too much procrastination. The sense of relief and accomplishment reminded me to embrace challenges and make things happen.

Writing the plan for Rachel helped me to organize my thoughts and really start to think about the aims and objectives of the project, I also began to think about the project on a professional level, with a view to a bid for funding, how could I develop the project in a way so that after graduation I can showcase it as a socially engaged artwork.

I went back over field research completed for a previous funding bid and found out what more I could of the demographic of the residents.

I also recalled the advice I had been given by Fran from Assemble, 2015 Turner Prize Winners, who are a team of socially engaged artists and architects who specialize in community projects, on how to start such a task.

My research and discussions with people such as Paul Carrick of LCC proved to me that there is a need for a community hub, focused on the cohesion of the community, encouraging social bonds and wellbeing through practicing art.

Sincil Bank comprises of a mixture The photographs above were taken of residents. by a resident of the area and given to me, the picture on the left is a Some have lived there for 20+ years, recreation of the cathedral made by some have migrated from Eastern children from rubbish left on the Europe and wider and some are street. refugees.

The Cathedral dominates Lincoln and yet there is a big divide There is also a lot of student betweeen the quality of life up the accommodation in this area. hill and down.

Many residencies are multiple occupancy, and a high proportion of the children living in this area receive free school meals.

This has resulted in a diverse community with language, economic, and cultural barriers.

“Overcoming challenges makes you stronger�

A study completed in 2011 highlighted that the people living in the South Holland and Boston area of Lincolnshire were lacking in art and culture. From this study Transported won a bid from the Arts council to engage this demographic in the arts.

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In 2012 I worked for Transported, I interviewed the public asking questions regarding the arts, one of which was, “What do you think of when someone speaks of art?”

I was surprised at the answers, painting, drawing, and sculpture where the most frequent, since starting my degree most people respond to, I’m studying Fine Art with “Oh do you paint or draw?”

I want to show that there is more to art than this and that you don’t Painting need to be able to draw to create Painting an artwork of merit.

One of Transported’s methods to engage the public was pop-up artistic events. Of which I attended many, it was these factors that inspired me to start studying and pursue a career in the subject. Pop up events or happenings made me think of ways to engage with the average person on the streets of Sincil Bank.

Writing my critical report has really founded my understanding of how I want to work in the future, ethnography, the Everyday, socially engaged art practices, research led practice, fieldwork. Are all words I would use to describe my own practice and how I wanted to work this semester. Reading Hal Foster, The artist as Ethnographer, and studying the turn to the Everyday has made me consider the ethics involved when creating work, such as; ‘Othering’ a community or exploitation. As a non-resident of Sincil Bank I needed to be aware of these factors and how to avoid such a situation.

After completing some fieldwork I decided to try and engage with 1114 yr olds.

I selected this age group as a starting point because I wanted to find out their attitude towards the arts before GCSE level.

To do this I formed a questionnaire aimed at finding out whether this type of project is needed or wanted in the area, at this point I started forming Plan B. If no-one wanted to engage then I would have to think of something else.

ART I contacted as many associations that had contact with my target age group as I could find, considered contacting local secondary schools but found that there are seven school that are fed by Sincil Bank, and discussions with people who have experience advised that schools can be slow and reluctant to engage.

COMMUNITY COHESION

Reflecting on the idea of happenings and artistic experiences that would initiate contact with my target demographic, hosting a community meal was a strong contender. The more I thought about this idea the more I liked it, it would be a good way to break the ice and instigate conversation around the arts, however, when I contacted Mansions of the Future regarding this aspect of my project, they were not very enthusiastic as they already host a community meal event, and from their experience people who live in Sincil Bank don’t like to attend events outside of their area. This ruled the Mansion of the future out of my project, I would need to work in the residents own space rather than trying to entice them to another.

Although these discussions were of a negative result, they were instrumental in shaping the project by forcing me to think more expansively, and research public engagement within contemporary art further.

I started to form a workshop plan, looked at some teachers’ lesson plan templates increasing my pedagogical awareness, this helped me to conceive the idea fully, raising questions such as;

I looked at artists such as Iain Sinclair and Patrick Keiller who explored art, walking and psychogeography, they are easy to look up on the Tate website, encouraging the participants to explore other artists and artworks.

What would I show them?

The workshops would last aproximately 90 minutes and there would be ideally 5 -6 sessions.

How would I make something complicated, easy and interesting?

What practical exercises would engage and inspire?

Each workshop would be tailored to teach a new skill and then assist the participants to create work for an exhibition.

Because of the voluntary paticipation aspect of my project it was a huge possibility that I would have no people to work with and so I needed The workshops were orientated to develop a plan B. around the use of mobile technology such as smart phones and gps. Part of the time would be used to show the participants who and what I was teaching through a PowerPoint presentation allowing me to visually demonstrate and consolidate the information, the rest of the time would be used to discuss ideas and make some art using the skills they had just learnt. They would be fun and informative and mostly orientated around what the children are most inspired by. However, I will be demonstrating non-traditional practices and methods, painting, drawing, and sculpture are taught in primary and secondary stage teaching which can give the pupil a knowledge of the foundations of art, but it has moved on to so much more, I want to show what is out Patrick Keiller, Robins there and that it is achievable.

WHAT IF NO-BODY ENGAGES?

son in Ruins, film, still.

Plan B I selected to stay with Sincil Bank as a site as I had already completed a lot of research here and I would really like to continue this practice within Sincil Bank after graduation.

I studied the works and methods of artists that have a socially engaged practice, such as Assemble, Suzanne Lacy, and Rikrit Tiravanija, and read up again on the Situationist International, and the theories of Guy Debord and Claire Doherty. A very helpful book was, Exhibition as Social Intervention, Culture in Action, 1993.

A weekend of forming visual graphs of my thoughts in the style of Edward Tufte, drawing a physical symbol of a dead end showed the clearest and most viable paths for realising the project.

The research conducted so far made it obvious to me that I needed to do a lot more fieldwork and a lot more time to realise my ideas for plan A.

A critical discussion made up my mind that Plan A would have to go on reserve, with Plan B having to produce some kind of public engagement to move Plan A forward.

It was at this point I started to look further in depth at Suzanne Lacy’s piece Between the door and the street, 2013.

BETWEEN THE DOOR AND THE STREET

Suzanne Lacy is an American social practice artist, who coined the term new genre public art. Her work spans from visual art, film and performance art to installation, public practice and writing. All her work is linked by its engagement with social themes and urban issues, through conversation within communities of people. She has addressed issues such as rape, violence, feminism, aging and incarceration.

C. volunteers/participants will be needed so that the piece looks fluid and effortless Although the piece is about instigating conversation it needs to be aesthetically pleasing.

Lacy used Yellow Pashmina scarves and instructed her participants to wear dark coloured clothing, she also placed pots of bright yellow flowers around the conversation areas.

Observing the documentation of Barriers were covered with yellow Lacy’s piece it was clear that there fabric and yellow tape was used to would need to be some choreography mark out areas. involved in performing my piece.

This not only gave a striking A. the audience would need to be appearance but also highlighted to encouraged to join in somehow the public where the conversations B. the conversation must flow, where taking part. prompts will need to be made but not stilted

All images on this page have been sourced from Lacys own website

LOCA

SINCIL BANK T

I walked the area looking for a specific location without knowing what, then I found two benches on the corner of Portland St and Hermit St. I felt it looked sad and abandoned with empty flower beds and litter and broken glass on the floor. The terraced houses in the background suffering from neglect.

TION

TALK TOGETHER

I discovered that this area is used by drinkers and drug users in the evening and has a bad reputation for crime and anti-social behaviour, preventing residents from using the benches and even avoiding their location.

An intervention could temporarily change the atmosphere and encourage the space to be used in a positive way.

At this point the salvation army youth group got back to me expressing a keen interest in my original project proposal. I met with Jessica to discuss the project and the development of SSTT. This delay in response gave me the opportunity to critically reflect on what I wanted to achieve from project A. I proposed that some of the youth group may like to attend the event as participants with some dialogue around art, sincil Bank and the future.

The meeting with Jess from the S.A. very exciting Kids aged 11-16 regular attendees Last meeting 9/11/18 17 attendees The delay in response allowed me to critically reflect on the project and focus on the most important and viable path.

Meeting with Jess inspired me to continue on the recent tangent that the project had chosen, and still keeping Plan A ticking over in the background.

Attending a regular SA meeting and introducing myself and my BIG idea and the SBTT project, I was able to promote the event and organise time to talk with volunteers.The children were keen to interact and wanted to take part in the workshops.

On this positive note I am in the process of arranging another meeting in the new year.

The church and the Salvation Army are keen for me to use their premises to work with the children and to attend their regular meetings.

RESPONSE

“Where the social interaction is at some level the art� unkmown

Marketing

FOCUSED LOCALLY

I observed from Lacy’s piece that the audience were given an artist catalogue or brochure.

This seemed a good place to tell the audience what was happening, why, and what the conversations were about.

As the project is focused on the residents of Sincil Bank, I localised my advertising to this area.

10 days before, having chose a Saturday to engage as many people passing as possible.

I decided not to brochure, my contact information was freely available at the site and I supplied cards for the public to leave their; name, phone number, and email.

I invited the youth group to attend the event, having met with them and discussed what I was doing, they were given social media invites to share with their friends and family.

The posters advertising the event also explained what was happening. I smiled and spoke to passers by encouraging them to participate.

I instructed the photographer and volunteers on how I wanted the conversations documented.

The posters are small A4 and A5,designed to look hand made, inviting the audience to join in.

Signs were clearly displayed notifuing the participants that they were being filmed.

I included the idea of scarves in my piece, supplying them to the participants and the audience that chose to join in.

The scarves visually tied in the participants whilst involved in the conversations, highlighting that they are part of the artwork at that time. Metaphorically I like the idea of the scarves drawing people in and wrapping them in the warmth and comfort of talking to another person.

Purple was chosen because It is one of the colours used to symbolise equality (used by the suffragette movement), it is bright, and nongender orientated.I considered other colours, such as; yellow, but this is copying too far, red, but red and white is associated with the Lincoln Imps FC, and so was dismissed, this project is not about football although the topic is not taboo.

I made the scarves myself from fabric, purchased at a local store.

Image courtesay of Sincil Bank resident

I sent a few emails to various groups and contacts who may be useful in supplying information.

BIBLIOGRAPHY Collins, 2018. English Dictionary. s.l.:s.n.

Foster, H., 2009. The Artist as Ethnographer. In: C. Doherty, ed. SITUATION. London: Whitechappel Gallery, The MIT Press, pp. 74-7.

Johnston, S., 2008. Everyday. London: Whitechapel Press.

Frieze. [Online] Available at: https://frieze.com/article/documenta-11-1 [Accessed 16 Nov 2018]. lacy, S., current. Suzannelacy.com. [Online] Available at: https://www.suzannelacy.com/about [Accessed November 2018].

TATE, unknown. Who is suzanne Lacy?. [Online] Available at: https://www.tate.org.uk/art/artists/suzanne-lacy-13736/who-is-suzannelacy [Accessed October 2018].

Joshua decter, H. D. a. o. a., 2014. Exhibition as Social Intervention, ‘Culture in Action’, 1993.

London: Afterall.

UNLESS OTHERWISE STATED ALL PHOTOGRAPHY IS THE ARTISTS OWN PROPERTY

THE ARTIST WOULD LIKE TO THANK ALL OF THOSE INVOLVED IN MAKING THIS PROJECT HAPPEN.

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Sincil Bank Renewal Area Allotments Council Maintained Amenity Space Local Wildlife Sites Play Area Provision School Playing Fields Strategic Network of Cycleways, Footpaths and Bridleways 1-6 Š Crown copyright and database rights 2014 Ordnance Survey 100018414.

Sincil Bank Renewal Area Scale: 1:4200 at A3

Version 3: 31-Mar-2014

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