Timeline by John Vincent

TIMELINE DIGITAL EDITION

Curated by Abu Jafar and John Vincent Fenners Group Letchworth Garden City

CONTENTS Credits Edited and Designed by Abu Jafar and John Vincent Photography Christine Harrison, John Vincent and Fellow artists Proofreading Catherine Turner Front cover drawing Christine Harrison DIGITAL EDITION 1.3 Digswell Arts Trust www.digswellartstrust.com Supported using public funding by the National Lottery through Arts Council England.

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Introduction Debbie Bent Amanda Bloom Lawrence Born Claude ‘Allweathers’ Clare Jane Glynn Christine Harrison Lauren Avery Hutton Abu Jafar ARBS Louise Lahive Lizzy Lane Mindful Arts (Gill Lock & Sue Morter) Salvia Officinalis Laurie Sproston John Vincent Ewa Wawrzyniak Martin Young A Brief History...

INTRODUCTION The Digswell Arts Trust specialises in supporting emerging artists and since founding over fifty years ago, we have supported a wide range of artists, musicians and maker/creators. This lineage is reflected today in the makeup of the Digswell studio in the Fenners building in Letchworth which currently features fine art painters, a jeweller, art therapists, mixed media artists, a wire sculptor, ceramicists, glass makers and an instrument maker. The Letchworth Digswell Fellows fit into a timeline of artistic inhabitants of Letchworth, which includes Spencer Gore and William Radcliffe,who both lived and worked in the town. This exhibition focuses on this theme and uses contemporary art to describe and discuss the history of Letchworth in a non-literal way. Each Digswell Fellow uses their practice to express their perspective and, taken together, this exhibition represents a rich seam of artistic expression which connects the Digswell Fellows to the creative past of Letchworth. The Trust would like to thank the Arts Council for their support with this project and the Heritage Foundation for their support in establishing the Fenners studio. Anthony Gaughan Chairman The Digswell Arts Trust

DEBBIE BENT Debbie Bent is a practising artist living in Hertfordshire, she is a fellow of the Digswell Ar ts Trust. She shares the Fenners building with sixteen other artists each with their own studio space but sharing both a project and gallery space. Debbie’s work centres on the connection between the human body and the natural environment, exploring similarities in cell structure between them or using the metaphors of nature to explore complex issues relating to the process of being human. She exhibits nationally. Debbie has also worked on several commissions for public and private spaces. As well as teaching ceramics and sculpture to adults and children, Debbie also works as a community artist within Hertfordshire. Ongoing classes are at Courtyard Arts in Hertford but she works widely with groups from MIND to Vale House addiction centre. She has recently started work with The Funky Pie Company which works with music, theatre and visual arts within special needs schools and plans to run workshops at Fenners building too. She is passionate about making and nurturing individuals and their ideas. Debbie continues to train in areas such as working with vulnerable adults as well pushing the boundaries of her own work. Permanent sculptures are at The Maynard Galleries in Welwyn Garden City and Courtyard Arts Centre in Hertford. dbent2@hotmail.com www.debbiebent.com

‘Catherine Dreaming’ Porcelain, celadon glazed Photo: © Debbie Bent

Ebenezer Howard was the founder of Letchworth Garden City and hewas a dreamer. His dream was to build a community that would nourish and nurture each other. I find it amazing and heart warming to think that a man who had great business acumen and hardworking ideals would choose to use his skills in such an altruistic way in order to create a better place for others. I have captured my dreamer here, my daughter Catherine. She is facing the garden which is in full flower and the sun coming through the window lights her face. She was 17 when I started this work and she had already become a junior advisor to Amnesty International. She has the same community values as Ebenezer Howard and is off to teach science in Guyana this year. I wait to see what Catherine, my dreamer, becomes. My work often explores issues of us within our environment, of our shared beginnings and connecting history. The medium I use is often ceramic as it gives me the chance to play, explore, experiment and change as the journey progresses. There used to be a pottery in Letchworth called the Iceni Pottery from 1905 to 1914 before war broke out. There is now a new ceramic studio being constructed at Fenners which means that there will once again be a space in Letchworth dedicated to a love of clay.

AMANDA BLOOM In 1994 Amanda gained a first class degree in Three Dimensional Design at Middlesex University and then went on to work in interior design, before gaining a Certificate in the Therapeutic and Educational Application of The Arts. Fascinated by the way that art allows people to express themselves, she completed a Masters in Integrative Art Psychotherapy, and began working with individual clients, using the arts to help them explore their feelings. Since moving from London to Hertfordshire in 2008 Amanda has been concentrating on her own work, with a particular emphasis on textiles and mixed media. amanda.bloom@btinternet.com

â&#x20AC;&#x2DC;FIRST GARDEN CITY PLANS OF DEVELOPMENT 1906/1910/1936' Felt/embroidery/fabric ÂŠArtist Photo: Amanda Bloom

I am drawn to the cartography of maps for their line and shape, for the promise of routes known or unknown and for their ability to bring order to chaos. They give you a sense of place, of the past, the present and even the future. I created these maps based on the early plans of Letchworth Garden City. The maps, like the town, grew over a period of time as I stitched.

LAWRENCE BORN Lawrence has a BA Hons in Industrial Design from Exeter, followed by a violin making course at Brighton. He has practised luthiery, (stringed instrument making) in his spare time since 1987, whilst pursuing a career in design and engineering but over the past few years has built a reputation and client base to the point where his interest has now become a full time vocation. This means Lawrence can apply a little more creative thinking and practical analysis to the art of musical instruments - and in particular electric and acoustic double basses - the design and detail of which has been in a state of flux since the Renaissance. mail@lhnborn.com www.lhnborn.com

‘Inside Of A Double Bass’ ©Artist Photo: Lawrence Born

Hand made string and electric basses combine the Arts and Crafts in their most fundamental forms. The work on display shows the evolution of a bass guitar from the initial drawings through making of parts and ending with the finished instrument. Independent crafts practitioners have long been part of the make up of Letchworth and I hope to continue that tradition.

CLAUDE ‘ALLWEATHERS’ CLARE Claude has spent some time in Europe returning to Letchworth in 2010 from a wonderful ten years travelling around Spain. His trip ended at 'Camino de Santiago’, in the northwest of the country. He has studied at University of Hertfordshire gaining a BA(hons) Fine Art and an MA Fine Art at Winchester, Barcelona. roadsweeper69@gmail.com

‘One who kneels’ Acrylic paint and oil pastel on canvas ©Artist Photo: John Vincent

Endless miles Endless hours Thankless task Roadsweeper general am I Picking up imagery as I go Letchworth many churches possess Intiutively Instinctively Intently I address. 'Allweathers ' Clare

JANE GLYNN Artist, illustrator and educator Jane Glynn’s work explores memories, stories and time. She was awarded a fellowship with the Digswell Arts Trust in 2012 and works from their studios at the Fenners Building in Letchworth, Hertfordshire. She recently graduated with an MA in Children’s Book Illustration from Cambridge School of Art and works across a wide range of media, primarily making paintings, drawings, animations and books. Her first children’s book ‘My Sister Likes’ will be published in Germany by Carl-Auer Verlag in Autumn 2013. She is passionate about education and about collaboration and runs art projects for children and adults of all ages and abilities. jane@janeglynn.co.uk www.janeglynn.co.uk

‘Leap’ Three hundred and sixty six books in a glass museum cabinet ©Artist Photo: John Vincent In the early 1900s, in the wake of the Arts and Crafts movement, Letchworth Garden City became home to a thriving commercial book industry; books had not yet been marginalised by the rise of computer technology or even television but there was a desire to return to preindustrial ideals of craftsmanship and care in manufactured goods including books and Letchworth became the base for many talented book artists and designers. One of these was Eleni Zompolides, who died in 1958, the year I was born and the year Jack Kilby created the first integrated circuit for computers, consisting of a sliver of germanium with five components linked by wires. As I was growing up books were taken for granted as the place from which most ideas were disseminated but that has changed; I’m not making any qualitative judgements about that and I’m not here considering what will become of ‘books’. However I feel friendly towards them and, partly because of their vulnerability, they seem an appropriate medium to express time passing. The three hundred and sixty six books shown here were made over one year, during which I began working at the Fenners Building. Each book exists as a documentation of a moment of contemplation, as part of the whole and as part of any number of sub-groups, including: chronological, visual and tactile. The contents of the books include: pictures, stories, patterns, descriptions of daily activities, as well as drawings from life and from memory. I have shown these books in different ways, usually with no casing so that they can ‘breathe’, and I have made stop motion animations of the books. For this exhibition I borrowed a display case from the First Garden City Heritage Museum in order to present them temporarily as a static piece of Letchworth history. 12

CHRISTINE HARRISON Christine initially trained in graphic design but her focus is now predominantly painting and printmaking – drawing inspiration from nature and the interior states of memory, connection and response. She thrives on variety and versatility of response and this is reflected in her use of a wide range of media – acrylic, oils, pastel, collage, watercolour, printmaking and mosaic. Her work includes still life, figurative, portrait, landscape and abstract pieces. She was awarded a Fellowship with the Digswell Arts trust in 2012. christineharrison@dsl.pipex.com www.christineharrison.net

‘Windows’ Giclee print from original monotype series ©Artist Photo: Christine Harrison

I started researching my work for Timeline by cycling around Letchworth and looking at the early Garden City houses. The proportions and lines of the architecture started to charm me and so I made small monotype prints to reflect this. Often when I am looking at a subject another comes to the fore; in this case it was the windows - and more specifically, the reflections in the windows. The second monotype series is from my memory of the reflections I saw at different times. The third set of prints are glimpses from the gardens and green spaces of Letchworth which were a constant backdrop. I enjoyed thinking about time, the passing of time and the sense of being part of Letchworth’s history as it is being written. At first sight the buildings seem to be the more permanent or lasting things represented here; but then many trees are far older than the buildings and also have within themselves the seeds of their own continuancedown through the ages. Similarly, the fleeting memory of reflections in glass may seem very transient, but the human desire to express and give form to such glimpses of light and colour stretches a long way back in time.

LAUREN AVERY HUTTON Painting allows Lauren to explore various concepts of colour, varying textures and brushwork to best depict her vision. Beyond the composition of the painting, her main focus is colour… saturating, sensual, vibrant, intoxicating. Her application of colour is firstly expressive, and secondly theoretical. She is always observing and thinking about light; painting with colours to uplift and give energy.

‘Chris-Teas Tea Room’

Lauren starts with a pre-conceived idea and lets the colours of the pigment develop instinctively. While she paints for herself, she also hopes that some of her paintings will be psychologically uplifting and environmentally enhancing to the viewer as well.

Digswell Arts Trust / Fenners is a near neighbour of Chris-Teas Tea Room, which perpetuates a quintessentially British tradition.

Lauren graduated from Skidmore College in the U.S. with a B.S. in Art. She is currently painting landscapes (also people as landscape) mostly in oil, but continues to paint in acrylic, as well as watercolour depending on the composition.

(detail)

Oil on canvas ©Artist Photo: John Vincent

I chose to paint this image for a number of reasons.

Tea Rooms in early Letchworth would have been similar. I researched Arts and Crafts patterns and colours to paint on the china, as Letchworth has an important place in the Arts and Crafts period.

lauren@laurenaveryhutton.com www.laurenaveryhutton.com

ABU JAFAR ARBS Abu Jafar is an acclaimed leading International Artist and Philosopher of the Arts born on March 21, 1968 in a small village called Jhilna, Patuakhali, Bangladesh. Since 1991 he lives and works in United Kingdom. He studied fine art painting and drawing at the Institute of Fine Arts, University of Dhaka, Bangladesh 1984/89, Master Drawing of the human figure at the Guildhall University, London 1989/90, Art and Art History at the Goldsmith’s College, University of London 1991/92 and Philosophy of Arts at the Open University, 1997 UK. In 2007 he became an Associates Member of the Royal British Society of Sculptors and in 2011 he became a Fellow of the Digswell Arts Trust, UK. Taking his inspiration from psychology, philosophy, classical music as well as day-to-day human existence by producing art that is far from traditional, he is actively attempting to shatter staid ideas of the past regarding art; his art is the synthesis of colour, element and presentation twisted into unusual form. Most of his large scale installations involve nature, public and the environment. His work simplifies our daily lives and the diversity of mankind in his imaginative notion in a way that reflects imaginative power and ever changing creative forces of new formative arts. abu@abujafar.com www.abujafar.com

‘Journey’ (detail) Drawing on glass © Artist/DACS Photo: John Vincent 35 different shapes of round glass objects with engraved drawings of Letchworth past and present including 110 dots and an old map of Letchworth. It is an impression like walking through a memory lane, discovering an unknown past, taking a moment to look back and explore Letchworth Garden City which began only 110 years ago. Letchworth is the world’s first Garden City, created as a solution to the squalor and poverty of urban life in Britain in the late 19th Century, based on the ideas of Ebenezer Howard as published in his book of 1898 “Tomorrow: A Peaceful Path to Real Reform”. Letchworth Garden City inspired town planning across the globe. 5,500 acres of land. first roundabout, ‘Sollershott Circus’. approximately 33,600 peoples twinned - Wissen, Germany Chagney, France, Kristiansand, Norway. 13.6 mile path Garden City Greenway. black squirrel Pix Brook. 14 schools - over 5,500 pupils. This sculpture turns history in to contemporary art that reflects our journey which never ends.

LOUISE LAHIVE Louise’s paintings are a result of observation, ritual and contemplation. Before beginning to paint she is interested in her surroundings, what can be seen from the window, patterns she finds, people she meets.

‘Space Between Trees’

Louise finds the simplest objects work well to achieve the most complex observations. The overlooked can become extraordinary. She works mainly with oil on canvas and builds up images with layers of paint over a period of time.

The idea of town and country together, striving to incorporate nature into our capitalist lifestyle is such a beautifully generous venture on behalf of working people.

She loves that art can lend quietude and a space for a kind of contemplation separate from the everyday world. Louise graduated from Kingston University in 1999 with a BA honors in fine art painting. She has exhibited both in the USA and London. louiselahive@hotmail.com www.louiselahive.co.uk

Oil on board ©Artist Photo: Christine Harrison

The reality of life in Letchworth and Welwyn may not be, or may never have been, true to Ebenezer Howard’s vision, but we are left with these beautiful parks and tree-lined avenues which were made for Letchworthians to walk down; these places alone have a substantial effect on people’s everyday lives be it conscious or not. My piece ‘Space Between Trees’ began with thinking simply about the space between trees, planned as methodically as the spaces between buildings. The road of flowers reflects the philosophy of town and country that merged to create Letchworth, not a town, not a modern suburban sprawl but a unique echo of socialist philosophy, miles from our present individualistic culture.

LIZZY LANE Lizzy studied art for four years at a college in Cornwall, before moving to Hertfordshire to study a BA Hons in applied and media art, leading to an MA. Her sculptures are formed around a basic framework of galvanised steel wire. Various gauges of enamelled copper wire are applied. Copper wire is a flexible and versatile medium, allowing colour, texture and pattern to be added. The wire is manipulated through knitting, crotchet, coiling or weaving techniques to apply more intricate detail. In contrast to the wire; beadwork, copper sheet and aluminium may be used to further emphasise areas, adding more intricacy or to solidify an area. The pieces are constructed by hand using pliers only. Knitting needles or crotchet needles are used for specific techniques. No glue or solder is used, with all materials joined by the wire itself. lizzy.lane@hotmail.com

‘Bee’ Wirework, beadwork, resin and copper. © Artist Photo: Lizzy Lane

Insects have always been a source of respect, curiosity and fascination for me. The colours, patterns and transformations they undergo add to their unique beauty. Their defence or attack mechanisms are strong abilities in relation to their tiny structures, yet due to their size all their unique qualities are often overlooked. Due to my fascination with wildlife I was drawn to Norton Common, which is only a short walk away from the Fenners building. Norton Common is a nature reserve of beautiful surroundings providing a peaceful escape from the busy life of the town and roads nearby. The reserve has always been a part of Letchworth in some form, though always as a home for the busy lifestyle of much smaller inhabitants. During the 1800’s the land suffered some changes to the usage causing vegetation and insects to decline. One type of insect included in this event was the bee. Bees are found all over Britain and they are never far away from us; they are an important part of our planet’s eco system. Once a queen has found a suitable nesting site, she will rarely travel much further than 3 metres approximately for a new site to nest, however, if the area surrounding has suffered and it is not suitable this will force her to venture further. The site was taken over by Letchworth Urban District Council in 1922, and due to the preservation and care of the site to how it is today, the species that once disappeared are now approving the reserve and making it their home again. 22

MINDFUL ARTS (Gill Lock & Sue Morter) Mindful Arts is a social enterprise, whose aim is to promote psychological health, personal and social development. Gill Lock is a Health and Care Professions Council registered Art Psychotherapist who has wide experience of delivering Art Therapy and Mindfulness sessions for the NHS, both in the Mental Health service and the Learning Disabilities service. She also works in private practice and is a British Association of Art Therapists approved private practitioner and supervisor. She has taught and practiced Mindfulness meditation for the past fifteen years. Her meditation practice stems from the Buddhist tradition, beginning with Vipassana meditation, where she participated in 6 10-day meditation retreats, to establish a firm grounding in the practice. When the opportunity to study mindfulness and use this practice within the NHS arose, Gill undertook this 8 week training (Mindfulness Based Stress Reduction) followed by a 6 day Teacher Development Retreat, run by the Centre for Mindfulness Research and Practice, Bangor University. Sue Morter is an Art Psychotherapist who is registered by the Health Professionals Council and the British Association of Art Therapists as a private practitioner and clinical supervisor.

‘When The Heart Is Cut Or Cracked Or Broken’ Acrylic on canvas ©Artist Photo: Christine Harrison

‘When the heart is cut or cracked or broken’, a poem from ‘The Prayer Tree’ by Michael Leunig, inspired this piece, which expresses some of the pain/madness that people struggle to contain when love is lost. This piece along with its companion, not shown here, from Mindful Arts, represent Art from the Asylum, specifically Fairfield Hospital on the Arlesey/Stotfold border, where Art Therapy would have provided some relief from the personal struggles of the people held there. This painting represents the madness, while the other the containment of the institution. Within this image metaphors for distress can be seen; the two rabbits represent the difficulty of relating, while the bird putting its head inside the open heart conjures openness to emotional pain. The Russian dolls depict layers of encasement.

She has an extensive background working within the NHS for 35 years within Mental Health and Learning Disabilities services for adults. As part of this role, she managed two teams of arts therapists for 10 years prior to leaving the NHS in 2010. Through her wide experience, she has developed advanced skills in facilitating Art Therapy sessions for individuals and groups. Her approach enables the art-making process to be explored within a psychodynamic framework.

info@mindfularts.co.uk www.mindfularts.co.uk

SALVIA OFFICINALIS Salvia Officinalis is the artist name of Letchworth resident Marva Cossey who is an artisan designer with over 30 years of experience producing a range of handcrafted pieces. She enjoys producing work that is adorned (jewellery), worn or home comforts (e.g. throws made from African fabrics, cushions, crochet). salviao@hotmail.com

Untitled Head dress (Gatsby inspired), wire wrapped crucifix, cuff bracelet ÂŠArtist Photo: Christine Harrison

As an Artist I have cultivated an interest in the Arts and Crafts era of the late nineteenth century in particular William Morris possibly the most influential thinker of the period. I enjoy making things with my hands and using as little or no machinery in the production, creating original 'one off' products. In this exhibition I will include a range of handcrafted jewellery made from gold and silver plated wire with findings and semi-precious gems. As a reference to later works produced at the Spirella building in the town the display will also include corsetry work using wires and fabrics.

LAURIE SPROSTON Laurie is a local artist who has lived in Letchworth all his life. He specializes in acrylic paintings and his favourite themes are fantasy, sci fi, and nature. He has worked hard to be an artist on account of his autism, and hopes that people like his work as much as he does.

The Magnets was the idea that combined the natural look and feel of the countryside, with the urban, working, feel of the town to make the world's first garden city. It was meant as a haven for only the hard working men and their families.

JOHN VINCENT John’s work explores narrative and in each painting the scene is of a moment in time that conversely lends itself, in part, to the ‘film still’.

‘Brightcot Revisited’ (still)

The process he uses is to blend photographic or video fragments and meld these together to form a cohesive narrative expressed either through oil paint or analogue and digital video.

Photo: John Vincent

His subject is an exploration of the atmosphere generated by missing or hidden elements within the scene that convey a sense of mystery and the impression that a significant event has already occurred (or that is about to) which affects the visible persons and those that may be hidden. Whilst this often involves the concealment of the identities it is also achieved by the interaction of these figures with inanimate objects within the frame. jv@johnvincent.co.uk www.johnvincent.co.uk

Video: 8m 6s ©Artist This house, formerly known as ‘Brightcot’, is one of the oldest in Letchworth. Designed by architects Barry Parker and Raymond Unwin it is a cottage originally built for the Miss Wilkinsons (presumably sisters) one of whom was a secretary for the local suffragist movement. This video is a time travelling experience that seeks to discover changes to the house and grounds and begins with the position of an old gate bearing the house’s former name at the front of the house. The video explores both the architecture, ideas of transformation and the desire to travel through time and the futility of such an idea - and yet there I am, via video wizardry, back in 1909. https://vimeo.com/68209986

EWA WAWRZYNIAK Ewa Wawrzyniak was born in Poland and trained in ceramics and glass at Middlesex Polytechnic and Surrey Institute of Art and Design in the UK. She completed her Master of Arts at the National College of Art and Design in Dublin, Ireland, where her research explored the technical and expressive possibilities of sand casting glass.

‘£150 Cottages - The Best Glass Cottages’

Since 1999 she is a part–time Lecturer for Open Studies in Ceramics & Glass at University of Hertfordshire, UK. Since 2005 she is a regular Visiting Lecturer in the Faculty of Art & Design (Glass) University College for the Creative Arts, Farnham, UK.

Cast glass sculptures and multi layered fused glass inspired by architecture of Arts and Crafts movement, with screen printed images depicting architectural details, local landscape and gardens.

Ewa has done numerous exhibitions in the UK and abroad. Her work is widely collected by museums and galleries including Broadfield House Glass Museum, Kingswinford, UK, North Lands Creative Glass, Lybster, Scotland, UK and BWA Ksiaz, Poland and many private collections in UK, Ireland, and USA. Her commissioned works include Arts & Business East Awards and Art & Business South East Awards 2007 UK, Downs Syndrome Ireland, Forfas Innovation Awards, Ireland Royal Bank of Scotland, Dublin, Ireland and various private commissions in UK. and abroad. info@ewa-wawrzyniak.com www.ewa-wawrzyniak.com

MARTIN YOUNG Martin is an Austrian artist. Most of the time he works with oil paints and charcoals on big canvases. He draws and paints human faces and bodies finding that it is very important to work out the eyes as they represent the windows to the soul.

‘Portrait Of William Morris’

He finds the process of letting a painting grow, layer for layer, interesting - to give each painting the time it needs to develop and get alive - “It’s not just painting, it’s a ritual!”

I decided to draw William Morris because he was part of the Arts and Crafts movement whose philosophy was to show honesty to the material and to go back to craftsmanship. A philosophy which still deserves attention.

Martin believes that a piece of art needs a kind of personal treatment to get something like a personality. Every single painting is a new mission. Its not always fun. Its not a hobby. Its a passion. Art includes up and downs. There are always some kind of problems and often solutions. It needs that mix of care and risk and a good feeling for the right timing. He can find happiness up to ecstasy but also sadness and frustration. And sometimes when he has finished a piece of work there is satisfaction and salvation.

Next to oil, I enjoy working with charcoal because it allows me to be in the moment and to produce in a fluent and fast style from start to finish. I am excited by the process of portraiture and the intimacy of capturing character.

Martin likes the possibility to surprise himself, although this does not always happen in a good way but when it does he finds this really motivating. There is hardly anything better than standing in front of a finished painting or drawing and to feel proud.

A Brief History... The Digswell Arts Trust was founded in 1957 by Henry Morris, the revolutionary educationalist, who was also a great enthusiast for the arts. Morris passionately believed in art for people, and maintained that artists were vital for the well-being of society. Through his energy, dedication and influence he established a Trust for emerging professional artists. Digswell House, the first home of the Trust, gave its name to the organisaton, and was a regency mansion with cottages and outbuildings which provided artists’ accommodation, studios and workshops for the selected artists, who were designated “Fellows”. Since then, Digswell has grown to be the largest studio provider in the East of England and still focuses on artists and maker/producers in the early phase of their careers. Via studios in Letchworth, Stevenage and Welwyn, the Trust provides studios for approximately forty Digswell Fellows, who for three – five years’ experience a collaborative and supporting environment, the space to experiment and innovate within a creative community of other Fellows who are developing both their art practice as well as their commercial skills. At the end of their time at the Trust, Fellows have a solid basis on which to pursue their artistic careers.