Posts in DAY02

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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Today we had a talk from Joe Fletcher Orr about his work as artist and curator since graduating two years ago, very funny and honest and impressive. And lunch in the luxury of the warm library! No soup this time though but lots of cake.  These things are important.


I have scoped out some good puddles in the Mill for Nothing Whatever Must Be Clung To V. This is part of a series of ink floor paintings; the title refers to the fact the unpredictability of outcome when pouring the ink, and the importance of not being attached to a set outcome.  I plan to add floor paint to the existing puddles, part drain them and then pour ink on when they are dry; however I don’t know whether they’ll dry by the end of the week.


Paul Fyles talked me through a plan of the Mill room by room. A lot of what the Mill produced was cotton wool products, by the million. I had never thought about the mechanics of cotton wool production before, or the mechanics of bandage construction. I would like to relabel the rooms with their previous functions; I’d also like to assign different functions to the rooms (room seems the wrong word for such vast spaces) – a kitten-snuggling room, a cheese room, a racecourse…


Last night I did sleep for about half the night, and it actually felt like sleep rather than the alternation between full wakefulness and dreaming of the previous night. Tomorrow night, I get my own room in Burnley.



January 12th, 2016 Posted by BLOG, DAY02 No Comment yet



Definition: a place and/or a time and/or a sensation.

Explanation: Imagine you are in the forest, you are standing there and a bear arrives. Both of you don’t know what to expect from that encounter. Are you scared? Excited ? Are you waiting until something happens? Or do you feel confident?  That’s the sensation you’re feeling before quitting your future-ex comfort zone.

Note: It could also be translated in dutch by “Daar zit je dan”.


The comfort zone is an area where and when you feel comfortable. It is where you feel that you belong to and don’t hesitate to go, visit and come back. But one day, when you decide to go out of it… you just make it bigger. Well, that’s just where/when/how I am at the Crash residency, extending my comfort zone, exploring my uncomfortable zone, already seeing the new gate I have to open to the next U. Z.


This morning U. Z.:

Location: the reception / foyer area of Brierfield Mill; G.P. S : N:53°49’36.96” / O: 2 °14’4.657”

Name of my future-ex comfort zone : // Beware // Free thinking area


Tomorrow U. Z.:

I can’t name it but I already feel it.


Beware, going after an uncomfortable zone may you like to explore another one.


Reference: Joe Fletcher Orr seems to brave his uncomfortable zone by using humour.



January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Day two. Crash2016

Lecture with Joe Fletcher Orr

Cactus, the Royal Standard, Liverpool

Joe: not attached to own work so can sell it

Beginning the project

I decided to work in the back yard of the Mill. This seemed too good a location to be true: overloaded with materials, clear view of the Mill, the road, the hills and on the edge of the canal. I then  remembered that the back yard was clearly visible from the garage and car park above the Mil which is  accessible for the public. And so I began to build. By the end of the day I had made a narrative: a 3 foot tall brick building with a solid slate roof and an open window, a curved wall around the building and a made a fishing rod coming out of the open back of the building falling threw the wall and into a blue, found, bucket. When I climbed up to view the building from the garage above I realised that my sculpture was difficult to see as it blended into the back yard, but not impossible. Tomorrow I will make more buildings or narratives around the court yard and see the impact of the outcome, to make a world of visual poems within this place.


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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

What have I been doing with my life?!!

Joe Fletcher Orr, a recent graduate, gave a presentation this morning on his personal practice and experience of running an exhibition space for fellow artists. He is prolific.

He has consistently been invited to take part in exhibitions, and has also worked tirelessly to publicise his own work and that of others. He gave a useful insight and provided tips on how to make this happen for ourselves. He is un-precious in many ways. Happy to instigate concepts and contract the production or making of the work, if appropriate, to others.

Having pitched my initial idea for painting the bridge, it is unfortunately, unviable. It is not entirely a TAZ space, but is in fact the responsibility of network rail. Therefore realistically this could present a problem.

Kerry (in-situ) has suggested that I use this opportunity to learn how to write a funding proposal for the footbridge, to the Arts council/network rail etc, as she has always intended to do this at some point and is very experienced in this area (I am not!). Perfect, as I have been making videos of footbridges, staircases and other thresholds recently, so this feels like a natural progression, and affords the opportunity for others to become involved, including/ and most importantly the local Brierfield community. Again, perfect.

Having purchased the paint already, I will scout a location in the mill, for a possible painting.

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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Today started off in a once again utterly inspiring fashion, we had a talk from Joe Orr which was brilliant to see how just having a bit of confidence in your own practice can really get you to where you want to be. Especially in a regional sense. Although I felt a little out of my depth having no idea about the spaces in Liverpool and Manchester he was talking about it was still an educational and motivating talk!  

However what I feel was most important about today was that I started making, I started my first piece of 2016, which feels great! I wanted to start off within my comfort zone so I decided to build on the idea of using ply wood covered doorways to carve into (the window I initially wanted to use I was a bit optimistic with being able to reach) so I opted for a blocked doorway which has been covered with excellent quality ply. The imagery for this piece I wanted to relate back to the original function of the mill so I chose to compose a needle and thread, I wanted the design to be quite simply but have multiple elements to it that I can create in a graphic and almost street art style… I also realised I may have been slightly optimistic with how easy it would be to carve the wood, I guess I didn’t factor how difficult it is to carver vertically rather than horizontally! Nonetheless it has been a very productive day and I have been able to leave my first traces and marks on the Mill.

After this piece is finished many of the other works I create will be far less laborious, more ephemeral and either photographs, performances, happenings, collaborations or poems… so I feel it is important to make at least one piece that has permanence to it, before changing to a more expressive and of the moment style of thinking. I can’t really say much more about today other than this… Only that I know I plan to finish this work tomorrow.

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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Day #3
The noise used to dominate the mill. I don’t know exactly which kind of noise was it, but there is a recording of it. The women workers developed a sign language to communicate without using words. They were using  mouths and hands and gestures. I want to use performance to express noise, deafness, silence, lost language, identity through signs and communication. 



January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Today we had a talk from Joe Fletcher Orr who created a gallery space in Liverpool called Cactus. He advocated using social media to share images and details about shows to reach a wider audience. He was very entertaining and insightful, so I appreciated learning from him and speaking with him after.

In the afternoon I found a magazine from 1977 in the library and photocopied it (black and white ony, size A4), and we wrote down our initial ideas. Then I went into Brierfied town to find some postcards but unfortunately couldn’t get any, so I bought a newspaper as an alternative. I headed back to the mill to find a space to start working and I collected fragments of materials, including paint that had peeled off the walls, slate and wood from the roof, cardboard and insulation foam. I then went to the in-situ garage where a lot of books are stored, and collected some with images to tear out. By the end of the session in the mill I had started 6 collages plus 1 large gestural wall painting made of geometric shapes in thick black lines. I really enjoyed the process of working with new materials, as I’m used to focusing on paper as a base upon which to build the piece. It’s unpredictable working with heavier fragments as the glue I’m using might not be strong enough to hold everything in place, but I’m not put off by the impermanence of this. I decided to film myself working to document the process, but I may have to remove the sound as it will be very distorted and feature echoey conversations with the other artists.

I’m keen to bring the magazine imagery into the space, possibly leaving the works directly attached to the wall. As my practice is mainly about changing contexts by removing people or “characters” from one (the original image) and placin them in a new one. I’m not sure if I would like to use text yet, as I could pick some sentences from the poem book but then I don’t know how to reproduce them as I don’t like my handwriting and I haven’t got any dry letter transfers with me. If I can print fonts off at the library I could potentially make a stencil.

Another idea I’d like to explore is speaking to Paul the on-site manager and ask if I can photocopy his photographs of the mill before it was gutted, in order to bring the past into the space.

There are lots of exciting projects happening around the space so I’d like to get involved with them, especially the performance pieces.


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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

Day 2 started with a talk from Liverpool based artist and curator Joe Orr, Joe runs Cactus gallery in Liverpool and has exhibited internationally.  His work has a humourous element to it, commenting on a certain snobbery of the art world. Orr work explores witty concepts through both his sculptural work and his curatorial work.

During my time at the mill today, I have been gathering reflective aluminium, mirrors and other structural materials in an attempt to build a piece of work that will only be truly visable via the use of roman candle fireworks. The idea came to me as I thought about the mills past. It was once a thriving factory occupied by workers and heavy  machinery yet now it is redundant. The fireworks briefly illuminating the sculpture aims to symbolise this journey.

An added element to the piece I am making is that I am working in near darkness with just a head torch for partial vision. The idea of working under these conditions is something I am not accustomed so its a challenge to create work.

Tomorrow I intend to explore the potential of creating a kinetic sculpture, maybe a cart loaded with candles? To be pushed along into the darkness of the empty warehouse.

Tommorow I will also collaborate with Alex on an outdoor large scale colour sculpture

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January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

5/1/2015 I began constructing the first tray for my primary piece today and marked out the space for my other project. The trays will hold a shallow pool of black paint. I’m painting the sides in bitumen so the whole thing should sit as a plain black square once full.

The two trays are being placed in places of common footfall whilst we work in the mill. (One on a stairwell and the other at a prominent viewpoint, a large whole in the wall in the front of the main building). These positions should force passers through the spaces to move through the paint and begin leaving a visible trace of their movements.

My second scheme is a sister-project, connected to a design I’m developing back in Suffolk. The original piece is focused in green space/woodland and so the mill offers a contrary brown site/industrial context for a connected work. I’ve stitched small bags to be filled with the remaining bitumen, tied to the ends of string as small dripping pods. These are being lowered through a hole in the top floor of the mill so that they gather in the space immediately below.

The work is tied to a ceramic version at home (with a contrasting aesthetic both in place and material) and is the fulfillment of an idea I’ve had for a while.

Unintentionally, I realise the two works can be tied under the theme of access (initially more applicable to the first). The room which the ‘pods’ hang through into is one deemed too dangerous for people to enter. Consequently, the hanging piece will only ever be viewed from a far – the opposite form of engagement to that of the paint trays with are ultimately activated by direct physical engagement.


January 12th, 2016 Posted by BLOG, DAY02 No Comment yet

I managed to wake up feeling a lot more refreshed this morning / evening, braving the freezing showers.  A talk from recently graduated Joe Fletcher Orr gave me inspiration— how to get started in the art world.  His work has a humorous approach to art I found rather enjoyable.  Hearing about how to approach and work with collectives and galleries was insightful, being from a design background.  Getting to the mill we were allowed to get kick-started on our work, so I headed straight for the skip / rubbish part round the back.


I got started on collecting pipes of different colours, lengths and textures; sort of developing an idea of playing around which 3D construction and ways of challenging traditional ways of embroidery.  I’m going to use found objects and embellish with bought and found materials: playing with the contrast of hard; robust; recycled free objects, with tacky / shiny textile trimmings which I pre-bought.
As I played around my ideas started to happen about how I can make my sculpture more engaging and interactive with the viewer or how I can invite my fellow artists to work collaboratively with me.  I think I’m going to allow the piece to be changeable; ask people to rebuild it how they feel.