Thursday, 19 July 2018

The Brownfield Research Centre - Brownfield Artists of the Day : Nessa Cargill Thompson, Jill Impey, Jane Walker

In our ongoing series highlighting Artists and works submitted to our Brownfield Research Centre, each day until July 22nd, we will be highlighting the work of artists submitting to our Open Call.

Nessa Cargill Thompson, No Laughing Matter

Collection of gas canisters collected one morning from brownfield site on a journey from the tram to MMU. ^

 ^Found gas canister and new growth in urban environment 
Nerissa Cargill Thompson encourages the viewer to stop and look closer; to consider the beauty, value and purpose in the old and discarded through photography and three-dimensional textiles. Her work investigates how things change appearance & shape over time, not just eroding or decaying but also new layers of growth, giving interesting juxtapositions of structure and colour. She uses old clothes and scrap materials within her work for economic & ecological sustainability, choosing fabrics that hold some significance or connection to the work. Currently embellishing & embroidering textures into old office wear representing the city, both people & place, and casting with concrete into found litter. This collection is the start of new work that Nerissa intends to develop further following her MA in which she has been concentrating on coastal textures and plastic waste. 

Instagram/Twitter: @nerissact


Jill Impey


Jill Impey, film & installation artist offers her practice as a way of bearing witness to natural phenomena and human response, the connection between the natural world, our mental health and wellbeing.  Impey’s practice is anchored in notions of heritage, migration and cultural identity in relation to place, the artist revealing truths, through notions of shifting borders, boundaries and thresholds. The human communicated through perceptions of the mundane and the beautiful, reality and fa├žade, inclusion and otherness, evolutionary development and the unquantifiable sublime.
The 9 images below, submitted for The Brownfield Research Centre, were taken on midsummer’s day 2017, on the former site of Furber’s car breakers yard at Whixall in North Shropshire, on the edge of Whixall Moss. They recognise the way in which nature will always adapt and reassert itself. And how we can benefit by allowing time to pass, nature to reclaim, evidence to be gathered, reflections made and understanding grasped.


Jane Walker

One of my approaches to my subject matter, the city, is to make pastel drawings of street scenes, normally at night.
 This is a really contested site. There was a pretty electricity substation built in 1910 on the site it was demolished a few months ago. The electricity substation was architecturally integrated with the end terraced house. Families complained that kids were doing drugs behind the substation building.  It is industrially polluted land but classed as residential in-fill. The ownership of the wall of the end terrace is contested. The electricity board sold the site 7 years ago. There used to be trees, bats and owls living on the site. Even though it has only been completely cleared of vegetation a few months ago, the variety and colourfulness of the new growth  is amazing. Each year the hedge round the edge of the site was completely cut down, and re-grew each time. That has unfortunately been finally removed. The site was just earth and bricks and bits of the demolition process a short while ago, the greenery in my drawing is very recent, and it is already making a new shape of the site.

Wednesday, 18 July 2018

The Brownfield Research Centre - Brownfield Artists of the Day : Sean Roy Parker, Helen Stratford, Cathy Wade

In our ongoing series highlighting Artists and works submitted to our Brownfield Research Centre, each day until July 22nd, we will be highlighting the work of artists submitting to our Open Call.

Sean Roy Parker

Sean Roy Parker is a visual artist and social worker based in London. He studies human attitudes towards waste, the lifecycle of materials and the collective conscience. Capitalising on surplus and antipathy, Parker makes playful composites like chutneys, sculptures and pamphlets, which he distributes locally or globally through exchange. His research focuses on practical problem-solving through collaboration, often taking form as workshops, walking tours and litter picks.

As part of the Brownfield Research Centre, Parker has submitted a selection of work from an ongoing project trying to capture personal, emotional responses towards encountering debris in public green-spaces. Increasingly, he has been processing natural and man-made waste as art materials,developing language around sustainability, painting and composition. Considering the importance of mental health and wellbeing against a backdrop of the Anthropocene, these works offer possible solutions for overwhelmed individuals.

Parker has upcoming exhibitions at Peak Art (London) with May Hands and Good Press (Glasgow) with Hugh Frost, has previously exhibited on and at Auto Italia South East, Deptford X and Eastside Projects. He is a current associate of School of the Damned and delivers engagement workshops to fringe communities as PEFAProjects.

Instagram: @seanroyparker


Helen Stratford, Field Notes

Helen Stratford is an artist with a background in architecture and part time practice-led PhD Candidate at Sheffield University, researching Performative Architectures. Located between live art, visual art, architecture and writing, Helen’s work is collaborative - working with architects, artists, curators, diverse communities and publics. Searching for modalities that work between and expand architectural conventions, she develops site-specific interventions, including live events, video-works, speculative writing and artists’ books.

Former studio and residency artist at Wysing Arts Centre Cambridge, Helen’s work and research has been presented at Yorkshire Sculpture Park: West Bretton, Fermynwoods Contemporary Art: Thrapston, g39 and Oriel Davies Gallery: Wales, Wysing Arts Centre and Aid & Abet: Cambridge, Transitions Gallery, RIBA, National Theatre, Tate Modern and ICA: London, Primary: Nottingham, MSB2015 Bloc Projects, Yorkshire Artspace and SIA Gallery: Sheffield, Akademie Solitude: Stuttgart, Center for Contemporary Arts: Celje, Škuc Gallery and P74: Ljubljana. Helen has recently started a 2-year residency partnering with Yorkshire Sculpture Park and Furtherfield Gallery London and finished a 2-year residency (both supported by Arts Council England) with national arts organisation METAL in Peterborough and Southend-On-Sea. Both focus on developing mobile artworks, with artist Idit Elia Nathan, that playfully critique approaches to the urban environment and landscape.




Cathy Wade, A Letter about a Brownfield

Cathy Wade is an interdisciplinary artist who works through collaboration, writing and research. She has exhibited extensively in both the UK and internationally working with galleries and projects including Werk, Vertigo Gallery, Vivid, Rope Press, Toomey Tourell Gallery, Ikon, Newlyn Art Gallery, Capsule, Clarke Gallery & A3 Project Space.

Residencies & Fellowships include: Longbridge Public Art Project 2013-2017, Birmingham City University Wheatley Fellowship for 2015-2016 and Repeator at The Office for Art Design and Technology in 2017. Projects in 2017 include the commission Videotheque with Vivid Projects and Repeator: Composite Space as a partner project to Coventry Biennale. Publications include Delineator (2014), After Carl (2014) and As We Alter It (2017) publications are for sale at Rope Press (UK) & Printed Matter NY

Twitter: @Cathy_Wade 
Instagram: @Cathy__Wade

Tuesday, 17 July 2018

The Brownfield Research Centre - Brownfield Artists of the Day: Danny Treacy

In our ongoing series highlighting Artists and works submitted to our Brownfield Research Centre, each day until July 22nd, we will be highlighting the work of artists submitting to our Open Call.

Danny Treacy, Those 

Treacy's practice incorporates elements of photography, sculpture, performance, archaeology and anthropology. He has exhibited nationally and internationally and also works regularly as lecturer and arts educator.

His working process combines collecting and recycling, identity, social invisibility, fieldwork, surveying and the politics of space. As such it is located both in the dialogues of art practice and material culture. 

"The images submitted are from a photographic series Those. The objects in the images are constructed entirely from found clothing, the clothes are collected by myself, then reconstructed in a manner that they reference organic life forms, flora and fauna. As such, they blur the boundary between the artefact and the organism.
The nature of the areas the clothes are collected from are in flux. I typically gravitate towards woodland, wasteland, car-parks, the banks of rivers and clearings. The materials I use are gradually disintegrating. This erosion is intrinsically tied to the land use, physical boundaries and human interaction that defines the characteristics of these spaces."
There is a temporal frailty of the Law in these neglected spaces...We must negotiate the terrain on their terms...Those are archaic, they visualize the aspiring life forms of the underworld. Cellular structures, seed pods, egg-like protrusions; They speak of dormant life forms and potentials unlocked. The sculpted objects hold this history in their present form. The rotting insole, the un-braiding threads and fungal growth also speak of reclamation. The original acts are silenced, meanings rebound, memory is inert.
 Gavin Murphy, Source Magazine, Issue76.

Danny Treacy.