As part of Charlbury Art Festival I will be at the Cornerhouse on Sunday 11th and 18th June sharing my Everyday Cure Alls developed through visits to Charlbury in the run up to the festival starting with the visit to Chalybeate Spring.
ANNUAL WYCHWOOD FOREST CHURCH PALM SUNDAY WALK TO THE CHALYBEATE WELL, CORNBURY PARK in Sunday 9th April.
Looking forward to joining residents of Charlbury on this years Palm Sunday walk. Thank you Ann Lloyd for sharing this on http://www.charlbury.info/events
This year Jo Thomas, one of the Charlbury Festival performance artists, will be joining the walk. Initially inspired by stories of making Spanish Liquor with local spring water, Jo will respond over a period of weeks to the town and its history through walks, conversations and other actions that reflect on our deep connections with place and some of the particularities of Charlbury.
During the Charlbury Festival in June you can come and meet Jo to hear about how she has got to know this place and developed her work, 'Everyday Cure Alls'.
This walk is organised by Jean Andrews of the Wychwood Forest Church and her arrangements are as follows. Meet at Charlbury Baptist Church at 2pm and then ferry people by car to Cornbury Park (Hatchings Lane opposite Waterman's Lodge). We can walk to the first well and then walk through to Chalybeate Well. If we have enough cars we can park another one at the end of the walk. It can be quite rough terrain so please wear suitable footwear and also clothing in case of inclement weather. Not suitable for buggies or wheelchairs.
Here's a few images from last weeks rehearsal for Vibrations at the Old Fire Station with Veronica Cordova de la Rosa and Bruno Guastalla. I'm going to share the gathering words that are inspiring and shaping my current work by reading from my notebooks as part of the event. There will also be live work from Malcolm Atkins and Diane Regisford.
Vibrations Art Journal for Creative Writingl www.vibrationsartjournal.com
workshop for artists on Friday 3rd & Sunday 5th July
part of Open for Art 2015 organised by JELLY
The intention is to help artists who have ideas and projects that are alive in the imagination and shape them so that they can be realised in the public realm. Next year we have our Year of Culture in Reading this workshop will help develop artist led projects for this and other possibilities.
For full information or to book a place see www.jelly.org
Where: Venue 1, Jelly, Jacksons Corner, 1 to 9 Kings Road, Reading, RG1 3AS
Cost: £25 (this covers both sessions and there are a maximum of 6 places)
A gesture in which I dowse seeking to visualise what has acted on this place but is no longer visible. Marking that space with water.
How do we imprint ourselves on our surroundings and how might our surroundings imprint themselves on us?
Print as a Verb
Curated by Chris Mercier and Peter Driver
Open Hand Open Space Studios and Gallery March 2015
Stonewalking took place at Open Hand Open Space studios and gallery as part of 365 drawings / 365 dessins first exhibition in September 2014. Visitors were invited to choose a stone and in exchange leave anything they did not want to carry in a bag. We walked around the local area as people held their stones. (photographs Roxi Tohaneanu-Shields and Cally Trench.)
The second exhibition of the project 365 drawings 365 dessins will take place at Anières, Switzerland from Thursday 7 May until Sunday 17 May 2015. There will be an open day on Saturday the 9th of May, from 12:00 till 18:00.
Restore is a work which explores distance healing in a gallery space. During this one night exhibition at Modern Art Oxford I invited people to stand 1m infront of a piece of paper to restore their energy whilst spiritual healing was sent from a distant location. 'Where is the art?' was organised by CARU, the Contemporary Art Research Unit which is based in Oxford.
In September 2014 I took part in a residency in the village of Hontianske Trstany, Slovakia where Marcus Aurelius is likely to have written his ‘Meditations'. Much of my creative time was spent in a cave on the edge of the village reflecting on how our capacities to be sensitive to place might be enhanced or restricted by spending time inside the surface of the earth.
Caves are numerous in the area. This particular cave, with 1888 carved above the entrance, was extended quite recently by a family whose daughter was ill and were hoping to stay here whilst they visited the healing waters at Dudince close by. The work has since stopped. The caves internal surfaces are formed of once churning volcanic layers of colour, greys, ochres and umbers.
(Photograph: Ann Rapstoff)
Vibrations Art Journal: The role of writing in practice and artist based research: a guide for pale green caterpillars and others
Vibrations is an Art Journal for Creative Writing published in Oxford by Veronica Cordoba de la Rosa. In this the second issue 'Gestures' I contributed some reflections on my changing relationship with writing in an article 'The role of writing in practice and artist based research: a guide for pale green caterpillars and others'.
VIBRATIONS Art Journal for Creative Writing
The journal aims to be as a laboratory of artist’s thinking in motion and invites established artists, emergent artists or researchers who would like to write, or offer other forms of expressions exploring such issues as: artistic production, subjectivity and collectivity in cultural production. All those potentially interested in contributing to Vibrations should contact the editorial collective at firstname.lastname@example.org
Bright Future (Heath Row)
Aprils haystack was arranged by Kate Corder, as part of the day I presenced the place where the apple trees were planted and twinned at the Greenpeace Airplot.
Kathrin Bohm who organises the haystacks wrote an article for the Guardian on the walk.
I am part of Figure Ground with Katy Beinart, Jack Brown and Laura Krikke. We have received funding from the Arts Council England to embark on a Public Art Road Trip which will take place over the next two years. We will be visiting and connecting emerging artist-led public art schemes, projects and initiatives around the UK.
The idea is a mapping of art in public, by artists with artists, seeing the lay of the land for public art since the shift in funding and provision for the arts from the early 2000s to the present. In a series of short journeys which make up the ‘road trip’, and take place at intervals through 2014-2015, Figure Ground Artists will research, meet with, and debate with emerging and more established practitioners who have self-initiated projects or artworks.
Figure Ground will be taking a mobile studio from place to place as they meet artists in the places they make work, and collect conversations, objects and images from their practice.
Each trip will produce a short publication which will be collated together at the end of the project.
If you are an artist who want to get involved or for further details please contact us at: email@example.com
Hildegard Kurt was a special adviser during my PhD research. She shared some thoughts about the body of work that is Presencing Place.
This body of work honours and celebrates what is beyond prevalent value categories - what is overlooked, seemingly without value.
It reconnects anonymous, disconnected, faceless places - "no-places" - with the cosmic depth of life. It transforms spoiled, barren, "valueless" places into a cosmos of meaning creating, rendering dignity.
An incredible dedication compelling in its rigour, delicacy and depth: imbued by care - "fine art" in the deepest sense.
Contemplation in action.
An exemplary work: this kind of generating aliveness, sense and beauty through awareness and expanded art practices is needed all over on this so amazing, yet ever more damaged planet. It is enabled and directed as much by compassion as by artistic skill.
The overall gesture is imbued by modesty, drawing its strength and beauty as much from deep, sustained presence as from artistic skill
There is an attitude of creative resistance to the omnipresent numbness, neglect, indifference in the public sphere.
The gestures are a kind of acupuncture to suffering places
deeply poetic, subversive poetry.
Gestures are imbued with awareness and precision.
enables a quality of encounter with such places which enlivens the place as much as the "audience"
the audience - every individual involved in this work - becomes a transformer through becoming present, internally active
In this work Jo Thomas is as much a scientist as an artist as a magician