Archives for category: Projects

sunlight

BlindSpot is finished and installed at The Workhouse (National Trust), Southwell in Nottinghamshire. It is open to the public (when a ticket is bought for the house) from Friday 24 July to Sunday 1 November 2015.

The image above is from the very first timelapse photography session I shot in the Men’s Dormitory. I continued to shoot time-lapse sequences during May and June but was often at the mercy of the very unpredictable weather. The images below are from a very early morning in June. I was in a particularly euphoric mood as I walked up to the Workhouse but unfortunately as soon as the sun had risen the clouds closed in …

early morningearly morning again

BlindSpot

BlindSpot captures the slow passing of time in the Workhouse. The film traces the sunlight and shadow, cast by the iron window frames, across the walls and floors of the empty dormitories and corridors of the austere building. Rev. J.T. Becher, the founder of the Workhouse, said that ‘An empty workhouse is a successful one’.

BlindSpot is about time, nothingness and emptiness. Its slow and repetitive form evokes the lives of the Workhouse’s former inmates. The soundtrack features a voice from the National Trust’s Oral History Archive. The hymn tune ‘Southwell’, is played by Derek Wileman on The Workhouse Harmonium.

BlindSpot (Tim Shore, 2015)
Sound: Brendan Crehan
Harmonium: Derek Wileman
Voice: © National Trust Oral History Archive NT/4

BlindSpot is a project for New Expressions 3, an Arts Council England national pathfinder programme that fosters collaboration between contemporary artists and museums.

The Workhouse, Upton Road, Southwell, Nottinghamshire NG25 0PT.
http://www.nationaltrust.org.uk/theworkhouse
http://www.newexpressions.org/Events

Forfeits form Forfeits print
The Print Project

I spent a happy five days last week at The Print Project, Shipley, West Yorkshire, on the Summer 2014 Letterpress Printing Workshop.

The last time I did any letterpress printing was in about 1980 or ’81 at Wolverhampton Polytechnic.

The week was great and really productive. After an overiew of  what the Print Project had to offer and an introduction to the basics by Nick we were left to get on with it with Nick offering help, guidance and instruction as we worked on typesetting (wood and metal) and printing while drinking gallons of tea.

I used text from my New Opportunities Award project for content and made a small ‘8 page right-angle fold’ (with a cut) publication, letterpress printed with a wood type on the front (Latin 18pt Bold Condensed) with a wood ornament and a little bit of metal type. And on the back I cast hotmetal 14pt Record Gothic Bold for the headings and 12 and 10pt Garamond for the body copy. Forgot to make a note of the leading (space between between the lines of type).

The hotmetal was cast using the Ludlow hotmetal typecasting system. The type matrices or mats (for casting) are assembled in a stick (below, where you can see the line ‘The Factory Inquiry Commission, 1833.’) which is then slotted into the machine. In the second photo you can see the stick after the type has been cast. Molten lead is fired into the mat and a metal slug with the line of type ready for composing and printing is pushed out of the machine (the third photo).

One of the hardest parts of the week was having to work without a computer.

The hands-on and physical nature of letterpress printing meant I had to work more instinctively, with an idea of what something might look like, because other than sketching it, I couldn’t visualise it precisely as I would do normally with InDesign. The placement of the type on the paper was largerly a process of trial and error as you are working with physical mechanical elements that must be lined up, measured, nudged, and realigned to get – sometimes – only close to what was originally planned.

Galley LudlowSlugsFolded insideFolded outside

The Print Project is beside the Leeds and Liverpool Canal which runs through Shipley. I wallked alongside it everyday to and from my B&B at Baildon and these last three images are of other lettering examples from beside the the towpath.

Graff 1 Saltaire AA Graff 2 JJ Rousseau Graff 3 Wild the Cities

DRO Parcel

Derbyshire Record Office

A couple of weeks ago I made my first visit to the Derbyshire Record Office in Matlock for my New Opportunities Award (NOA) project. The NOA is for a collaborative project with Strutt’s North Mill Belper to make a series of moving image works that respond to the early history of the site, that will be installed in the museum for Easter 2015.

This intriguing parcel above was part of a number of items described in the online catalogue as ‘Watches, trinkets and other items, belonging to deceased lunatics with no known next-of-kin. Also a snuff box presented to Belper Union by Jack Strutt esq.’.

It proved to be a sad little collection of poor broken pocket watches and rings, which were all individually wrapped and stored in the snuff box.

The objects are from the Belper Union Workhouse, now the Babington Hospital, and in 1946 they were handed to the local authority when the building was transfered to ‘the ministry of Health under the National Health Service Act 1946’.

I’m looking for materials that capture elements of the day to day working lives of the people who were employed by the Strutts and this is clearly at a bit of a tangent to the project, but there is so little material available that speaks of the lives of those people, that I wanted to look at it, even if I can’t use it.

DRO Watch

DRO Ring

Thank you to the Derbyshire Record Office for permission to publish these images. The document reference number for all items is D19/CW/12/16.

FPTP 01 FPTP 02 FPTP 03 FPTP 04 FPTP 05 FPTP 06 FPTP 07

Pillar to Post (and back again)

We were back at Strutt’s North Mill Belper again last week (Thursday 15 May) for a Museums at Night event. This time animation was projected onto 10 of the monumental mill-stone grit piers in the mill’s basement.

The new animation was stripped back to blocks of light and colour with short sequences that responded to the blocky rectangular geometry of the pillars. The animation playback was synched to an audio track using Isadora software. So unlike the last light and sound show – where we had to manual synch the separate laptops – for Pillar to Post the installation’s five laptops and projectors responded to the audio independently of any input from the team (once it had been setup to go).

Visitors were able to walk between the pillars affecting the animation by breaking the projection light beam and changing the animation sequences by adding their own audio in the form of shouting, clapping and stamping.

From Pillar to Post (and back again), animation by Stuart Poynton, Shane Mellor and Tim Shore with sound by Marc Bosward.

Strutt’s North Mill Belper

Window_workingsCourtyardWindow_inside_2Window_insideSetupCrawling

Rebirth: light and sound show at Strutt’s North Mill Belper

So the event on Saturday 29 March went well. Sarah (mill manager) and Ruth (engagement officer) reckoned we had about 120 visitors for the show.

While Stuart set up the laptops I measured and cut out film to stick to the windowpanes of the six windows, each window had six panes, so we had to measure, cut and stick 36 sheets. Meanwhile Stuart discovered that the laptops went to sleep after five minutes and we didn’t have administrator rights to cancel the sleep mode.

Still it all worked well. We staggered the startup of each laptop by the time it physically took to get each one going. So a relaxed synchronisation and a kind off delayed playback coupled with running or crawling (in my case) to each laptop to tap its trackpad to ward off sleep. Not live but certainly performative animation happened behind the scenes and largely out of view of the audience.

We are reworking the animation and sequencing for the North Mill’s ‘Museums at Night’ event on May 15. We will project the animation onto eight of the 26 monumental stone piers – all that is left of Jedediah Strutt’s first mill (1786) that burnt down in 1803 – that form the foundation of the ‘new’ mill built in 1804.

More information about Culture24’s national Museums at Night festival here and Strutt’s North Mill Belper

Strutt K

Strutt’s North Mill Belper

We want to reference some of the elemental forces that helped shape the mill including fire, water and iron. Strutt’s North Mill was built in 1804 and is one of the oldest surviving examples of an industrialised, iron framed ‘fire proof’ building. The first mill burnt down.

I’ve used mono prints made during the printing of the first card template (below). I was thinking of iron being cast and the firey furnace and also some of the fantastic footage used in ‘The Big Melt – How Steel Made Us Hard‘ (Martin Wallace and Jarvis Cocker).

This will form part of a larger work made with Stuart Poynton and Marc Bosward (sound). It will be projected onto the windows of Strutt’s North Mill Belper this weekend (7pm on Saturday 29 March).

Strutt’s North Mill Belper

Strut-JPrint 01Print 02Print 03Print 04Print 05Print 06Strutt Animation Process

More animation for Strutt’s North Mill Belper

I’m making very short animation sequences using a convoluted, complex (relatively) slow process.

Method
The gif (top) is the result of drawing the animation in Illustrator, then laser cutting the individual frames from corrugated card, followed by relief printing the frame matrix with black ink onto 40gsm newsprint. When the ink is dry the sheet is cut into individual frames that are then scanned and photoshoped before assembly and timing in AfterEffects.

The process needs refining. I like the finished result but it’s a bit too ordered or regular. I was hoping for more of the unexpected and that the various format changes and translations would add a greater range of ‘mistakes’ or random events into the workflow.

As I make these sequences I’m thinking about slow animation that is beyond the control of the animator and that through an engagement with a range of machine processes (both analogue and digital) I can attempt to foreground both animation’s craft legacy and its constructed nature. A project to make animation visible again.

Maybe animation is sited in the frame after all and not in the gap between frames?

My sequences will form part of a larger work made with Stuart Poynton and Marc Bosward (sound). It will be projected onto the windows of Strutt’s North Mill Belper this weekend (7pm on Saturday 29 March).

Strutt’s North Mill Belper

Strutt_Test_4Strutt_Test_2Strutt_Test_3

Sample images and treatments for ‘Rebirth’ a light and sound projection made with Stuart Poynton and Marc Bosward. A looped animation made from a patchwork of short animation sequences will be projected onto the windows of the first floor and basement of Strutt’s North Mill Belper as part of the celebrations to mark the museum’s Summer Opening event.

The animation will be projected from inside the museum onto six windows that will be covered with a translucent film. A lot of animation to make and stitch together before the event on Saturday 29 March 2014 (7pm).

Strutt’s North Mill Belper

Thornton & Bradford 01 Thornton & Bradford 02 Thornton & Bradford 03 Thornton & Bradford 04 Thornton & Bradford 05 Thornton & Bradford 06 Thornton & Bradford 07 Thornton & Bradford 08 Thornton & Bradford 09

Walking from Thornton to Bradford.

My proposal to South Square Centre’s ‘The Most Beautiful Things Cannot Be Seen’ exhibition has been accepted and so a week last Friday I visited the gallery in Thornton. I decided not to wait for the bus to get back to the train station in Bradford and instead walked down the B6145 from Thornton to Bradford, passing the Brontë birthplace on the way . A marker plaque records that ‘In This House Were Born The Following Members of the Brontë Family, Charlotte 1816, Patrick Branwell 1817, Emily Jane 1818, Anne 1820’. Haworth and the Brontë parsonage (where the family lived from 1820) is about 6 miles north-west of Thornton.

Thornton & Bradford 10

Caution_Philosophy_72DPI_05Caution_Plurabelle_72DPI_01Caution_Philosophy_72DPI_04Caution_Philosophy_72DPI_03Caution (plan form) Tim Shore 72dpi

art:language:location
Cambridge, 17 October  – 13 November

Yesterday I attacked Cambridge with my corrugated cardboard quiver of one hundred arrow shaped ‘cautionary’ paper bookmarks.

My targets were Adam Smith, Darwin, Malthus, Riccardo et al. in the stacks of the Philosophy Library at the University of Cambridge, Sidgwick site.

I didn’t find Smith’s ‘An Inquiry into the Nature and Causes of the Wealth of Nations’ (1776) but I did discover his ‘Essays on Philosophical subjects’ (1795) under Modern Philosophy in the Metaphysics section A32 – A42.

I set to work. Because the bookmarks work best when massed together I clustered them around Adam Smith in a small space between two book stacks and now that the bookmarks are installed I’ve realised that /CAUTION/ is a sculptural and spatial installation that disrupts the grid of the library system.

The bookmarks are oversized and too large to be placed inside books so instead they are positioned in the spaces between the individual books, projecting out of the stack and into the library space. The bookmark’s diagonal motif – seen in its design and structure and its use of metaphor – extends the Cartesian x y plane of the library structure, experienced in book case, spine and shelf by extending along the z axis into three dimensional space.

The bookmarks themselves will be prone to disruption and displacement because the 70 or so placed in the Philosophy Library impede the students access to books. Over the duration of the art:language:location exhibition the installation is liable to displacement, replacement and destruction. Its final form is largely dependent on the engagement and playfulness of the faculty’s Philosophy students.

Or maybe they will stay away and not touch, because when I had finished making the installation I saw that the massed bookmarks presented an angry cluster of dense yellow and black darts or quills to the library suggesting that (the) books are not for reading.

A smaller cluster of bookmarks has also been installed in the stock of Plurabelle Books.

Casimir Lewy Library
Faculty of Philosophy
Sidgwick Avenue
Cambridge
CB3 9DA

Library Opening Hours
Monday to Friday 9am to 6pm
Saturday 10am to 5pm

Plurabelle Books
Homerton Business Centre
Bldg 3
Purbeck Road
Cambridge
CB2 8QL