Carolyn Lefley Talk – Responding to a Live Research Brief on Location

On Thursday 7th November 2013, we had a more relaxed day at university as we started with a short 10 minute lecture about the Global Entrepreneurship Week, followed by an artist talk by Carolyn Lefley, and then we spent the afternoon working in our research groups on the International Project. The notes that I took from both of the presentations can be found below:

GLOBAL ENTREPRENEURSHIP WEEK – 18th November

  • Emanuel
  • Automotive designer
  • Institute of Applied Entrepreneurship
  • Making money from our services
  • Help with funding and developing the idea further
  • Global Entrepreneurship week
    • Event around the world
    • Biggest event to promote entrepreneurship
    • Monday 18th – Think Share Create, Idea Generation Session
    • Tuesday 19th – Personal Branding Competition
    • Wednesday 20th – Ide on a Beer Mat Competition
    • Thursday 21st – Phoenix Den 10am-4:30pm, Celebration and Awards Event 6:30-9:30pm
    • Contact

Next Wednesday:

  • Gabriel S Moses
    • Sequential artist
    • Talk about the work that he has been doing
    • Not a dry academic
    • Intense
    • 1-2:30pm
  • Photography and photography audiences – Catherine Grant
    • Fine art
    • Herbert
    • 1:30 – 4:30pm
    • GRAIN and Creative Shift – programmes in the region
      • Support photography

CAROLYN LEFLEY TALK – Responding to a Live Research Brief on Location

  • http://www.carolynlefley.co.uk
  • Artist in Residence, Timespan Museum, Scotland May-July 2013
  • Artist in Residence
    • Artist who is asked to stay somewhere and asked to create work for them
    • Pros
      • Aim to give artists time to focus and to develop their practice
      • Offer space for personal creative exploration and experimentation
      • Raise artist profile
      • Career development
  • Cons
    • Sponsors and programmers providing them tend to expect something in return
    • Interface with the public in some form or another
    • Time pressure
    • Very public practice
  • Missed the structure of deadlines, working with peers – residence work offers this
  • Previous experience
    • 2005 – Visiting tutor and srtist in residence, Kathmandu (2months)
    • 2010 – Self funded studio residency, Holton Lee, Dorset (2 weeks)
    • 2011-12 – AA2A Residency at Camberwell College of Arts, London (8months)
    • 2012 – Self funded stay at the Artist Flat, Timespan (2 weeks)
    • 2013 – Artist in Residence (7weeks)

About my work

  • Home
    • Poetics of space

Home, 2006

  • The Watchers 2004

The Watchers, 2005

 

  • Semi Detached 2006

The Stairs, Semi-Detached Series, 2006

  • Belonging 2006

Belonging #3, 2006

 

  • Realm 2009-2013
    • Double exposure of landscape and domestic interior
    • Be something we see and we believe it – how can a photograph depict a mythological space?
    • Landscape – mythological area where myths are said to have taken place
    • Timeline
      • 2009 – shot first two interiors and several landscapes
      • 2010-2011 – shot around 20 landscape photographs “site of myths”
      • 2012 (August) – self-funded 2 week residency in Scotland
      • 2012 (March)–2013 (May) – Post production and printing, invited to come back
      • 2013 (May) – Solo show and funded-residency
      • Exhibition in the Timespan Gallery

Realm, 2009

 

  • In Scotland there is a “Right to Roam” where you can look around private areas as long as you don’t break in to places
  • Timespan Museum and Art Centre Residency
    • www.timepan.org.uk
    • Translocation residency
      • Linked to the ‘Clearances’ – people in Scotland were evicted as people would get more money by look after sheep then having tenants; they were forced to change continent; e.g. Canada, New Zealand
      • Given a loose brief
      • Funding (artist fee and materials budget) and accommodation (live/work space)
  • AIM
    • To produce work in relation to Timespan’s Translocation Excavation Project
    • Hugely sensitive subject – should have happened due to poor conditions; shouldn’t have happened as heritage was ruined
  • OBJECTIVES
    • 2 month residency
    • Part of the excavation team
    • Enter into a dialogue between the different Disciplines working on the excavation
    • Engage and work with the community
  • THEMES
    • Notions of home
    • Kildonan Clearances
    • The impact of architectural buildings
  • Thoughts on art and archaeology
    • Parallels of the process of excavation, of peeling back the layers of earth to reveal evidence of the past and the indexical quality of a photograph to record reality
    • Shadows in the mud – describe how different colours of mud can reveal different types of architectural or domestic features
      • Took it to mean the shadows of the people
  • Difference between creative photography and archaeological photography – very scientific and slow
  • Archaeological Plans
    • Language of archeologists
    • More truthful than photographs – distortion of lens
  • Cyanotype
    • Coat up water colour or cartridge paper so that when they are combined they are sensitive to UV
  • Initial research and approaches
    • Collaborated with descendants
    • Archival images
    • Photographed site
  • Decided to do environmental portraiture
    • Descendants took them to where they thought their ancestors lived and photographed them in the excavation site
  • Home within a home
    • Photographing their fireplace and putting it where the fireplace would have been in the excavated building
    • An image within an image
  • Other Residency Activities
    • Photo walk
    • Lectures
  • Key, personal themes taken from the residency
    • “If these stones could talk”
    • Diaspora
    • Migration
    • Home and belonging
    • Abandonment
  • Image fossils – “Diaspora Stone
    • Used matte medium transfer
    • Wanted to use liquid emulsion – paint the object, put it under the enlarger, expose it, wash and dry
    • Print photos onto rocks
    • Creates an image poem
    • Played around with different configurations
    • Displayed them in a heritage museum along with the actual finds of the excavation
  • Translocation Residency Archive
    • Keep it all together – drawer; “like pages of a book within the drawers
    • A record of residency
    • Future – looking for funding for book project
  • Challenges of being in a remote location
    • Drawers
    • Dark room
  • Summary
    • Intensive seven weeks of personal development and research
    • Collaboration with experts in other fields
    • Fairly broad brief that related to practice
    • Inspiration of learning about new disciplines
    • Pushed herself out of usual practice
    • Experimentation
  • Finding and Applying for Residencies
    • Links being put on Moodle
    • Examples:
      • A-n
      • Art quest
      • Four corners
  • Before applying
    • Is it suitable for you and your practice
    • Maybe better for when you graduate
    • Only do it if you think it’s going to help you
    • Can you afford it?
    • There are residencies that you can do from your own home
  • The proposal
    • Why should they choose you?
    • Usually need: project proposal, CV, examples of previous work
  • Have a look in own time

Questions:

  • Did you feel like you had a lot of freedom?
    • Yeah, had a lot of freedom but had to be very open with where I was
    • Slightly difficult to negotiate was the sensitivity on the clearances – didn’t want to make a political piece, had to be mutual
    • Looked at things that related to her practice
  • What made you start looking at rural and derelict areas?
    • Did a fine art degree – wants to make people think about the subject
    • Fell in love with photography because she didn’t do a Photography degree
    • Like a eureka moment
  • How did the local community respond to the work?
    • They really enjoyed it
    • Liked the fact that the heritage museum actually had art within it
    • Loved the photos with people in it – something you can instantly understand
    • The way she spoke about it in talks – she always says why she does things; some wan to leave the imagination to the viewer
  • Did you get permission on all of the derelict houses?
    • Only got permission on some
    • Museum put an open call on their Facebook site to get locals to come and show her their favourite ruins
    • Really should get permission
    • Need to think about safety – possibly put herself in some danger
    • England doesn’t have the “right to roam” law
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