Eye of the River by Jill Randall

Monday, 1 December 2008

Kerry Morrison - Environmental Art

My approach would be that of process based investigation of place, which will hopefully lead to finding hiddenplaces. What happens once I find the hiddenplaces will depend upon the circumstance of the place, inclusive of people, wildlife, topography, etc.

In 2008 I designed and built a push along portable studio. My little studio enables me to explore places, fully equipped with all the artistic paraphernalia that I may need to record and notate elements within the landscape that attract my attention. There are bespoke spaces within the studio for a map (external clip mount), a microscope, digital sound recording equipment (external mount), a time delay camera (housed inside the unit – hole that camera lens fits through), A2 paper (tray), drawing board, collecting vessels, drawing equipment, and other ‘stuff’.
During some of the programmed festival dates I would like to perambulate my portable studio through the streets Burnley. Whenever anything catches my attention, the cart will be pulled to a halt, and parked up. It’s doors and draws will be opened and the necessary paraphernalia for recording what has caught my eyes or ears will be removed and used.

The action of perambulating will be only one element. Another element will be the pauses, the times when, and places where, I stop, to look, to listen, and to record. The actions undertaken within the stationary positions create spaces for the public, the curious passer-by, to interact with me. People are most likely to approach me, and ask me what I am up to, when the cart and I are stationary. These are the times when conversations will happen, the times when I can ask people about there special hiddenplaces

As I journey I will be accumulating artifacts and anecdotes.

statement of interest

I am interested in hiddenplaces because within my practice I respond to environmental issues, and public concerns within a given locale. Usually the ‘locale’ is not my own, but hiddenlaces presents an opportunity for me to explore my own geographical area.

Conversation lies at the heart of my working processes. It is through dialogue that my work evolves. Conversations during the residence will enable me to develop new work specifically for, and about the hidden places and spaces of Burnley

about my practice

I am an environmental artist who works within the public realm, “that space where anyone can be, or can go – usually free of charge”. I create work in response to environmental issues within a given locale and global context. Since 2000 I have worked in collaboration with ecologists, environmental scientists, landscape architects, and conservationists. (www.morrison-prowse.com )
My approach is process led, socially engaging, art/ecology practice that investigates places and the communities that inhabit them. Collaborating, combined with reading scientific research papers has enabled me to develop a methodology for recording, evidencing, and evaluating projects. My aim is to navigate through the complexities of the social, environmental, and economic, via live art and happenings, action installations, temporary and semi-permanent public art, and writing.

As process led practice, my projects often take place over periods of time.
In 2006 I began an investigation into brownfield sites in Liverpool, mapping and evaluating over 100 sites for their value for experiencing nature within an urban environment (www.liverpoolwastelands.blogspot.com). This work is still in progress, and has developed into an art/science team investigation into a contaminated brownfield site in Liverpool.

Earlier this year I competed a commission for Independent Photography in Greenwich, London, as part of their Peninsula programme. The project, “100 cauliflowers – 85 here, 15 elsewhere”, explored the possibility of providing growing spaces for residents in the area. (www.100cauliflowers.com). Through the process of community engagement, and project delivery, the work became a discussion point amongst residents and local councilors for the inclusion of allotment provision in housing developments.

Public realm projects in 2008 have included: Gong-ju Nature Art Biennial, Korea, Temporary Gardens, Aachen, Germany, PVAF Forum, Scotland, and the nature of bury at commissioned by Bury Art Gallery.

Past work includes site specific commissions and exhibitions in the U.K., U.S.A., Korea, Japan, Czech Republic, Finland, France, Macedonia, and Switzerland.

I’d like to be considered for the project…

Because it is of interest to me, and because I believe I can discover some very discrete hidden spaces through my method of artistic inquiry. I have attached an approach that I would like to undertake, an approach that could lead to some interesting and unpredictable finds in Burnley.

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