Alison Carlier's hybrid object - a silver sugar shaker top fused with antique speaker fabric - sits outside that retro cafe Harriet's. The evocative words come from Lynn Whitehead and Phil Barrett.
"Come play, come play"
Your shape and shine say.
"I'm neat, petite - and...
I fit snug in your hand!"
Like the knob of a cane
You invite me again
Come, rattle and shake me
Go on, you won't break me
A shuffling beat
We'll make music so sweet."
As you make my palm whole
With your silvery knoll
We shake rattle and roll
Shake, rattle and roll.
- to sweeten those covid blues.
(i.m. Peter Green and
Peter Green’s ‘Fleetwood Mac’)
Shake that sugar shaker,
you need to
shake that sugar shaker,
come on and
shake that sugar shaker,
you have to
shake that sugar shaker,
so go and shake that sugar shaker,
cause everything sours sooner or later.
Alison Carlier has an MA in Drawing from Wimbledon College of Arts. Her practice is wide ranging, informed by her experience working in occupational therapy and with a particular interest in voice - she won the Jerwood Drawing Prize in 2014 for a sound piece. She was nominated for the Max Mara Prize for Women 2016, she was the grove artist in residence in 2015 and the Alexandra Reinhardt Memorial Award Artist in 2016. Instagram @alisoncarlier Twitter @carlier_alison www.alisoncarlier.com
Lynn Whitehead started life as an actor/musician and worked all over the country for years. Later she side stepped into theatre-education working with the National Theatre, New Wolsey and Theatre Royal in Bury St Edmunds running youth theatre groups and working with community groups. She fell in love with storytelling and likes to collect and tell traditional stories from all round the world. She has an MA in playwriting. Twitter @LynnyWhitehead Instagram @lynnwhitehead96
Phil Barrett originally trained as a visual artist. He has won prizes and commendations in a number of national competitions; has read, and led creative writing workshops, for adults and children, in 35 schools and 10 libraries. In 2017,2019 & 2020 he has had poems selected for Poems in the Waiting Room. He is a professional member of NAWE.
Barbara Dougan's eight sugar cube sculptures were made for the film 'Sweet Equivalence' vimeo.com/447787836, and have been placed outside eight takeaways and cafes in the centre of Bury St Edmunds. The responses are by Tim Welton and Phil Barrett.
The Animus Came in Three by Four
Instantly animate, endlessly shimmering,
Using Blighty’s distant empire’s number system.
Once dull as earth now leached pure white they drill on pink
Albion’s afternoon prandial pleasantry.
Long after the Cubists
had demolished the world
Carl Andre set about
rebuilding it –
brick by brick.
Simple as a
using sugar lumps,
the same number
of identical units
(lumps or cubes),
and piling them
in different symmetrical
configurations or stacks.
How many different
can you make,
with the same number
of bricks or cubes,
forming perfect ‘Equivalents’?
Or as Marcel Duchamp put it
‘Why not Sneeze Rose Sélavy?’ – *
neither he nor Carl Andre
sweetening the taste
for modern art.
* Why not Sneeze Rose Sélavy? is an 'assisted Readymade', of 1921 by Marcel Duchamp. The birdcage has been 'assisted' by the addition of the other objects – including 152 white cubes (made of marble, but resembling sugar cubes).
Barbara Dougan is an artist working mainly with film, a curator (grove, groving) and visual arts consultant.
Twitter @barbara_atgrove Instagram @barbara_at_grove Facebook barbaraaatgrove https://barbaradougan.com http://www.groveprojects.org www.groveprojects.org
Tim Welton is a theatre practitioner who, as an actor and director has worked on numerous productions including Light Shining in Buckinghamshire (Royal National Theatre) London Road (Royal National Theatre) Dancing at Lughnasa (Garrick Theatre) and Cabaret (Lyric and Savoy Theatre and National Tours). He has written for theatre (Carnival UK) and online digital media (BBC Radio Jam), and a new musical commission with Three Pin Productions, the brainchild of West End Performer Ruthie Henshall and Musical Director Paul Schofield. Twitter @timwelton https://uk.linkedin.com/in/tim-welton-3711742b
Originally trained as a visual artist, Phil Barrett has won prizes and commendations in a number of national competitions; has read, and led creative writing workshops, for adults and children, in 35 schools and 10 libraries. In 2017, 2019 & 2020 he has had poems selected for Poems in the Waiting Room. He is a professional member of NAWE.
This morning Sandra Lane's sculpture is cocking a snook at the allure of beauty salon, toy and gift shops in The Traverse; Kevin Acott reflects.
From ‘Transformation and Escape’ by Gregory Corso
I reached heaven and it was syrupy.
It was oppressively sweet.
Croaking substances stuck to my knees.
I think sex – how can you not?
I think of the word ‘succour’. I think of the word ‘saccharine’. I think of the fiddling-with-Blu Tack-while-boredness of grey classrooms. I think of the rushhhhh of sugar pouring into a grateful container. I think of my Mum’s cooking bowl and of licking the sweet cake-mix inside. I think of a misshapen world on top of a mountain. I think of the baroque and want to spell it barock. I think of ‘The Beatles’ being named one of Rolling Stone magazine’s ‘Dumbest Band Names In Rock History’. I think how different my life might have been if Kerouac and Ginsberg had never existed. I think of the taste of Motown and the sound of a good bourbon. I think of seeing the photograph of men working the fields in North Carolina and their stern beauty.
I think sex – how can you not?
Sandra Lane worked as a journalist and a photographer prior to attending art school. She graduated from BA Fine Art Drawing at Camberwell College of Art in 2013 receiving the Camberwell Acme Studio Award. She completed an MFA Sculpture at the Slade School of Art in 2017 followed by the Slade Summer Residency and the Sydney Nolan Trust Residency. Recent projects include: Her Mit Projects, February 2020, Collyer Bristow Graduate Award Show, Exceptional, November 2019-February 2020, Trophy, Simsmith Gallery, July-August 2019, What Kind of Spirit is This, Simsmith Gallery May-June 2019. Twitter and Instagram @artysandralane www.sandra-lane.com
Kevin Acott is a writer, lecturer, whiskey lover, and Spurs sufferer. He’s a sort of left libertarian/sort of anarchist who feels strangely attracted to French chansons, Greenland and Joseph Conrad as he gets older. His publishing, blog and projects can be found at http://www.kevinacott.com/. Twitter @speranza6162 Instagram @speranza6162
Day 8 of groving: Silver Spoon sees Amanda Loomes immaculate plinth placed in Chequer Square. The responses are by Lynda Turbet and David Dougan.
Men fought for my delight
craved my deadly melting,
tongues greedy for gold;
white sails billowed from Africa
with cargoes of clanking shackles
built fortunes, mansions, schools,
founded on crumbling crystals
stained with blood. Do not judge;
I am what you made me.
Silver Spoon - how do you choose
Who shall win and who shall lose
In this fickle lottery of life? And why?
When so many strive yet fail to fly
Into a blessed world of ease
Where they may do as they shall please.
Your precision of space and purity of form
Give no hint of why you favour or scorn
Those who deserve more - or less.
You may sugar the pill and stress
The nature of life but who could guess
Who will win the sweetness of your success?
Amanda Loomes is preoccupied by watching other people at work and listening to what they have to say about the world. She is particularly moved by the effort of people whose work goes unnoticed or that is difficult to see, work that becomes erased or undone. She uses the experimental documentary form to consider the frailty and resilience of human endeavour, imbuing materials and landscapes with the stories of the people who made them.
Amanda graduated from the Royal College of Art in 2006. She has exhibited widely in the UK including Jerwood Space, London and with HOUSE and Photoworks as part of Brighton Festival. She has undertaken commissions with the National Trust, producing the film Keepers, about the estate workers at Lyme. During 2019 her film installation The Custody Code toured to forests in the UK as part of The Forestry Commission’s centenary celebrations. Instagram @loomesamanda Twitter @AmandaLoomes www.amandaloomes.net
Lynda Turbet observes the world from North Norfolk and tries make sense of it all through writing.
David Dougan had a career in journalism, television and arts management. He now concentrates on writing and lecturing, on history and art history. He is the author of a dozen books, including Bury St Edmunds: A Rebellious Town.
There are fifteen groving artworks in total, that are being placed out on the streets of Bury St Edmunds. Halfway through the project there are eight pieces of work to be found. They are marked on this map and most are still there to discover.