Day 15 saw the final piece of artwork placed out in Bury St Edmunds for groving 2020. Many of the works are still in place to discover, some of them changed by the weather, some have been moved - evidence that people are enjoying the treasure hunt. If you find one do take a photo and post it #groveprojects. 

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On day 15 of groving: Silver Spoon, the second of Sandra Lane's seductive sculptures...? toys....? sweeties....? is in the Abbey Gardens, adding to the attractions. The poem written in response is by Ed Arantus. 

To taste you is to want you
To sparkle and to lick you
To see you I desire you
A conflict that can love
But I feel the beat
Of a heart that bursts full of
A sweet snail’s pace arms race 
 
Oh missile marzipan
You fire as fast as you can
Of life's sweetest candy, don’t lose it?
You might never taste me again
 
To taste you is to fear you
I sparkle to be near you
You lick me, and desire me
Sweet kisses saved for two
There you go again
Don’t forget that we are friends
Too late to make amends
 
Ed Arantus

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

Ed Arantus is a conceptual artist and writer. He published his first work in the Censored Zine in 2010 and has exhibited his work ever since at venues like the Contemporary Arts Research Unit in Oxford and the Museum of Futures in Surbiton. https://edarantus.blogspot.com; Instagram @edarantus

Jacquie Campbell's 'Sugarland: Field Study. Manufactured in the East of England' is nestling in The Great Churchyard. It was delivered for the exhibition in a box, which is an extension of the work, so it has to be included here - even if not less than 5cmx5cm! The response is by Deborah Bowkis.

Barbed spikes wound 
with wild grasses conceal 
a paper bowl gripped in a scaffold.
 
A bowl which speaks in weighty words 
of industry, from ancient places, 
in a landscape of barley and beet.
 
Not a silvered Sugarland
of candied pleasures, but a working world, 
bound in the fabric of Suffolk.

Deborah Bowkis

Jacquie Campbell As someone who is simultaneously baffled and fascinated by the everyday world, my artistic activity allows me to think through the questions that niggle at the back of my mind. I am often absorbed with how we perceive and connect with barely visible and overlooked processes that exist within our surroundings and everyday life. I construct spaces, journeys and sometimes objects that invite ‘noticing’. I am interested in how we can practice ‘deep looking’, beyond the visual, using all our senses. I wonder whether a stronger understanding and better connection with these unexamined processes would lead to different ways of being in the world: a sense of wellness and a new environmental conversation.
​Instagram @ jaccampbellrojo @flow.east @wildhabits2020 www.jaccampbell.com

Deborah Bowkis has published through competition prizes and in anthologies, including Ink Pantry Sea of Ink and Voices of the Brecks. She currently works as an academic and has taught creative writing courses and workshops in Suffolk. In 2016 she set up a thriving creative writing group, Left to Write, in Bury St. Edmunds. 
​https://greenacrewriters.blogspot.com, http://www.breakingnewground.org.uk

The second of Henry Driver's perspex sculptures, a microscopic slice of sugar beet, is placed at the Abbey Gardens end of Northgate Street. The response is by Natalie Low.

​Privilege is not like a pie -  
something you can slice up 
and share out so everyone gets a bit.
 
It is more like a virus
(with symptoms of blue blood),
invisible and some people are immune.
 
It could even be a gene
That swims through generations
And occasionally there is a mutation.
 
If we could freeze-dry it
It would taste cold and sweet
Like a frozen raindrop.
 
But if you try to grab it
It snaps like French toast 
And coats your fingers with dust.
 
Natalie Low 

Henry Driver works at the intersection of art and technology. A commission for a permanent work for Cressing Temple Barns by Essex County Council in 2019 demonstrated his interest in organic forms and changing agricultural practices. He has exhibited widely internationally and in galleries in the UK included Tate Britain, Tate Liverpool, the Barbican and The Whitechapel Gallery. Most recently he was selected by leading curators as one of the top fifteen young artists working in the UK, for the Kleinwort Hambros Emerging Artists Prize 2019. www.henrydriverartist.com; Twitter @henrydriver_; Instagram @henrydriver_

Natalie Low enjoys putting words on paper and believes that everyone has a book of some sort inside them. She has published two chapbooks, Dementia (2015) and School Run (2017). She contributed to groving: Acts of Resistance in 2019 and is a regular contributor to CollectConnect exhibitions, both as a writer and artist/maker. Instagram nat.low

Sarah Sabin's edition of four small sculptures acknowledge the 'dubious legacies' of many fine buildings and stately piles. They have been placed outside houses on Crown Street, Guildhall Street, Honey Hill and The Great Churchyard. The response is by Natalie Low. 

Then, as now, I lay on the bed
My face against the sheet
Remembering time and heat and love
And days of sugarsweet.
 
A garden party, summer day,
All stained with sounds of June,
I snuck into the cool to eat
The sugar from the spoon.
 
I fell in love and so let in 
That fickle butterfly
Whose pink tongue pierced my skin to suck
The honey-sugar dry.
 
While outside years were going by
The child was inside still
And always learning newer ways
Of sugaring the pill.
 
And now I’m far too old to care 
What’s lying underneath.
I used to fret, but now I don’t, 
That sugar rots the teeth.
 
So now, as then, I lie in bed
My face against the sheet
Remembering time and heat and love
And days of sugarsweet.
 
Natalie Low

Sarah Sabin is an artist and educator living and working  in Colchester. My work has been concerned for a number of years with 'digging about under the surface.' I interpret and reimagine places and their histories, through making, public participation, and site specific projects. I use a wide range of media in two and three dimensions. I don't like to pin myself down to a particular material, often choosing what feels to me, most appropriate or with a connection to a particular  site. 

Sarah studied BA  Fine Art at  Sunderland University and has an MA fine art at NUA - Norwich University of the Arts. Previous Commissions, exhibitions and residencies include Firstsite, Colchester; the Foundling Museum, London; UCL institute of archaeology;, and a grove residency. Twitter @sarahesabin Instagram @sarahesabin www.sarahsabin.co.uk

Natalie Low enjoys putting words on paper and believes that everyone has a book of some sort inside them. She has published two chapbooks, Dementia (2015) and School Run (2017). She contributed to groving: Acts of Resistance in 2019 and is a regular contributor to CollectConnect exhibitions, both as a writer and artist/maker. Instagram nat.low