Codd Monument, Henny Burnett, 2021, cast concrete, rubber, marble, thread 5cmx5cmx2cm Hiram Codd (10 January 1838 – 18 February 1887) was an English engineer born in Bury St Edmunds. In 1872, he patented a bottle filled under gas pressure, which pushed a marble against a rubber washer in the neck, creating a perfect seal. There is a second personal monument Sight: to conform to size request by groving I used an old eye drop bottle to cast from. I take eye drops to stabilize my glaucoma, the small half sphere attached by the pink thread is cast from a contact lens case and the tread symbolizes the optic nerve. Codd Monument has been placed in Churchgate Street, the poems are by Marianne Habeshaw and Urve Opik. Happy round face,
when writing, you don’t worry about shuffling a line around lines that are also moving. Showering isn’t relief patter because you need no breaks from life. No call for hiding mirrors or phones, your ego craves nothing anonymous. Never wiping clean summer lines, or caring about augmented pillars officially standing. Just your place at the craft table, with a slapdash Pritt stick and a friend welding the scissors, just folding pipe cleaners into a circle until the job is done. Keep the pink string and marble and flip it around your finger when getting told off, knowing failure helps nothing. When you think of this string, your cheeks bunch like Grandma’s curtains. All you want is to be is with family, grass swaying and smiles like umbrellas which meet as machinery does. When they grin at you, it is like your eye has caught a fish. Marianne Habeshaw Codd Monument (to Hiram Codd) A cork may stop the spill, hold water tight– But over time the stealthy gas escapes its liquid bind in tiny sighs off light. It takes a heft of patience to reshape the effervescecent ever present Now, and hold it lulled until the time to wake those tiny urgent pulses and allow the bottled-up excitement to erupt in frothed exuberance. The question how to hold the bubbles still and interrupt their eager upward gust was made concrete and answered by a tender kiss that tucked anticipation seamlessly between a marble pressed into a perfect seal. This circuitry of tension and release repeats itself as ouroboros wheel of fleeing moments loosened and resealed. Urve Opik Henny Burnett is a mixed media artist who lives and works in Bristol and London. She attended Byam Shaw and Edinburgh Colleges of Art. She has exhibited nationally and internationally, undertaking residencies in Italy and Britain. She has won awards from Juliet Gomperts Trust, The British council, ACE and travel grants to Canada and USA. Recently a finalist for the Aesthetica Art Prize 2021 and awarded a commission for new work by Procreate Project funded by ACE. Twitter @cicatrixart Instagram @hennyburnett www.axisweb.org/p/hennyburnett/ Marianne Habeshaw is an emerging, contemporary poet living in Peterborough/East London. Her work reflects on learnt social behaviours and internal conflicts, written with intimate, frank humour and striking, fulsome imagery. Marianne’s first poetry collection Blather Gaps has been recently been awarded the TLC Free Reads Scheme. Habeshaw's poem The Scene is part of LADA, Something Other latest chapter Visions; the poem Sandpaper Hands is included in their upcoming Unseen! 4 with Unseen Words and Visuals Collective; poems Puffer Trains and Obtainable Anxiety are part of Gold Akanbi’s upcoming collection Unbound. Instagram @razmaztaz Urve Opik studied art history at Manchester University and the Courtauld, and worked for many years as an Arts Administrator. She became increasingly interested in the life psychotherapeutic in the late 1990s, retrained, and now practices as a psychotherapist. She retains a deep interest in the visual arts, and has a quiet writing practise running on the side and weaving through her life.
0 Comments
Today three new Monuments to Boredom gain recognition, in Churchgate Street, Skinner Lane and St Andrews Street South - a particularly boring street it seems. Thanks to Irene Perez Hernandez I at least will never be able to take a walk again without coming across these everyday monuments.
Digit Blocks, Hermione Allsopp, 2021, plaster, thimbles, paint, varnish, 5cmx5cmx5cm Hermione Allsopp's Digit Blocks are gathered at the Constitutional Club and in Bridewell Lane. IF COLSTON WERE STONE “How are the mighty fallen?” I have literally fallen. They have written over my feet And pushed me into the water. I wanted to swim, except I sank like a stone. Because I am a big stone. This alabaster gaol is not of my choosing, constraining my colour like a sealed inkwell, Unwritten words from an unused quill. I am petrified, fossilised, literally set in stone, Because I am a big stone. To remember my deeds, you put me In a park to collect pigeon shit, Then, to punish, locked me in a museum. But virtues or vices, my deeds are part of you. And so I am become your millstone, Because I am a big stone. Natalie Low Digit Blocks, Hermione Allsopp, 2021, iron filler, plaster, thimbles, paint, varnish Mini Monuments Bevelled blocks, of balanced proportions, soothing in their sameness and tactile, like marble. Each one faux finished, layered like sediment compressed by geological time. Little dips collect coloured slip which pools in the puddles, so each one is distinct. Moveable monuments able to commemorate, and venerate values as they change. Deborah Bowkis Hermione Allsopp makes sculptural work by collecting objects and furniture and re-creating them into new forms or compositions. These are familiar, known, domestic items that have been discarded in charity or junk shops – not, inert materials, but ones that carry collective attachments, memories and meanings. As sculpture, these re-done, or un-done-up objects begin to exist as something else and are intended to raise questions about the value and material nature of every day objects. Through the choice of objects, and the techniques she employs, she explores the boundary between repulsion and attraction, ideas of taste and notions of desire. The work also reflects on wider topics related to consumerism, psychological and physical interiors and exteriors. Twitter @HermioneAllsopp Instagram @hermioneallsopp Facebook Hermione Allsopp www.hermionallsopp.com 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 is a regular contributor to CollectConnect exhibitions, both as a writer and artist/maker. Instagram nat.low Facebook Natalie Low 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 Sandra Lane's second sculpture to celebrate the everyday and overlooked decorates Angel Hill. A word In your little pink shell-like. It may seem nice-iced, but don’t risk a tooth, don’t dent a denture. For though this swirly nugget seems so sweet, I fear it will not dissolve with the quick tongue-tip-hit that you imagine. The cake that it graced was a permanent cake. A hard-as-rock cake. This has toppled off to torment the taste buds with its twee teasing twist and Bake-Off colouring. Yum, yum, crunch…ouch. Lynn Whitehead 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
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. https://www.suffolkartlink.org.uk/meet-artist-lynn-whitehead/ Twitter @LynnyWhitehead Instagram @lynnwhitehead96 Facebook Lynn Whitehead Ruined, Sarah Sabin, 202, Plaster of Paris, cast and carved. Varied forms as multiple of 4. Approx. 5cmx5cmx5cm. Informed by the destruction of cultural artefacts from conflict, and other forms of deliberate damage. Each object is from the human body. Sabin's sculptures balance in the ruins of one of the richest and most powerful Benedictine monasteries in England. Stones Walking
One day we’ll all look up and see the stones walking. One by one, slow and monumental they wake, stretching time thin again. Gently testing the rigid muscles in feet and mouth, groaning through lips that were never to make a sound. Still, strong stone that would never bow now begins to bend at the hip, then straightens out again. Still, sustained by a stone heart, alien ancient Romans and Greeks, their path through pavement is cast and carved. Old but alive, straining under the weight of constant watching eyes. Dust breaks and falls from their bones, statues of stone people walking, cracking, crumbling and leaving a trail behind. Faith Falayi NO LONGER A MONUMENTAL SILENCE We had to face-up to it, no longer guessing at what it meant, as first an ear, then a nose, followed by lips and two toes, individually cast in plaster, were parcelled-up and sent. ‘Let that be a warning’ the accompanying message read. ‘Next time it will be the whole body, followed by the severed head.’ ‘No more ‘hear-no, speak-no, smell-no evil ‘tip-toeing round the white man’s past, ‘but pulling down his monuments ‘bit by bit, piece by piece, ‘cast by plaster cast’. Phil Barrett Sarah Sabin's work has been concerned for a number of years with 'digging about under the surface'. This often involves a gathering of histories, taken from both locations and people, and a dissecting, and reassembling of them. Methods and processes used in Archaeology often play a part directly in the research and making of her work, and she uses a wide range of media. She has an MA in Fine Art from Norwich University of the Arts (NUA) Twitter @sarahesabin Instagram @sarahesabin www.sarahsabin.co.uk Faith Falayi Faith Falayi is a young poet based in Peterborough. In 2020 she was selected the first Peterborough Young Poet Laureate. https://syntaxpoetryfestival.wordpress.com/peterborough-young-poet-laureate-2020/ Phil Barrett taught art for 27 years, then retired to his home county of Norfolk where he concentrates on writing. He teaches creative writing, in schools and libraries across North Norfolk. He has won prizes and commendations in national competitions, and has been published in anthologies including In Protest: 150 poems for Human Rights (2013), Word Aid Anthologies Did I Tell You? (2010), and Not Only The Dark (2011), the Ink, Sweat and Tears webzine, and Poems in the Waiting Room in 2016 and 2019. In January 2017 he published a book of poems, Writing Me, about growing-up. |
Barbara DouganI am an artist and the curator for grove and groving. This blog is groving online, and records the artworks placed on the streets of Bury St Edmunds along with responses to the work by commissioned writers. Archives
September 2023
Categories |
Proudly powered by Weebly