NOTE ON ADDITIONAL SUPPORT FOR ARTISTS
During the first residency, it emerged early on that the resident artist Del Whitticase required support in a number of different ways – with the workshops, to advise him technically about projection, to physically assist making parts of the installation and to help with the workshops.
After a review session, we looked at a number of solutions to put measures in places to support Del. These included the following: -
• Identify a specialist in projection because this was a medium that Del had never worked with before
• Identify someone with sewing skills who could help to put the sewing group at ease, preferably a women because of the cultural sensitivities and who could help with installation of the community’s artwork
• Someone who could help liaise over the launch and support the practical steps to be put in place for the launch
MERKINCH ART GROUP & ARTIST, CLAIRE RICHARDSON
Del proposed bringing in artist, Claire Richardson to assist with Merkinch Art Group.
Claire is a young Inverness-based designer who worked in textile design and now does some youth work and window installation for a large local shop. She has good practical skills and was especially helpful with the installation of the umbrella display.
She had applied for the residency post and had been unsuccessful, was enthusiastic about gaining additional experience and working with Del was a useful opportunity for her. We met and she showed her portfolio, the parameters of her role were agreed. Where there was some additional negotiation was the degree to which she would take on Del’s role. Del was keen to pass on responsibility for Merkinch Art Group workshops over to her completely but given her lack of experience, this was not felt to be appropriate. Supporting Del was a useful role but her skills were not suited to taking on responsibility for group work on her own, and Del remained involved with the group.
ART-IN-MOTION
Re projection, we contacted Arts-in-Motion, an established company with many years of projection, theatre and performance experience to help Del with the images, hire and programming of projection equipment, assembly and set-up of the installation. Several members of staff were involved from AIM in supporting Del and were key to transforming Trinity Church and creating ‘System’. Without Arts-in-Motion’s involvement, it would not have been viable for Del to have successfully realised the installation.
COMMON THREADS – DESIGNER JEN CANTWELL
Jen Cantwell is a practising artist, based in Inverness who had developed a design business in the last few years called Sporran Nation. Jen has extremely good people skills, is positive in her outlook with practical experience of relevance to the sewing group. After Del’s initial introduction and presentation to the group, it was clear that he would need to have support given the different outlook and life experience that he had from the other members of the group. Gender also played a part in this, in that the women in the group have children, have strong community ties and are coming to the group partly for social interaction & to support each other. We introduced Jen and Del to see if there might be an opportunity to work together, provide del with the support that he needed, give Jen a boost from working alone in her studio and bring her into contact with a vibrant & unusual group of women. An agreement was formed with letter issued outlining & clarifying Jen’s role. A fee for 6 weeks was agreed and Jen began attending weekly sessions. Since the conclusion of the project, she asked to join the sewing group and has been attending as an active member.
SARAH GRANT – PUBLICITY ASSISTANCE
Sarah Grant was enlisted to assist with publicity. Sarah has recently left a marketing post with Inverness City Centre Management to do a post-grad course in European marketing. Her local knowledge and experience working with the local press combined with an easy manner were relevant factors in making contact. A fixed fee was agreed and Sarah assisted with press releases, with identifying musicians for Del’s launch, and liaising over print.
GEOFF BROADWAY – WORKSHOPS & INSTALL
During the second residency, there were a range of five workshop ideas with a presented by Geoff Broadway which would have been potentially inclusive and embracing of the spiritual theme. We were drawn to three of the five ideas proposed and wished to put support in place to help realise one (or possibly two) of his ideas. However, Geoff opted not to progress these since he was deterred by what he perceived as extra time pressure. To address this issue, we suggested bringing someone in to take principle responsibility for the workshops so that after an initial briefing, this could be delegated completely. However, Geoff considered that this would have still required his time and instead chose to work with a small group of offenders at Inverness Prison.
Hence the workshops ideas were not progressed. However, we feel that it may still be possible to introduce one of these ideas (eg. musical desert island discs of special moments in your life to share, etc) later on in the project, and we are still enthusiastic about bringing in these ideas somehow.
Technically, Geoff identified several people through St Stephen’s and Old High to help install joinery needed to transform the church hall for his installation. In addition, the project paid a fee for some technical help he received setting up. Claire Richardson had also offered to be of help for install & take-down but had limited time in the end.
Other aspects of the exhibition which were installed along with Geoff’s installation ‘Small Wonder’ were undertaken by Susan Christie, Annie Marrs and Fin Macrae. The main challenge presented to the group was working with a non-gallery space that is regularly used for all manner of community activity. The walls have seen a lot of traffic and new lighting was introduced to unify and define the area. The inmates’ work and Fin’s accompanying suspended photographs were installed in arched walls parallel to each other. This area was selected to create a cluster of artwork in an otherwise cavernous space and provide a sense of context for the workshops.
KAREN RANN – SUPPORT BY ROSIE NEWMAN & SARAH BARNES
During the third residency, Karen Rann needed help to support and extend the work that she had been doing with schools and other community groups. Two artists were identified and introduced to Karen by the Project Director - Sarah Barnes and Rosie Newman. Sarah supported Karen during two schools sessions but was not felt appropriate for taking on more of a leading role with groups. Rosie has embraced the facilitator role with alacrity and has been working well with Karen, with the groups, the churches, etc. A note is attached to provide an overview of the nature of her interactions. Her role has been clarified, outlined in writing and fee agreed.
Rosie has worked a tutor, as a practising artist and has operated in a supporting role with a range of artists, sculptors and film-makers. She has an easy manner and has enjoyed working in partnership previously with some highly eccentric and challenging practitioners. She has a positive outlook and would, we felt, be a valuable foil for Karen. This has proved to be a highly productive and creative partnership - Karen has been extremely positive in her comments about Rosie’s contribution to the project.
BENEFITS OF FORMING ALLIANCES
It is a unique opportunity for artists locally to have contact and work alongside professional artists from outwith the Highlands who have been selected to work on the project. Part of the benefit of forming these alliances has been to forge connections and to give a creative boost to local artists who are perhaps in need of something new to renew enthusiasm for their own practice. This was clearly the case with Jen Cantwell who has found the supportive environment of the sewing group extremely valuable.
Given the extremely tight timeframe of the residencies, we had to identify individuals or orgs and have people on board and in place for 5 –6 week sessions half way through the residency. Within this timeframe it was not practical to advertise publicly and recruit through websites, etc. Experience and existing networks became vital tools for putting measures in place to support the resident artists.
As a model this has worked well and those involved have benefited in many ways. It also helps to extend awareness and interest in the project.
S. Christie
Project Director