ARTSPACE / STILL WATERS

Jim was back in the cottage today doing more lighting and motion tests and building further figures. He's looking at a cast of 4 or 5, and another took his place in Alex's set today...clothes and clay will follow, We had a steady flow of visitors to see Iain (below) and us and look around the building.  These sessions are a great way of  letting people into Jim's process and establishing the cottage as a place where interesting stuff goes on...it;s a great curiosity for many, and children in particular like the scale and other-worldly time capsule  feel. And it's a nice place to work. It's  been a good day. Here's the results of the test...limbs, clay hands and face working nicely... https://drive.google.com/file/d/1stqCMrb2msp55TjiGEziwPyzSDmruZV-/view?usp=sharing  

Int. Pub Room. Alex's set for Jim's animation, by the light of a mobile phone.  This is modelled on the Lots pub AKA The Askam Hotel, and is the location for a pivotal scene in Jim's  family drama. The last set photo shows the smaller exterior model, and after that we see Jim and Alex planning with aid of tinfoil figures and a pub table. We will be at the Cottage on tuesday to do more building and tests, and maybe some music, so keep an eye out for a poster. E xt.

  Alex Blackmore's Askam map, unlabelled, in advance of a bit of research / elicited evidence gathering. Space Foraging. "the rigid memorialisation of the past can inhibit conceptualisations of place that emphasise change and flux, potentially making it more difficult for people to accept and adjust to current and future change."  (Mining Memories, Rebecca Wheeler. Exeter 2014 ) Thus no place is static but partakes continuously of its own change by recalling its past and projecting its future ..  The lack of any formal heritage site here suggests an absence of any hierarchy of evidencing. T here is more than one narrative here, not just one materiality, not just the human experience.   Land has agency. It has its own story, evoking and remembering the past , and our actions within it.  Walking, engaging, talking within a place makes it a conduit for  vernacular histories. The landscape - shifting, familiar, accessible, dangerous - transmits nuance and intricacies; with th