this important for your artistic development?
Since 2006 I have ‘demonstrated’ phrases through performing them, transforming words into action. This RnD activity is important because it fulfils a similar role to that of an employee receiving professional development and will be the 1st time I’ve sought support of this nature in order to make pragmatic progress. Commissioning mentors to constructively criticise this RnD will be a new way of working for me, operating outside my familiar furrow to consciously challenge any preconceived prejudices I may have and to act as a creative catalyst. My everyday artistic practice is open and autonomous. In contrast this RnD activity is applied and focussed; a strategic step to study different means and ends; to diversify and consider a bigger picture, supported by mentors sharing their knowledge. An immediate consequence of this new work will be an outcome: a ready, prepared plan of action to move my career forward through implementing the next step; facilitating the backstage, behind the scenes, groundwork into production and installation – part 2. In the long term as my track record develops so does my audience, their understanding and willingness to participate increases, barriers to engagement (aesthetical, physical and psychological) decrease. The Preston public are interested in my work and ask what I’m doing next. Conversations about my artistic activities, experience and achievements continue, slowly but surely nurturing the demand for contemporary art.
your proposed artistic activity, and what do you want to achieve by doing it?
To RnD the artistic, financial and practical matters related to a large scale, participatory installation of up to 12 sculptures (6 swings, 6 roundabouts). Ring fence at least 60 dedicated RnD days over 6 months: 24 GFTA funded, 24 match + 12 days market research – 6 days inside The Harris Museum and ArtGallery (THMAG) & 6 days outside THMAG, on The Flag Market. Through constructive, critical conversations mentors and I will consider 3 potential avenues of artistic exploration: ready-made, off the peg, play equipment from existing suppliers; commissioning other artists to create their interpretation of Swings and Roundabouts or creating the Swings and Roundabouts myself. I will consult each mentor 3 times: to describe and discuss preliminary ideas and listen to initial suggestions; to present and discuss findings so far, listen to feedback and consider pros and cons of each option and then to select the best value outcome. This activity is an appropriate opportunity for RnD risk taking. The future manifestation of the phrase ‘Swings and Roundabouts’ in which an audience activates the sculpture through their own action, transforming a still life into a real life, inverts my standard artistic modus operandi. The audience will do the saying, perform the phrase. My achievable ambition is to see the public participating, using their kinetic energy to engage and do the familiar in an unfamiliar location, to activate and animate the ambiance of the space.
summary of your recent artistic work, experience and achievements
In 2015 I completed an ACE GFTA funded 330 hour durational performance of the phrase A Penny For Your Thoughts (APFYT) in which I sat on the pavement outside three cultural venues wearing a suit, framed inside a hazard taped hula hoop ‘stage’, engaging members of the public in conversations about my artistic work, experience and achievements. After a studio visit, Lynda Morris, guest curator of Modern History, invited me to exhibit work from my object based practice (collecting multiples of the same postcards) at The Atkinson, Southport. Preston City Council (PCC) commissioned me to produce Clades (2015), two ‘families’ of hazard taped A-Frames, part of their Lancashire Encounters Festival. Castlefield Gallery (CG) invited me to exhibit my work at the 2015 Manchester Contemporary Art Fair. In 2014 I was selected for a solo show at CG, which included performing the phrase ‘drawing a line in the sand’ for 30 hours over 5 days. CG programme manager Matthew Pendergast and independent curator Elizabeth Wewiora invited me to participate in a group show at Toast about collecting called Hankering for Classification. I performed Level Headed (2014) as part of Hazard, a 1 day public performance event in Manchester organised by Word of Warning. In 2013, I was commissioned by PCC working in partnership with public art programmers, In Certain Places, to perform the phrase ‘two steps forward, one step back’ walking up and down The Harris Flights (2013) for 68 hours over 1 month.
…of the activity you are asking us to support.
To Research and Develop (RnD) the artistic, financial and practical matters related to a large scale, participatory sculpture, representing the phrase ‘Swings and Roundabouts’. Commissioning 3 mentors (a professor, an artist and a scientist) to consult across a 3 step programme: initial introduction of broad ideas to give a sense of the concept; followed by findings highlighting pros and cons of each; concluding with a clearly defined, best value achievable outcome. This RnD is the precursor to part 2: production and installation of sculptures in a public square, open free 24/7 for 1 month.
Dear Martin,
Thank you for your application to Artsadmin’s Artists Bursary Scheme 2016-17.
We had a fantastic response to the call-out, receiving 302 applications, but despite the level of high quality submissions we are only able to financially support 9 bursaries. We regret to inform you that on this occasion your application was unsuccessful. Unfortunately, due to the huge volume of applications we are unable to give feedback regarding your application.
We wish you the best of luck with your work and hope that you will stay in touch, and keep abreast of other opportunities offered by Artsadmin, including our free advisory service which remains open throughout the year.
