- Venue
- Sideshow
- Location
- East Midlands
John Newling, ‘The Clearing.’
‘I really want to put some mud in that hole’ was my first thought as I was witnessing John carefully pat down soil onto a freshly planted beech tree.
I knew very little of the encounter I was about to have sitting on the bus on the way to the suburbia which was hosting John Newlings latest endeavour, in hindsight not knowing the experience I was about to have made the actual encounter all the more charming. When the bus pulled up to a small recreation ground I walked over to a congregation of people on the far side of the field. A mix of people had appeared to of turned up including the mayor, some degree level students and some aspiring foundation students; the crowd watched on as John, with some local assistance, began to plant nine beech trees in a perfect circle. Witnessing the event didn’t seem to be enough for some people, this community involving piece of work drew people in and non verbally encouraged involvement from young and old alike. I myself, trying to remain subjective for the sake of the review couldn’t help but to grab a fist full of dirt and scatter it at the base of a tree. I got involved and I was pleasantly satisfied!
The work itself came across to me as some-what of a performance as well as a permanent instillation. These tree’s had been nurtured in a hydroponics system at BioCity laboratories in Snenton, growing in soil that is the people of the area. In the soil is finely shredded documents, images and resources all from the local community, the sentiment alone is heart warming although further probing allowed me to conclude that John Newling had presented the community with a gift. These tree’s contained the people that surrounded them, like a community come rain or shine they’re there. The performance element, for me at least, will never end; from the original thought to the distant future these tree’s will continue to represent a linked community. The local man who grew the trees, the community who planted the trees and the dog walkers, amateur footballers and many more members of the public will continue to enjoy the instillation.
The realisation of the significance of the work summarised the entire experience for me. As previously stated I was blissfully unaware of the specific context of John Newlings work, so witnessing the planting and formation of the physical side was a refreshing and down to earth experience, free from context I just enjoyed the work at face value. Speculating on the possibilities the question, ‘where does the work start and end?’ came to light. Although work started in a laboratory and is now planted in a recreational field in a Nottingham suburb has the work actually finished? What specific part of the experience as a whole is the ‘work’? Just the act of raising these questions suggest that ‘The Clearing’ is part of a more intricate social network. So unlike site specific sculptural instillations this all natural work, gifted to the people of the area, really is designed to become a part of the community as time goes on. In one of 81 books printed (to be a continuation of the work) John expresses his desire for the space to be used as an area where leading experts in their fields can talk and express themselves in the space. This attitude to his work further promotes the works life span and links to the community.
After a brief break for food John led the group on a walk which was obviously very personal to him. He had his partner there and they jokily described previous sighs seen during their walks, this only added to the personal quality the work, even the theory behind the work reverberated thoroughly. What really strikes me is that John makes work which is aesthetically beautiful in a variety of ways, the tree’s themselves as well as the way they’re presented looks poetic. The time, his unquestionable attentiveness to the tree’s, the material grown into and entwined into the soul of the trees makes for an involved experience for the viewer and no doubt it’s creator. The sentiment and dream John has for the work and it’s future is a delicate one, John is clearly an advocate of social involvement as is he a nature enthusiast. In a conversation I was lucky enough to have with John he pointed out to me how he was keen the work is viewed as a gift to the community. He came across selfless, his ambition to create work that doesn’t need to be maintained, thus costing the community nothing, demonstrates his passion for social art over a means to make money.
Leaving the work and returning home to write about it, going through notes and trying to remember exactly what was said is all second best to the impact I feel John Newling has had on my outlook to public art and my own practise. This informative and involving work has inspired me to review my outlook on how fine art stands within a community and particularly who art work is made for. That’s perhaps the most interesting feature, Johns work begins to question who art work is made for. Should making artwork be reviewed as more of a public service? I really recommend going to see this work, it’s informative, quaint and really inspiring.
‘I’m so glad I got to put some mud on the tree! Can you believe I’ve collaborated with John Newling?’
