December 15 to December 22
Bells ring out good news and bad, they can warn us, welcome us and commemorate our lives. Bell ringing lead to working out with dumbbells, they seem serious and frivolous. This Cluster of Bells from 2002 was originally included in part 3 of a commissioned site specific exhibition which moved across three sites, the works had to change and respond to each place. As I worked with them sometimes strung about in groups or alone, one version using moving light became a frenetic shadow play, they started to speak about the frustration of silence and not being heard, swinging shadows still unable to create noise from the static bell. I moved this cluster again last week, high up in a stairwell between two paintings of climbing boys and they took on a new story.
November 10 to November 17
October 6 to October 13
September 29 to October 6
September 22 to September 29
‘You are the only one, you are a diamond. Poor me, I cannot visit you, even if you are ill. I
am lost, poor me.’
The love song Aka Si Rekisho, taken from the book 99 Georgian Songs. It was one of a
diverse group of songs chosen by Water Aid before the pandemic, for an event called Sing
for Water. It was rehearsed and learnt by many groups of singers over zoom during lock
September 8 to September 15
Concrete, breeze block, stone, cement, wood, metal fixings, wire reinforced glass, metal frames, putty.
The building has 24 windows, 270 panes of glass, each pane and it’s 4 puttied edges are in various states of disrepair. The wire glass is patched and taped, it’s holes stuffed to stop bats and birds entering.
2 x 14 panes, 2 x 10 panes, 3 x 8 panes, 16 x 12 panes, 1 x 6 panes, x 4 edges.
1,080 lines of putty on the inside.
Putty, boiled linseed oil and chalk powder.
Plus points involved in fixing the windows might include the calming affect of focused repetition, a slow progression, the feel and smell of putty, a sense of caring for, stopping the deterioration and therefore keeping the space useable.
Counting and listing the job makes it imaginable, which makes it manageable. It becomes both a process and an idea.
September 1 to September 8
July 28 to August 4
July 21 to July 28
July 14 to July 21
Emma Woffenden trained extensively in glass making techniques, her work evolved using these transferable skills taking a language of glass form into other materials. The sculpture centres around fragmented or whole human bodies in response to different spaces. The use of drawings, photographs and short films within the installations decompress and explore how the real human coexists with the sculpture. She exhibits and lectures internationally and is represented in over 20 public collections in the USA and Europe. She has been supported by the Arts Foundation, Crafts Council, Arts Council of England and Creative Scotland.