B A R R O W A F C D I G R E S

Project Summary (2 of 3)

The start of the residency coincided with me relocating from Leicester and has come as a welcome introduction to the area. Working from my studio space at the Canteen Arts Centre on Barrow Island and at the Bluebirds Study Centre, the project so far has seen me giving talks about my practice to members of the public and to students at Barrow sixth form College, being interviewed by the North West Evening Mail and running a workshop with children from Thorncliffe Secondary School, making postcard books in which to record the final matches of the season. Though trained as a printmaker, I currently work across a range of media and decided to approach the brief - to create a piece of digital (i.e. non-permanent) art - through a mixture of sound-based work and performance, using publications and print as a way of documenting and complementing this. The sound pieces will explore the aural environment of the ground from the physical sounds of the game to the emotional response of the crowd as well as the acoustics of the site. These are being produced collaboratively with Midlands-based artist and musician Francis O’ Donnell Smith, with whom I started working during a residency at Leicester’s Haymarket Theatre. This saw us jointly develop a series of multi-media improvisations based around the city’s vanishing industrial architecture and has since led to us performing regular shows with a shifting cast of guest musicians and delivering a series of workshops for Creative Partnerships teaching methods of composition that rely on creating systems and parameters to generate music. Before starting the project, I was especially keen to get back to working with text and spoken word and have since been looking at early experimental radio dramas with a view to eventually having a piece broadcast on Radio Cumbria during or following their regular match coverage. The written texts will be read by a local actor and will be made up of collaged sponsors’ adverts, transcribed commentary, fixtures and lists of players. Ideas that may feed into this include a composed piece of music based around the team’s history. This involves a series of simple musical motifs derived from past and present league tables, resulting in a compressed musical timeline with each group of notes following league positions for every year of the team’s existence. Another idea will see us recruiting an amateur orchestra (i.e. anyone who owns an instrument – they don’t necessarily have to be able to play it). We will then line up two sets of musicians along opposite sides of the pitch and asking them to make sounds in response to the movements of their team. The emphasis would not be on melody, but on the back and forth motion of the music, with the instruments being selected and/or open-tuned to create a general sound and to avoid ‘virtuoso-ism’.