hinterlands

BALTIC commission process journal

HINTERLANDS

BALTIC Centre for Contemporary Art

22 October 2022 – 30 April 2023

Hinterlands is a group exhibition that invites us to consider our relationship with the land and its ecosystems. The artists showcased explore complex histories, mythologies, legacies and potential futures for its custodianship.

The show considers the landscape of the North East, its histories, mythologies and legacies and potential futures for custodianship. New commissions and existing works by artists connected with the area reflect on ideas of rootedness and belonging, human and more-than-human relationships, boundaries, land and time in the era of the climate emergency.

The idea of hinterlands – the land away from the coast or the banks of a river – is at the core of the exhibition, which explores what lies beyond the visible or known. Considering land and place as a complex layering of relationships, the exhibition will explore these ideas through innovative artistic processes and approaches, including through the possibilities of materials and contexts: geological, biological and social, shaped and hardened by history.

Artists:

Michele Allen / Uma Breakdown / Jo Coupe / Laura Harrington / Emily Hesse /Alexandra Hughes / Mani Kambo / Dawn Felicia Knox / Sheree Angela Matthews / Anne Vibeke Mou / Sabina Sallis

Taken from The BALTIC’s website.

If there’s a book you want to read, but it hasn’t been written yet, then you must write it.

Toni Morrison

BALTIC commission process journal

I’ve been commissioned to create new artwork for a group exhibition taking place on Level 3 of the BALTIC Centre for Contemporary Art in Autumn 2022.

This was an invitation extended to me after a few years of working with the BALTIC on establishing anti-racism practices within the foundations of the institution. I had the pleasure of working with the Learning and Civic Engagement team to produce a number of different resources for schools. As well as working with the staff to facilitate their anti-racism reading group from 2021-2022.

I’m honoured to be recognised as a practicing artist now with this commission and I’m working hard to make sure what I produce work which reflects my varied and diverse practice as well as gives this opportunity the due justice it deserves.

Here I’ll be sharing my process and practice as I explore the themes and focus of the exhibition as we’ll as share some sneaky glimpses of the final product/commission.

The Atlantic Ocean wasn’t simply a conveyance of the slave trade, it was … a place of transformation from human to cargo.

Ellen Gallagher
BALTIC commission process journal

Talking Things Through – 15 June 2022

BALTIC commission process journal

This week saw me meeting with one of the curators of the Hinterlands exhibition to talk about my commission. If I’m being honest, I was and wasn’t looking forward to meeting. I felt as if I was no further forward than the last time we talked. I felt as if I had nothing to show for my research, reading and thinking. 

As it happened, the meeting turned out to be really productive and inspiring and encouraging as I appreciated the time and space to talk through my thoughts and ideas. To think about the concepts and themes and logistics with someone else is a valuable resource I’d forgotten about or taken for granted. So I was super grateful to come out of the meeting, not so much everything pinned down, but more of an idea of the next step.

My next best step, which really is all I should be focusing on as a means of not allowing this commission to run away from me is to take my forthcoming residency at Cornwall Zine Library @ Fish Factory Arts as an opportunity to gain some clarity and produce a project proposal that will communicate my vision to others. 

That is my next step, a big one, but a really exciting one as once I have it pinned down what I want to do, I can start executing it to the best of my ability. 

Onwards!


The Rain in Cornwall – 19 June

Tonight in Penryn I appreciate the sound of the rain, the fading light and nothing really to do except listen.

It’a only in recent years, have I come to appreciate the sense of sound. In the past, I’ve not had the patience or reason enough to slow down and listen. Until, I was forced to with a global pandemic. Then everything took on new meaning. And things I knew about myself came undone or were no longer true. The voice, sounds and silence became my companion as I dived into listening to podcasts.
The feelings I get when listening to someone speak to me, and only to me through my headphones is so intimate and close that all else doesn’t exist. I’m cocooned in this world created just by their words, voice, music, and silence. It’s magical. It’s powerful.

So who wouldn’t want to replicate this? The Earth Sea Love Podcast was born. Sharing stories and experiences of Black bodies in nature is the focus and it’s uniqueness.
Somewhere in this commission there will be sound. My voice, field recordings, music. I do not know how or what yet, but for the fullest of expression and connection there has to be something for the sense of sound.

My practice is the Practice of ::SLOW::

Here on a residency in Cornwall, I’m not rushing to rush into anything. I’m content to lie here, cosy, let the night come on and the rain continue to fall. Listening to the water hit the water. Rain hit river. Heart hit home.

BALTIC commission process journal

How are things going with the Baltic Commission? I was asked today! – 06 July

I worked it out, from 01 July to 09 October 2022, it is exactly 100 days. As you know, if you are frequent visitor here, I’m known for completing 100 day projects around certain practices and projects. 100daysofBlackWomen, 100daysofAbstracts, 100daysoftheGoddessAndLove.

I find committing to a project or series for 100 days as a great device to use in order to keep touching it. To keep me up close to the project as well as making sure I hold myself accountable and producing. From the beginning of July, I took up the challenge of another 100 day project for this Baltic commission.

In some shape or form, I’ve been engaging with, touching, musing around my proposal for this group exhibition. The proposal involves creating a multi-disciplinary archival installation.

I know it sounds big and bold.

Title: The Country Journal of a Blackwoman (Northumberland)

For details to follow.


IN THE THICK OF IT – 23 JULY

BALTIC commission process journal

“The most effective way to do it is to do it.”

Sonia Boyce

I set myself the task of touching the Hinterlands commission every day for the next 100 days from the beginning of July. And on the whole, I have succeeded so far in this task. Day 23 of July and I’ll be honest, this commission is filling my waking and sleeping hours, as I agonise over how to bring my ideas and concepts to fruition. How to communicate what I think, or feel or see to others. How to make that connection of understanding, empathy and solidarity when exploring the Black woman’s body with/in nature.

This is not an easy task. And I think I’ve made the task more difficult for myself by trying to incorporate multiple and diverse art form into the brief. It’s that same old story, that fear of never getting another chance like this so I have to say everything I’ve ever wanted to say on the subject all at once to make sure I get my message across. That I use this opportunity to it’s limits as this might be my only shot, my only slot, my only opportunity to speak and shine.

Of course this is not based on fantasy. This is based on fact. Did you know that just 2,000 artworks in the UK’s permanent art collections are by Black artists – most of which aren’t on display?

READ ON HERE



What’s been happening? – 22 September

Queen Nefertiti’s Bust

I know it’s been a while since I’ve been here. And I’m here late at night. Can’t sleep. So what’s a better way to use my sleepless nights if not updating this project page?

I can honestly say, that since I took up the 100 days of touching this commission, I have stayed true to it and got stuck into it.

It helped that I had some concentrated time on residency in Edinburgh in August at the Split Milk Gallery. It also helped that I’ve been totally inspired and excited about the whole process. I think this stems from believing in my ideas and having a vision but also going with the flow and appreciating the process.

So I’ve been creating/ imagining an archive of my matrilineage and our bodies in the landscape. I’ve been having so much fun creating a composite Blackwoman and her country diary ( Northumberland). So much fun that the time has just flown by and because of other commitments, I’m ready to hand everything over to the BALTIC tomorrow.

I’m done. It’s complete and I’m proud. I’ve been oscillating between being freaked out about being on show at the BALTIC and that this is just a stop on this exploration of the archive. I know now that this work will continue. I’m already excited about the next step because I know I’ve held back on this commission. Not that I didn’t deliver but I mean the more I practiced the more ideas and possible explorations came to the top. And I had to put a stop/ draw a line somewhere otherwise I’d be still creating now. But I know there’s juice still in the tank and give me a little rest and I’ll be diving back in for more. And see where this next stop of this journey will be.

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