Trust the Process: New Approaches to Artistic Development

The Long Read

I’ve been interested in the question of the commissioning process since my early-career days at the Manchester Jazz Festival, where I developed, with my good friend Steve Mead, a framework for selection and production, mjf originals, which is still going strong and has produced outstanding works. They’ve now gone one step further by creating a new artistic development scheme, hothouse, “that gets rid of the traditional written application forms and long-winded grant funding processes that artists frequently endure”. Artists are selected on the basis of a short video and get mentoring, guidance, paid rehearsal time and a paid work-in-progress showcase. I’m looking forward to discover the exciting new music that will come out of this, and in the meantime, I’ve rounded up a few other commissioning / development schemes that I like the sound of, beyond music (admittedly with a view to borrow and steal ideas for future projects). 

Citizen-led: Les Nouveaux commanditaires

Nouveaux-Commanditaires-coverLes Nouveaux commanditaires (The New Patrons) is a public art “protocol” developed in 1991 by visual artist François Hers, with the support of the Fondation de France, in response to what he perceived as the disconnection of art and life: the culmination of a triple logic of the artist as genius, the art object as a market commodity and the public as passive and unconcerned.

This Protocol is about injecting and redefining value at all levels of the creation and reception / interaction process. Crucially, it’s the public – playing their full role as citizens – who take responsibility to commission an artwork from an artist.

As Patron (commissioner), they therefore have to understand and express the reasons why an artwork should exist and be invested in.

The artist’s role is to invent new forms that respond (or reflect, subvert, question…) to the evolving needs and realities of contemporary society. Within the Protocol, the responsibility for artistic creation is a shared, collective one, not just a private initiative.

The third key piece of this creative equation is the mediator, an experienced arts professional, part facilitator, part producer, part fundraiser, selected by peers to act as an go-between, stewarding the process, navigating all interests and accompanying the commissioning individual or group until and beyond the realisation of the work.

Philanthropists, political representatives and academics are also actors in the Protocol, each bringing their influence, expertise and self-interest to the process, making the resulting work more grounded in society, but also more tricky to produce – hence the importance of the sustained, long-term mediator’s work, “organising the cooperation” of all parties.

Extract from the Protocol (in the current English translation provided on the New Patrons website – it needs a rework!):

In committing to an equal sharing of responsibilities, all players agree to manage through negotiation the tensions and conflicts inherent in public life within a democracy.

The work of art, having become an actor of public life, thus ceases to be merely the emblematic expression of someone’s individuality to become the expression of autonomous persons who have decided to form a community in order to invent new ways of relating to the world and to give a shared meaning to contemporary creative activity.

Financed by private and public subventions, the artwork becomes the property of a collectivity and its value is no longer a market value, but the value of the usage this collectivity makes of it and the symbolic importance conferred upon it.

The “mediator” role is of course what makes me really tick in this process, as I’ve been exploring how to be a better Creative Producer for a while. In his 2016 short book Letter to a Friend about the New Patrons, François Hers expands on his motivations and journey to create the Protocol, and reflects on the rise of this go between figure, which has since flourished in all sectors and situations, especially under the title of facilitator.

Two mediators discuss here how the phrase (and concept) Les Nouveaux commanditaires has been translated outside France 

There were 334 works listed on the website as of December 2017, which is a lot of citizen-led public art, so I could only pick a tiny sample below to illustrate the wide range of impulses and intentions behind these works:  

  • A New Product: A consulting firm specialised in office organisation commissioned an artist to accompany and make sense of their own relocation process. A New Product Harun Farocki
  • Qu’est ce qui nous rassemble ? (What Brings us Together?): An ad-hoc group of citizens (ccc) in the South West of France interested in the history and identity of their city engaged an artist to find the most relevant way to represent, in the public space, a contemporary vision of their city.

    Touches-y si tu l'oses, Delphine Balley 2013

    Touches-y si tu l’oses, Delphine Balley, 2013 (part of a photography exhibition)

  • The Ever Blossoming Garden: Parents and friends of a young woman murdered in 2007, after 5 years of organising silent marches in her memory, worked with an artist to create a peace sanctuary where violence could also be questioned.

    mario-airo-the-ever-blossoming-garden-diest-september-2016-©-drawing-mario-airo

    The Ever Blossoming Garden, Mario Airó, 2016 (drawing)

  • Et pluie le soleil: the staff of a children’s home wanted to bring beauty, colour and harmony inside the institution, but also change its perception and reputation in the village. The artist worked with the children in care to transform their place of residence and created a children’s book in place of a catalogue. Et pluie le soleil Cécile Bart - 3
  • Sharawaggi: A group of students commissioned a set of new bell sounds for their school. 

Itinerant: TRIDANSE

I came across Tridanse when researching examples of art and mental health institutions, which led me straight to the extraordinary 3bisf, a contemporary art centre located within the 19th century wing of a psychiatric hospital in Aix-en-Provence. Until 1982, it was a closed environment, a “pavillon de force” for women only. Since 1983, it’s a centre that both presents performances and exhibitions and hosts visual and performing arts residencies. Artists can develop not only new works but also new processes to involve and meet audiences.

3bisf

le 3bisf à Aix-en-Provence, lieu d’arts contemporains

Tridanse is a networked residency created in 2005 specifically for dance artists, who get access to 4 different arts centres in the course of their selection timeframe as well as a €18,000 fee. As the name suggests, the programme started with 3 venues, all dotted around the South East of France, and a 4th one was added on the way:

  • Le 3bisf, contemporary arts centre, Aix-en-Provence
  • Le Vélo Théâtre, “Maison d’artistes pour le théâtre d’objet, le compagnonnage et le croisement des arts” (I love this description, which I’d very roughly translate by “Artists’ Home for Object Theatre, Companionship (traditional network of knowledge transmission) and Hybridization of Arts), Apt
  • Le Citron Jaune, National Centre for Public Space Arts, Port-Saint-Louis du Rhône (also home to the fantastic water-based arts company Ilotopie), Port-Saint-Louis du Rhône (in the beautiful Camargue)  
  • Le Théâtre Durance, theatre, Château Arnoux

Quoting from the Call for Proposals 2019, Tridanse has three joint objectives:

  • To support the emergence of new forms of choreographic creation that weave danse into other artistic practices: visual arts, circus, theatre, philosophy, architecture, cinema, landscape…
  • To enable reflection, action and experimentation on new relationships between artists, audiences and venue staff
  • To outline new modes of supporting artistic projects

The process is also firmly based on sharing the different steps of the creative process with the team, audiences and other people involved in each venue (for example, the patients and hospital staff at the 3 bis f).

In 2018, the selected artist was Marta Izquierdo Muñoz, a choreographer from Catalonia based in Perpignan, who explored the figure of the majorette in her new piece Imago-Go during 4 residencies taking place between March and September, each lasting about a week and comprising a public showcase and/or workshop.  

Marta Izquierdo Muñoz, Imago Go, photo © Nicolas Cadet

Imago Go, Marta Izquierdo Muñoz, photo © Nicolas Cadet

In 2017, Gaëtan Bulourde explored the notion of landscape through a performative installation bringing together video, movement and sound, also offering workshops and participatory events at each stage of the creative process.

TRIDANSE2017_Gaëtan_Bulourde©3bisF

Gaëtan Bulourde, Dans la profondeur du champ, atelier de création au 3bisf, Tridanse 2017

In 2016, le collectif Etat d’urgence created Dites à ma mère que je suis là, now touring, based on ethnographic research in Calais and exploring the notions of borders, exclusion and policy.

Incubator: Battersea Arts Centre

BAC_We-Are-Open_horizontal-web.jpg

Battersea Arts Centre is an arts centre housed in an old town hall in South West London. It’s a well-loved, well-used community resource, producing, presenting and touring innovative theatre as well as providing a welcoming environment for local residents of all ages for a variety of programmes and workshops.

In 2015, a fire destroyed the Great Hall, BAC’s main performing space, and the immediate and incredibly positive community response is a testament to how valued they are, both by theatre-goers and locals.

Since 2000, BAC’s philosophy has been based on Scratch, a creative principle that puts forward sharing, continuous learning and giving and receiving feedback.   

 

Scratch is about sharing an idea with the public at an early stage of its development. When you Scratch an idea, you can ask people questions and consider their feedback. This helps you work out how to take your idea on to the next stage. It’s an iterative process that can be used again and again. Over time, ideas become stronger because they are informed by a wide-range of responses.

The feedback is an important part of the process but Scratch is not about doing everything that people’s feedback suggests; it is about using the responses to help you understand how people currently receive it and to help you shape your idea. The feedback doesn’t have to be a Q&A, you can simply share your idea ‘live’ and, by doing this, you can often tell what works and what doesn’t. Scratch recognizes that when an idea does not fully succeed, or even when it crashes and burns, that there is great learning to be gathered.

For the full lowdown, this 2015 story on the Google Arts & Culture platform retraces the 15 years of Scratch (officially launched in 2000). The Scratch legacy is huge: more than a more theatre, BAC now acts as an incubator of people and projects, using the creative principles of Scratch to work with artists, teachers, young entrepreneurs, spaces, museums

scratch-landscape

There’s lots going on at Battersea Arts Centre, so I’ll just list here a few initiatives that use the Scratch principles in various contexts:

  • Create Course, a weekly meet-up, where participants (16+) can explore new ways to be creative in their own life, coming together around good food, guest leaders, a lively discussion and creative tasks. Session guest leaders have included poet Deanna Rodger, garden designer Nina Leatherdale, chef Veronica Lopes da Sliva, producer Roisin Feeny, artist Conrad Murray, broadcaster Byron Vincent and spoken-word artist Polarbear… and BAC provides free creche on request.
  • Collaborative Touring Network: a collaboration between BAC and 8 other producing partners in the UK formed in 2013 to produce, present and promote diverse events “to feed an appetite for culture in communities across the country” and realise the vision of “a nation where everyone has inspiring art and culture on their doorstep”. To date, the network has presented work in over 170 different spaces including parks, community centres, boxing gyms and nightclubs, imagining “new contexts for performances that inspire audiences and artists alike”.
  • Agents of Creative Change, a free annual professional development programme for artists, public and third sector professionals who have a challenge to tackle in their professional environment, in their community, or both. The programme pairs practitioners with artists and offers a series of workshops to share practice, ideas and trial solutions to the presented challenges. In between meet-ups, participants realise test projects within the community. Previous participants have included those working in the police, local government, health services, employment and offender management. Artists have come from a wide variety of backgrounds including music & beatbox, design, writing, photography, performance work, digital and community theatre.
  • Scratch Hub, opening in Autumn 2018, will be a creative co-working space based on the Scratch principles, offering members quite a few perks on top of a deskspace, from a time-banking scheme to exchange expertise and skills to talks and scratch nights  “to foster collaborations, co-learning and creative conversations”, “opportunities for member-led programming and event hosting” and discounts on shows and food & drink (in the aptly named lovely Scratch Bar).
  • BAC is also in the process of launching Co-Creating Change, an international network “to explore the role which producers, cultural organisations and artists can play to co-create change with community partners”, starting with the question: How can cultural centres also be community centres?

Work in Culture?

Spotlight

I have been invited to talk about what I do for a living at a primary school’s Careers Day by a friend who volunteers there as a reader. He works in catastrophe insurance, so he is planning to bring wooden blocks to demonstrate earthquakes. I am wondering, of course, how I will manage to present what I do to a bunch of 7-year-old kids when I can barely explain it to anyone beyond my immediate circle of colleagues; but also whether there is any point in trying to convince anyone to follow in my footsteps when work in the cultural sector is only getting more precarious and discriminatory by the day.

Should I talk about the cost and length of training? A degree in any discipline is now £9,000 a year, and I’m not sure what you get to do these days without a Masters (I have two and am not especially overwhelmed with job offers). Then there’s the cost of Continuing Professional Development, to finally get to learn what they don’t teach you at school, keep up-to-date with the latest trends and do some crucial networking – all the conferences, courses and seminars that employers don’t necessarily put you forward to attend and are difficult to afford as a freelancer. And then there’s the ever-increasing sector precarity – zero-hour contracts becoming the norms in museums and venues, artist fees not quite a given, short-term and freelance contracts replacing secure jobs in organisations of all sizes. Not to mention the bullying, socio-economic and ethnic discrimination, unpaid internships

Maybe I should just stick to the brief: what I do, how I got there, what I like about it and what kind of skills I need to do my job, a few simple points to be covered in 5-10 minutes.

Maybe I should also remember that it’s not just about convincing kids that my job is the best. There’s a huge opportunity to make them realise that if working in arts & culture is a serious occupation, alongside all the other professions represented that day – people working in health, sport, law, IT and insurance – it’s because it’s important in everyone’s everyday life. Art is for life, not just for school, as this Guardian Teacher Network blogger eloquently puts it: even in the few schools that still offer arts subjects, young people are stigmatised for choosing them, even though the transferable skills and increased self-confidence alone should be reasons enough to encourage them.

As early as primary school, dance, art and drama were offered in clubs because they aren’t the “real subjects” that we need for “big school”… There’s this stigma with the arts that only “unintelligent” students take those subjects. I still struggle to be taken seriously for taking arts subjects… But more than a year later, I’m reminded daily that taking GCSE dance was the best decision I ever made. While everyone complains about the subjects their parents forced them into, I am in the dance studio every lunchtime. Dance gets me into school. Dance gives me something to pour my head and heart into. It gives me a feeling of belonging, creativity, security and freedom… The skills that I get from the arts also help me hugely with work across the curriculum, from improving my analytical skills to making me more self-confident.

 

So, to answer the questions:

What does a Festival & Arts Coordinator do?

I organise festivals with music, art, theatre, food… and also smaller events, like writing workshops, one-off concerts and guided walks across the city.

I work with artists, venues and schools to create these events, then with designers and journalists to make sure that the event looks good and that people know about it.

Some festivals last 10 days and can take 1 or 2 years and a huge team to prepare. On the day of the event, I make sure that everything goes according to plan – there’s always something that goes wrong, from the weather to the main artist being stuck in a traffic jam, but it’s part of the job to fix all these problems, and usually no one even knows about what happens backstage!

How do you become a Festival & Arts Coordinator?

There are many ways – but you really need to love art and music, enjoy working with lots of people, be very organised and also happy to do things that are quite unusual or unexpected – it’s never the same every day!

I studied Humanities – English, French, German, Philosophy, History, Art… and Business Management, then I started working on a tourism conference. My first festival job was with the Manchester Jazz Festival, which was perfect for me because I love music – I played the piano, violin and guitar when I was younger, now I’m learning the cello.

There are a lot of different festivals – it could be about sport, food, theatre, film – it can also be a bit of everything at once. The best way to get experience and see if you like it is to volunteer for a festival: it’s fun, you’ll meet lots of people and you’ll get to see how it works from the inside.

What are the best things about being a Festival & Arts Coordinator?

  • It’s fun – I meet lots of people, I listen to a lot of live music, sometimes I also get travel to other festivals.
  • It’s very varied – one day I could be choosing the image for the brochure cover, another day visiting a venue with an artist to check that their band will fit on the stage, or training a team of volunteers.
  • It makes people happy – that’s really the best part of the job and it’s worth all the hard work.

What did you like at primary school that led to you becoming a Festival & Arts Coordinator?

Every year my primary school would put on a School Fair, a whole day of games, food, music to celebrate the end of the year. The children worked all year on a performance for the Fair – it could be theatre, dance or singing… I really loved the whole day – all the parents and children would be there, and older children who used to be at my school would come back just for that day because it was so much fun. I loved that we prepared for it all year – the children doing a show, the parents preparing food to sell at the stalls or making up games, like sack race, egg in spoon race, coconut shy … and then on the day everything and everyone would come together.

 

(image: Josef Franz, from an exhibition I saw recently at MAK Vienna)

5 Questions to… Eleanor & Rosie, The Brick Box Ladies

5 questions to...

I recently had the great personal and professional pleasure to work with The Brick Box, a Community Interest Company currently working across London and in Bradford but constantly expanding their reach thanks to their determination to spread “art, love and magic” all over the world.

Ruling the roost, the Brick Box Ladies – a.k.a. co-directors Eleanor Barrett and Rosie Freeman – preside over a small army of artists of all denominations and project managers – like myself – who work collaboratively to infuse under-used public spaces with a new lease of life. Their latest projects include the A13 Green in Canning Town (a village green complete with fairy-lit bandstand under a concrete flyover), the Light Fantastic in Thamesmead and the Electric Fireside in Little Germany, Bradford – and most recently the event I contributed to, the Big Draw by the River in Nine Elms. There are tons of photos and videos on their website (they’ve got their marketing priorities nailed down and always employ top-notch photographers and videographers) so I’ve pinched a few to include in between each question and show off their fantastic work.

 

Rosie (centre) and Eleanor (right) at the Toast Temple, Wandsworth Arts Festival 2014. Photo: Hannah Maule-ffinch.

Rosie (centre) and Eleanor (right) at the Toast Temple, Wandsworth Arts Festival 2014. Photo: Hannah Maule-ffinch.

1. Your next event is Light Night Canning Town on 29 November 2014. What’s a typical day right now?

Busy! We’re ramping up marketing and press, trying to get the word out far and wide. We’ve got such a fantastic programme we want to make sure lots of people come and enjoy it. We’re also making daily prayers for good weather!

The Light Fantastic on The Moorings estate in Thamesmead. Photo: Roxanne Grant.

The Light Fantastic on The Moorings estate in Thamesmead. Photo: Roxanne Grant.

2. You’ve been organising events for several years now. What gets easier with time? And what doesn’t?

It’s been 4 and a half years as The Brick Box, far longer in different incarnations. It’s easier to work out budgets, have an idea of what an event might be like, and pack gaffer tape! What doesn’t get easier? Worrying that no one will come!

Half Moon Theatre's Punch and Judy on the Royal Victoria Beach. Photo: Kevin Ricks.

Half Moon Theatre’s Punch and Judy on the Royal Victoria Beach. Photo: Kevin Ricks.

3. Before, during or after an event – what’s your favourite moment, the one that makes it all worth it?

Definitely during an event – it’s great to see people enjoying themselves and taking part in the things we hoped they would.

The Toast Temple on The Moorings estate in Thamesmead. Photo: Roxanne Grant.

The Toast Temple on The Moorings estate in Thamesmead. Photo: Roxanne Grant.

4. What other event(s) would you love to attend as audience member?

Eleanor: Shambala Festival
Rosie: another Bruce Springsteen gig!

10-piece drum and brassband, Old Dirty Brasstards, at the launch of the A13 Green 2014. Photo: Matt Badenoch.

10-piece drum and brassband, Old Dirty Brasstards, at the launch of the A13 Green 2014. Photo: Matt Badenoch.

5. Who would be your dream artist(s) to collaborate with?

Eleanor – Grayson Perry and Mae West
Rosie – William Blake and my friend Lisa!

And finally, hot off the editing bench, here’s a little film of the Big Draw day by Tomo Brody.

First Encounters: Cafe OTO, Vortex, BFI and National Gallery

Spotlight

Discovering a venue is like entering a new universe: if they got it right, their identity – the type of art they programme, the values they carry, the experience they create – is palpable right from the front door. This is how I felt recently about Cafe OTO, an experimental venue in Dalston, East London, where I went in September to see Rodrigo Constanzo (with whom I’m currently working on developing his dfscore project) perform with Distractfold as part of the Kammer Klang series of contemporary chamber music.

Here is Rodrigo performing one of his composition, iminlovewithanothergirl, a solo piece for snare and microphone, right at the end of the set.

The austere feel of the venue – basically a warehouse – creates an edgy focus for the music and makes the listening experience that much more intense. The acoustics are not even that good, there’s a loud fan that comes on between each set, and I can’t describe the seats as comfortable, but the space creates an intimacy not just with the performers but also between audience members: I was on my own, but I could easily strike a conversation with people sitting near me.

Not long after, I was at the Vortex, just round the corner, also for the first time, for what I can only describe as a journey through abstraction and emotion with Electric Biddle, a Jazz Shuttle project (Jazz Shuttle is a creative scheme supporting new Franco-British bands that I’ve recently started to coordinate on the UK side). A team from Paris venue Le Triton was there to film a documentary about the band, and here’s an extract from the first leg of the tour, filmed in France.

My latest encounter with a venue is a double one: I was invited to the BFI to watch the latest documentary by Fred Wiseman, who spend 12 weeks inside the National Gallery. He filmed everything from guided tours to executive meetings and restoration work, and condensed 170 hours of footage into a 3-hour film that celebrate both the art and the institution that hosts it, in all its complexity and contradictions.

I’ve never actually been (yet) to the National Gallery, so this was a formidable virtual encounter. The spotlight is of course on the paintings, but also on people: those who make, buy, care for and admire the art. We’re privy to debates amongst staff over the purpose and limitations of restoration, or on the tension between ‘inclusion’ and ‘excellence’. We also get to eavesdrop on the vast array of education, engagement and participation activities that take place within the National Gallery: from guided school tours to teacher training, a life-drawing class, or a session for visually impaired people observing Pissaro’s The Boulevard Montmartre at Night through touch and words.

National Gallery is a journey through art and humanity told with a multitude of fragments that continue to resonate and build a meaning long after the film is finished. The most powerful moments are wordless juxtapositions of masterpiece portraits and the people observing them: a mise en abyme that connects past and present, art and life, and artist, sitter, museum-goer and film spectator, in an infinite jeu de miroir of “who’s looking at who?”.  I was also reminded of Thomas Struth’s Museum Photographs, a series of large-scale images showing museum-goers engaged in the process of observing paintings at several institutions, including the National Gallery (below).

National Gallery I, London, 1989 by Thomas Struth

National Gallery I, London, 1989 by Thomas Struth

The film is out in the UK in January 2015. Meanwhile, I’ve been back to Cafe OTO for another great night hosted by Kammer Klang, I’m off to the Vortex for the Emile Parisien Quartet in November, if not before, and I’m planning a visit to the National Gallery in the next few weeks. I haven’t said much about my experience at the BFI, but it inspired my to start a weekly film club at the Cat’s Back, the South West London pub I run with my husband, so surely that’s their job done!

In Joy or Sadness…

Programming

In joy or sadness flowers are our constant friends. We eat, drink, sing, dance, and flirt with them. We wed and christen with flowers. We dare not die without them. We have worshipped with the lily, we have meditated with the lotus, we have charged in battle array with the rose and the chrysanthemum. We have even attempted to speak in the language of flowers. How could we live without them?
― Kakuzo Okakura, The Book Of Tea

I’m pretty sure I once signed up for a WordPress reminder in an attempt to keep up with a self-imposed weekly blogging schedule, but it seems to have turned itself off – probably because I failed too many times to publish a new article on time. I have a few projects on the go right now that keep me busy enough, but as I still like to share what I’m doing (and find it really useful to dig deeper and structure my reflection) here’s a quick post based on research I’ve undertaken for an upcoming event.

(I’ve also just started using Tumblr for very quick posts as an experiment  – so far so fun).

 

The spirit of nature: Kathy Klein’s flower mandalas

freesia & euphorbia

Freesia & euphorbia

iris and mimosa at wild rose ranch

Iris and mimosa

protea, coastal geranium, chinese latern flower on chinese singing water bowl

Protea, coastal geranium, chinese latern flower on chinese singing water bowl

danmala553alstroemeria-hydrangea-gerbera-daisy

Alstroemeria, hydrangea, gerbera, daisy

succulents from the cliffside, at 11th street beach during rain at low tide

Succulents from the cliffside, at 11th street beach during rain at low tide

A mandala is a spiritual symbol – usually a geometric pattern in the shape of a circle – that represent a microcosmos of the universe. For a more accurate definition, Wikipedia is probably a good start – and for a modern artistic interpretation, American artist Kathy Klein’s dānmālā practice is a great example.

The name dānmālā comes from the vedic sanskrit words dān: the giver and mālā: garland of flowers. Her website has a huge image gallery of pieces using flowers and other organic materials, but also mandalas created with stones, shells and sweets.

She’s also active on social media, with new designs posted regularly on her Facebook feed and – especially relevant to my purposes – an ever-growing album of in situ creations.

 

Painting with flowers: Red Hong Yi’s petal stories

rooster made from gerberas and leaves

Rooster made from gerberas and leaves

peacock made from butterfly pea flowers, bottlebrush leaves, coconut leaf sticks, alamandas : trumpet flowers

Peacock made from butterfly pea flowers, bottlebrush leaves, coconut leaf sticks, alamandas : trumpet flowers

dodo made from white, pink and orange chrysanthemum flowers

Dodo made from white, pink and orange chrysanthemum flowers

hornbill made of chrysanthemums, germeras and purple shamrocks

Hornbill made of chrysanthemums, germeras and purple shamrocks

northern cardinal made of red gerberas and deep purple chrysanthemums with dill

Northern cardinal made of red gerberas and deep purple chrysanthemums with dill

‘Red’ Hong Yi – the artist who ‘loves to paint, but not with a paintbrush’ – is a Malaysian artist-architect, who started working with everyday materials when she moved to Shanghai, a city her family had left in the early days of the Cultural Revolution.

For the purpose of my research, I’m especially interested in her series of birds made of flowers (above), using a wide palette of petals, leaves and branches. She also has an extensive portfolio of portraits made from mundane objects – chopsticks, melted candles, shuttlecocks, sunflower seeds… – and has created exquisite daily scenes on a white plate only using food ingredients for a 31-day creativity challenge. She’s very active on Instagram, where she publishes her experiments with new themes or materials.

 

Sensory overload: Rebecca Louise Law’s floating fields

‘The Flower Garden Display’d 2014′

‘The Flower Garden Display’d 2014′ – a floating meadow of 4,600 blooms – commissioned by London’s Garden Museum.

OdysseyMain_Crop_second stage

‘The Flower Garden Display’d’ – Second stage, Odyssey Exhibition curated by bo.lee Gallery. This installation was made using the dried flowers from the previous display entwined with 8800 meters of copper wire.

The Hated Flower, 2014 The Coningsby Gallery, London 5,000 Carnations and Chrysanthemums

The Hated Flower, 2014 The Coningsby Gallery, London (5,000 Carnations and Chrysanthemums)

Neither drawing from geometrical patterns nor from figurative representation, Rebecca Louise Law’s large-scale installations create immersive sensory experiences with hundreds of flowers – often upside-down, always strikingly delicate yet powerful.