Katie Anderson

Artist based in South West Scotland; interested in people, places, materials and collaborative practice.

Category: Uncategorized

Tattiefields: Reflections

I’ve been out of habit of reflecting on work, due largely to having taken on a little too much the past two years or thereabouts. With Tattiefields having been finally installed and launched last month, I have finally had the opportunity to consider the project as a whole. Here are the first considerations:

____________________________________________________________

The process of leaving a work

I don’t enter into making work half-heartedly. Works have to spend long periods of time being mulled over in my mind and on paper long before they become communicable, never mind entering the physical world, and even then, they do so tentatively, and through a form of extended internal discussion around process and material.

Tattiefields began as a work for me in November 2016 – although the site and back story existed long before – and over the course of two years the work has lived with me more or less constantly, before arriving on site in September this year to begin it’s life ‘on site’. The production phase lasted near enough nine months, with various intensive periods interspersed by periods of waiting, and slow pace.

By comparison, the installation was a whirlwind of movement, change and finality as at the end of the day, we were required to pack up and go home, leaving the works to grow their evening shadows across the park.

Web1600px 011.jpg

Image credit: Euan Adamson

In the run up to the final installation – a date which was unsettled and ever moving during the summer, I mused over the act of leaving a work in a place. The Tattiefields sculptures, which are intended to be permanent additions to the site, are hoped to settle into the place, to become part of the landscaping and surrounding area.

A public artwork, has certain aspects of gift-giving attached, in that I was spending large portions of time considering, and creating with the intention of then placing it within a location to develop a new, and somewhat independent relationship with the other residents of the location. But it was also unlike traditional gift giving, I was aspiring for associations of gift not to be primarily about value, or necessarily a relationship with artist and reciever, but about creating a relationship between artwork and receiver – in this case, residents of the place and the objects themselves.1

The work is also intrinsically a part of me. I have grown with the work, and developed new interests and approaches as a consequence of the project, (as well as having earned the title Princess Tattie, Tattie Lady etc.) To leave ‘casually’ the work to the elements and the place has imprinted the work into my memory. I check back regularly, driving a circular route around the site, and pausing to touch and check each element of the work.

It is settling in already.

Screen Shot 2018-10-13 at 17.06.12.png

Image credit: Galina Walls

____________________________________________________________

Following the conclusion of this project I’ve been left with the sense that Public Art is a series of relationships between

the artist – and the artwork

the artist – and other makers and contributors – and artwork

the artist – and place – and artwork

the artist – and residents – and artwork

Tattiefields-20180913-049

Image credit: Galina Walls

Each of these relationships forms a new network that informs the work, and our on-going understanding of the place. In this way, it is not possible to claim exact authorship, even with a project that has been heavily developed independently, as each of the relationships created has grown the project in new ways.

Many of these were built through chance encounters, casual conversations with neighbours and the generosity of local residents who gave their time and efforts to support the projects development.

The relationship with other makers and contributors was a new one for me personally, as the first project where I have worked extensively with others to create an artwork. The process has been intensely rewarding and humbling, and I have so appreciated the calm, patient and sharing nature of each of these contributors.

Creating works like these draws some interesting questions about the balance between authorship and ownership. The authorship I explain a little bit more about in an earlier blog2, the ownership in that for these works to be truly successful, the ownership cannot be solely with the artist or client – in this case the housing partnership who officially ‘own’ the works. For an artwork to truly belong to a space they also need to belong to the people who occupy and reside within and surrounding the space. Each of the houses immediate to the site overlook the work, and hopefully as they become part of the place, the residents too can feel a sense of ownership towards them.

____________________________________________________________

Becoming ‘Resident’

At a recent workshop I led collectively as part of an interior architecture course, I asked the question ‘what does it mean to be resident of a place?’ How do we ‘reside’ I, or occupy place? In the development of the Tattiefields site this has been one of my on-going questions. The sculpture too will become a resident of the place, but this also asks a bigger question of us as people, and as citizens of a place, to reside are you also an active citizen, or is being resident a passive role?

Web1600px 016.jpg

Image credit: Euan Adamson

____________________________________________________________

Public art and the monument

In many ways, this is the stereotype of public art – monuments in places (‘what do you think it’s going to be?’ ‘A giant tattie, for sure.’). In a certain way, Tattiefields is a monument, albeit to a vegetable rather than a historical figure, but it also seeks to determine an alternative approach to permanent public artworks. One that plays a close relationship with the place and the people, whilst also drawing out the less well known narratives of a place, celebrating the everyday and commemorating unique memories and identities of the places we live in. It’s all a question of scale.

Web1600px 006.jpg

Image credit: Euan Adamson

 

1                For more on gift giving, have a look at Lewis Hyde’s The Gift, a book I have never yet finished but has influenced my thinking about gift giving.

2                https://katiejanderson.wordpress.com/2018/06/26/international-technician-day-everyday/

Land Form Plastic

Every artists action leaves behind it a material trace.

New work that I have been developing is being exhibited as part of an upcoming show at the newly refurbished Kirkcudbright Galleries.

The group show, Energise, curated by Upland opens 13th October and runs for a month until 9th December.

Full details available here

Tattiefields Public Launch

Screen Shot 2018-08-25 at 11.23.01

It’s coming! After a few false starts and many delays, the new tattiefields artwork is due to be installed next week, with a public launch on Thursday, 13th September.

All welcome!

IMG_1823

Tattiefields: Developments

IMG_1881.jpg

Experiments with concrete

Sandblasting and stencilling in the detailed work for the new pieces going to the tattiefields site next month.

The patterns reference the original landscaping design, the artwork locations and the wider map network that makes up the tattie map of the world! (With Lochside at the centre, of course).

IMG_1866.jpg

Special thanks to Alistair of Grit ‘n’ Polish, highly recommended for any shot blasting requirements you may have. The stencils pick out really delicate details, with sharp edges and great focus.

IMG_1889.jpg

The particularly beautiful surfaces of the concrete are in the casting, made by the extremely talented Billy Teasdale, caster-extraordinaire based in Govanhill who has put so much time and work into completing the pieces in time for the installation.

IMG_6080

Final surface preparations to go ahead of the grand unveiling, on Thursday 13th September.

Zine Making Workshop in Stranraer

Young people of Stranraer! I’ve a zine making workshop coming up next month as part of the first ever Galloway Young Creatives Festival.

What is a zine? Self-published creative pamphlets or magazines, created using images, text, collage and much else besides. They are a unique platform for sharing your thoughts, ideas and inspirations with a DIY ethos. We will be working towards a collective zine, trying different techniques plus sharing tips and ideas for creating and circulating your own publications.

The workshop will run on Sunday 12th August from 3-5pm, and is suitable for anyone aged between 10 and 26.

Sign up here: https://www.eventbrite.co.uk/e/galloway-young-creatives-festival-zine-making-workshop-tickets-47814343990

Dumfries Zine-4

International Technician Day (everyday)

IMG_0830.jpg

The relationship between technicians and artists, and the artwork is an interesting one. For me, as an artist the making is intrinsically linked to the thinking, these are not separate actions – one to follow the other, but each ongoing, with one informing the other. A practice that is led by process.
Technicians play a largely invisible role in the artwork from a public perspective – however, without technicians, it seems that many artworks would not be possible, from works largely made by technicians, to those informed by discussions and the expertise, and knowledge that is held by the real technical experts.

I’ve wondered if this distinction between concept and technical skill has always been as separate. Contemporary art does get a bad press, as art education has stepped away from a skill-based approach, to a theory- and concept- based approach, but some of the skills – particularly casting and foundry work has been separate from that of the modeller or artist traditionally for much longer.
The etymology of technician goes back to the Latin and then the Greek (in case you are interested), Tekhne – which encompasses art, craft, skill, method or system of making – keeping the two very much intrinsic to each other.

But never mind the past for a moment, what about the future of the artist as a skilled maker? It seems that skilled based artists are back ‘in’ again, with artists like Phoebe Cummings and her elegant, spectacular raw clay works, and the resurgence in sign painters in the design world. But within the mainstream contemporary art world, most skilled works are still carried out by skilled makers – as separate from the artist-conceiver.

As my current work is to create a permanent piece of public sculpture, I’ve been really enjoying the process of being both the artist and the maker, but the technical support has been a central key for this work to be possible. The balance between control and responsibility allows the work to be more responsive, but also has to account for my own limited, if improving skill set.

IMG_0835.jpg

Bronze casting at SSW with support from the fab technicial duo, and artists Audrey and Yoon (on camera work)

I’m already looking to further expand my skills and technical ability following on from this project, (ok, I admit, this is always my goal) but has also opened up routes for a more collaborative approach to working with experts in the future.

Huge thanks are in order for a whole host of amazingly talented people who have been supporting me on the tattiefields project, with a big thank you to the stellar humans Eden and Uist up at the Scottish Sculpture Workshop for all of their support and calming influences during my residency last month.

Work is not done yet.
Stay tuned for the final results, coming soon!

 

 

SSW Residency: Tattiefields In Process

After a very manic and fast moving two weeks, my time at Lumsden is once again up. For the first time, my trip to the Scottish Sculpture Workshop was project focused – I arrived on site, with a list of requirements to be completed in 12 days.

IMG_0678.jpg

As usual, turns out I was pretty unprepared – and over prepared with all the usual unnecessaries – but basically, sand moulds are complicated. A thing of wonder and beauty, but complicated. (Thanks to Logan and Ralf on work experience for getting this started off).

IMG_0683.jpg

Wax room, in which I have a love-hate relationship. And the overly complicated nature of sprue-ing up pieces.

IMG_0707.jpg

Sand mould 1 week later – still complicated. Pantera is the incentive in the metal work department for getting stuff done quickly.

IMG_0708.jpg

Ceramic shells, each incasing hollow wax pieces built up in layers to create a solid (theoretically) mould for pouring. Lessons learned there.

IMG_0835.jpg

POUR TIME. Three pours, over two days. Huge relief to get these done successfully. Thank you EVERYONE!

IMG_0777.jpg

‘Hot potatoes! – Is this ever going to get old?’ Nope. Really, still hot – fresh from the shells.

IMG_0799.jpg

With a little cleaning..

IMG_0846.jpg

And a bit more. Next stages include sandblasting and patinating, the final colouring process.

IMG_0812.jpg

More details. (With the lovely Moomin soft focus in the background.) There’s plenty more to see –  I’m saving the best bits for the big reveal, and the few processes still to go through.

Stay tuned, more to come soon! #tattiefields

 

Postcards from the Past

As part of one of my ongoing projects for the new DGRI hospital in Dumfries, I have been gathering collections of objects, with connections from across the region. From artist made objects, to found stones and pebbles from across the Solway’s beaches, forgotten tourist tat and old memories of Dumfries and Galloway past, to new visions of the region as viewed by young creative groups in Dumfries.

I first stumbled across old postcards on an extended eBay hunt, and have since become a bit of an avid collector. As it turns out the inscriptions on the back are every bit as exciting as the images on the front, however in the final installation, the inscriptions will be sadly hidden to keep the postcards safe and in good condition for the future, under glass. The earliest card is dated 12th August 1903, and the most recent ones from the 80s.

Here are some of my favourites before they become hidden in their new homes:

IMG_0314.jpg

‘Just here for the day – the weather isn’t too good.’

IMG_0320.jpg

‘Have enjoyed relaxing while it rained’

IMG_0315.jpg

‘I went down for a bath’

IMG_0321.jpg

‘one good turn deserves another’

IMG_0318.jpg

‘We are hoping to go to Stranraer before we come home.’

IMG_0312.jpg

Tattie Planting

If you live in more Southern climates, (South of England/Ireland) the recommended best dates to get your tatties in the ground is somewhere between St Patrick’s Day and Good Friday. Given our latest weather in South Scotland however, you might think us mad to be starting off our first earlies already.

IMG_0158.jpg

We kicked off at the LIFT Easter Sunday event planting a variety of early breeds of tattie seeds, and will be doing some more in the near future – which we will announce, and hopefully once the cold weather has subsided.

IMG_0157.jpg

Our first early tattie varieties in full: Ayrshire Epicures, Arran Pilots, Duke of York, Maris Bard and Casablancas.

Some good things to bear in mind about your tatties:

  • Keep them watered, but not too wet. Potatoes don’t want to grow in a bog.
  • Potatoes also don’t like the cold. Even just keep them in at the backdoor will help them from getting frosted until this cold snap subsides.
  • Once they start to sprout you are on to something! If you start to see potatoes peeking out get them covered up with some extra compost. Green tatties won’t be any good for eating.
IMG_0147.jpg

Sunning our tatties before planting. To chit or not to chit? 

There are lots of different ways of growing tatties! In your special tattie grow bags they shouldn’t need a lot of hassle, but if you’d like to know more about growing tatties here are a few good places to start:

Good luck!
We will announce the date towards the end of the school holidays when you can bring back your tattie bag and we can compare the results, and select our winners. Dates will be announced on the Creative Futures facebook page, and the event will be held at the Tattiefields site on the corner of Carrick Road and Balcary Avenue, by the new Meadows houses.

IMG_0154.jpg

Good luck Tina! Thank you to Chris at Vault 101 in Annan for cutting our planter labels.

Like to take part? Live in Lochside? Please get in touch, as I will be doing another couple of events and can help you get started with a tattie of your choice.

What is Tattiefields?

Tattiefields is a site on the edge of the new Meadows housing in Lochside. The inspiration came from local stories remembering tattie howking in the area before it was built up, and this summer a series of artworks are being installed to share the history of the Lochside area. The project is supported by The Stove Network and DGHP.

Sundials and the Tattie Season

TF sketches sundial detail.jpeg

I’ve been growing an interest in sundials and other seasonal graphs, marking the passage of time, the use of the land, the growing seasons and the lighting conditions. Subtle shifts in our everyday environment that can go un-noticed as the years gradually shift through changing seasons.

The recent wild weather brought with it a renewed awareness of our surrounding climates, as journeys were cut short, events and activities postponed, bread vanished from the supermarkets and the news flashed amber – red – amber. With the wintery weather, everything takes a little longer, and children gather on snowy ridges, in parks and playgrounds, rendered new, interesting and white. Our immediate environments and places become new – whitewashed, the sound deadened slightly by the weight of the snow. It’s good to see places fresh. As the weather recedes, temperatures climb, and the snow leaves – it’s good to hold onto the sense of freshness and awareness, the paths traversed and routes taken, the potential and possibility in the ordinary, that arrived with the first of the snow.

13. sundials detail .jpg

This sundial stone lives in Dumfries Museum and is a beautiful piece, locating itself by surrounding landmarks and distant places, marking the calendar months, as well as the zodiac, and various others.

In creating new calendars and place markers for Lochside, I’m hoping to include not just significant tattie places near and far, but also the growing seasons for different varieties of potatoes. The growth of potatoes, adapted from the original homes in the high mountains of South America to suit our climates and changing sun patterns, measure the passing of seasons and the changes in the everyday, from early Spring right through to Christmas, if you plant your late varieties carefully.

The tattie season is upon us.
#tattiefields