Obsworkatory Weekend, Nov 2013 - Outcomes:

As part of the emerging Observatory Project and development work, SPUD organized an intensive workshop weekend called the OBSWORKATORY.  The weekend, held at Artsway in the New Forest, was attended by over 30 artists, architects, students (from AUB and Portsmouth Universities) and other professionals.  The aim of the workshop being to explore potential sites for the Observatory structure and to unpack two key questions:

 

‘What is the nature of an artist residency?’

 

‘What is the Observatory and what does it need to do?’

 

Day One:

Participants visited sites at Lymington Salt Marshes and Winchester Science Centre (at the Western end of the South Downs).  The weather was wild and stormy and certainly made people think about siting a suitable structure in extreme conditions and the level of protection from the elements it would need to afford the artists.  The site visits looked at the physical, geographical, environmental and social opportunities and limitations.  The day very quickly generated intense discussions and ideas soon began to formulate.  It was clear that both sites offered really exciting opportunities for both interdisciplinary collaboration, the residencies and audience engagement.

 

Day Two:

The day was spent working in teams in the gallery spaces at Artsway.  This was a chance to reflect on the site visit and begin to explore the idea of residency and the needs of the artist and to begin to understand how the Observatory structure might facilitate this.  Stimulation conversation emerged around the actual idea and concept of ‘observation’- how could the structure facilitate, inhibit, enhance or restrict this notion.  There was also much discussion around the practicalities including access, costs, location and flexibility.

 

Key Outcomes from the weekend were (in no order of priority):

 

Shelter: providing protection, comfort, basic requirements, and the need to be flexible and usable seasonally

 

Permeability: providing an interface with an audience; allowing both physical and electronic access; creating a level of privacy and security to allow the artists to work

 

Observation: that this could be more than just visual and include sound, touch, temperature and even smell. Should the structure determine the views, orientation and opportunities for observation?  Observation should be seen as up and down, outwards and inwards, macro and micro

 

Landmark: To create a beacon, identity, icon.  The structure to have a visual impact and that scale, texture and colour should all be considered.  It should have a functional and aesthetic balance.  That it should work with the landscape.

 

Personalisation: should the artist(s) be allowed to change the structure/space on a temporary or permanent basis.  Should the interior of the structure ne refreshed after each residency or allowed to evolve.  Can the artists leave a mark/trace on the structure?  Is there a budget for each location that allows the artists to physically change and personalize the space?  Is this achieved through modular components that can be added or removed?

 

Energy: What renewable could be incorporated?  Solar and wind – opportunities for sponsorship.  What basic needs do the artists have.  Can the use of renewables reference local issues.  How will warmth and lighting be provided during colder, darker months?

 

Public interaction: When and how will this happen?  Will it be according to a schedule/programmed activities?  What degree of privacy is provided for the artist and can there be a system for announcing the artist is at ‘home’ – a flag for example.  How are incidental visits managed, ensuring an unplanned level of public access.

 

Movement:  the ability for the structure to turn and orientate to the sun, prevailing winds etc.  Can this also help facilitate power generation.  Is this entirely flexible or set within fixed parameters (i.e. timed, measured etc).  This also needs to consider the relocation of the structure and the costs and issues related to this.

 

Structure: could be movable, flexible, made up of multiple structures, mobile and transportable, containing multiple zones, created from new materials, incorporating sustainable/recycled materials, able to fit on a specified trailer size, through access gates and under road bridges etc.

 

Residency:  a call for all 12 artists made at the start of the programme. The finalization of artists agreed for Year 1 with potential amendments for Year 2. Should artists run consecutively in each location or could a group of artists collaborate and set their own timings/usage over a 6 month period.  Can more than one artist use the space simultaneously.  Opportunities fro showcasing work at the end of each 6 month location through partnerships with local galleries and other key locations.  All the residencies contribute to a final conference event and publication.  Provision of programmed on-sight workshops and activities. What parameters, if any, will be set in terms of the extent of the area that the artist can observe?

This short film gives a flavour of the Obsworkatory weekend from the participants point of view.

 

Created by Ricky Evans and Phil Smith