We are gearing up to our exhibition at Salisbury Art Centre starting next week. It runs Thursday 18th August-Saturday 24th September, open Tuesdays-Saturdays, 10am-3pm. Our Private View is on Friday 19th August 6-8pm – please come along if you are in the area!
As part of the exhibition, there will be a located GPS-triggered poetic audio-walk ‘ANTICLINE’ by Ralph Hoyte around the grounds of Salisbury Arts Centre. To access it, visit this link, and download onto your personal smartphone.
Great news – we will be exhibiting a selection of step in stone artwork by all 14 artists this summer at Salisbury Art Centre, Wiltshire:
The exhibition runs from 18 August – 24 September. Private View Friday 19th August, 6-8pm.
This exhibition tells the story of a unique event held in the summer/autumn of 2015. Fourteen artists, all with connections to South West England including two from Wiltshire and from as far afield as Norway and Australia, created a series of site-specific artworks in response to the nature of quarries and their place in the environmental, cultural and industrial heritage of the region.
Exhibiting artists: Artmusic, Catherine Bloomfield, Bronwen Bradshaw, Duncan Cameron, Fiona Campbell, Duncan Elliot, Tessa Farmer, Stuart Frost, Suzie Gutteridge, Ralph Hoyte, Sally Kidall, Caroline Sharp, Amanda Wallwork, Christina White.
If you missed some of our venues last year, now’s your chance to visit us in Wiltshire!
Terry Gifford, one of our crowd funding donors, has written an article featuring step in stone for the Alpine Journal, a hardback publication. Terry is the unofficial gardener of climbs at Fairy Cave Quarry, a judge for the Boardman Tasker Award for Mountain Literature 2016 and was Director of the annual International Festival of Mountaineering Literature for 21 years. Former Chair of the Mountain Heritage Trust, he is the author of The Joy of Climbing (2004) and is in his 52nd year of rock-climbing. Terry helped Cath attach some of her Gabions high up on a sheer rock face at Fairy Cave, and was a great support throughout the project.
The Alpine Journal won’t be published for several months and a hard copy will be hard to get, so Terry has given us permission to publish his article in advance.
‘step in stone’ exhibition, Fairy Cave Quarry, Somerset, October 2015
(Review offered for publication in the Alpine Journal 2016)
Mountaineers on the Alpine Ridge (PD) under full winter conditions, catching the last of the winter afternoon’s sun, photographed in close-up, can look very impressive on social media. But this is Fairy Cave Quarry’s easiest route to the quarry rim, all one hundred meters of it. When I moved to the Mendip Hills of Somerset four years ago, Stephen Venables was summing up the local climbing for me, adding, ‘and there are some over-rated grotty quarries’. A month after I moved into Stoke St Michael, unaware of this particular locked quarry (BMC website for access details) just a lane away from my house, it announced itself in the guise of a Climbers’ Club guidebook all of its own. It has since become the best-selling CC guidebook ever. What began as a bit of a joke – a sop to activists down in the lonely Southwest – from the CC guidebook committee has become a runaway success going through reprint after reprint.
So what is the secret to Fairy Cave Quarry’s popularity that draws climbers not just from Bristol and South Wales, but from all along the M4, from the south coast, and even tempts Iain Peters out of Devon? Most of its climbing is north-facing and it has a reputation for limestone looseness and vegetation. But it has the nearest slabs to London. And there’s not a bolt or peg in sight. The clean line of the classic Rob’s Crack (4c), benign beginners’ routes on the west-facing Balch’s Slide (4a) area, and the thin steeper challenge of Withy Crack (5a), plus plenty of tricky overlapping slabs at higher grades, attract climbers on most dry days of the year. But actually this is a cavers’ quarry, owned by a caver, the locked carpark reserved for cavers and its management committee dominated by cavers whose base is the cavers’ hut at the top of the lane. Apparently the many locked cave entrances in the quarry give access to some of the best decorated caves in the Mendips, where many cavers are also climbers. Withy Crack’s first ascent is credited to Cerberus Speleological Society in 1992. Given that it is also an SSSI (great crested newts; at least two species of orchids; ravens reared three young last year; Western Red Cedar has just been discovered there) climbers need to be aware that Fairy Cave Quarry is a place that we share, like so many of our crags, with other interests.
But what about three gabions of orange plastic hanging from the diagonal crack of Halfway to Kansas? Or the quarry floor littered with strange white tents on wheels in which green shoots grew from teapots? Or a disembodied voice speaking from somewhere up in the West End? Then over 1200 people finding all sorts of other oddities around the quarry during the two weeks (three weekends) when it was open to the public? Actually climbers seemed to have enjoyed sharing the quarry with the ‘step in stone’ sculpture exhibition for two weeks in October 2015 and may not have realised that they became exhibits themselves in the time-lapse, attention-provoking, photographs of Christina White displayed at the Earth Science Centre down the road. Indeed, climbers were responsible for hanging those gabions at the request of the artist, Catherine Bloomfield, so that their impact (unintended by the artist, apparently) as people entered the quarry was like a parody of three ducks on a wall. Actually, more subtle than that, they were the highest of a line of orange gabions that had colonised the quarry and clearly wanted to join in the climbing.
Poet Ralph Hoyte’s voice works were both an echo of the human construction of the quarry and an eerie post-industrial mysterious communication of echoing absence. Sally Kidall’s white tents on stick and sisal platforms looked like some post-industrial survivors’ attempts at nomadic domesticity that were now abandoned and being reclaimed by nature. From the climbers’ perspective on the quarry rim this seemed to be a community that had run its wheels into a dead-end before it simply gave up. Duncan Cameron developed a picture of the quarry site through evening, day and overnight ‘expeditions’, collecting fascinating found materials (including a wrist watch – but no old pegs!) that he finally mounted in his ‘Fairy Cave Cabinet’ on the dramatic cliff-edge start of the Alpine Ridge. For those climbers who walked around into the West End with their eyes open, a dome set into the ground will have revealed another miniature world of insects, ants and a dead bird. Tessa Farmer’s fairy world was a predatory one that certainly suggested ‘Alice’s unsettling journey down the rabbit hole into Wonderland’ as she puts in the excellent catalogue representing all fourteen artists who took part in the larger project involving six venues with workshops, walks, talks and performances that attracted 8114 visitors in total. Amazingly, the curator of all this, Fiona Campbell, found time to make work for at least three sites where ancient sea creatures that might have inhabited what is now limestone. Here, her ‘Eviscerated Earth’ combined rusty steel bits with wax, cloth, paper and wire to evoke, ironically, the strange formations lost in the destruction of caves by quarrying. Actually, what remains was not only the inspiration for the artists, but also for the audience: the natural folds and features of Fairy Cave Quarry itself, especially in the Death Wish Area, attracted a lot of public attention, which should remind us of how lucky we are to have access negotiated by BMC volunteer Ian Butterworth.
So could there be limits to sharing climbing rock with other artists? (Like bullfighting in Spanish culture, rock-climbing, we know, is an art form.) Only one climb was made more difficult for only two weeks here. And from the quarry rim climbers still get the benefit of various imitations of the famous Salt Lake land art ‘Spiral Jetty’. But on some gritstone boulders in West Yorkshire and Lancashire six poems by Simon Armitage have been carved into the rock to comprise the Stanza Stones Trail of 47 miles. Each poem is about a form of precipitation: ‘Rain’, ‘Snow’, ‘Mist’, etc. These are semi-permanent, although expected by the poet to be mossed over, erased by their subjects and climbed over. Unlike bird-bans, they don’t require art-bans. But they have, with a kind of hubris, humanised the natural rock we come to climb. Is it our rock? Of course not, and climbing is still possible. Indeed, you might feel enriched by being reminded of climbing ‘up here where the front of the mind distils the brunt of the world’ in ‘Rain’, for example. For years we’ve shared the crags with ravens and ring ouzels, and now we must share them with conservationists and curators.
My three nuts from which the gabions hung stayed untouched by other climbers for two weeks. When I mistakenly removed them, thinking the exhibition was finished, other climbers replaced them with stones so the final weekend show could go on. But at another, open, quarry, a weekend rave of six hundred people destroyed one artist’s work. There are other people we should resist sharing the crags with – the ‘green trail’ 4×4 drivers, the destructive trail bike riders, the access improvers, the commercial bolters, the selfish route-hogging groups. Beside these, a few though-provoking, amusing or distinctly odd fellow artists are life-enhancing presences for which we should be grateful, as many climbers obviously were at Fairy Cave Quarry in 2015.
step in stone by numbers:
Website/blog views: 16,984 visitors: 4,974 from 68 countries
Facebook Friends: 2475
Twitter followers: 201
Workshop Participants: 257 for workshops (16), 102 for Walks (6), 56 for Talks (4)
Family Day: 190
Age range 0-95
“I have been utterly entranced by what has been achieved by this extraordinary collaborative event. The fourteen artists are from a myriad of artistic disciplines yet have created a glorious spectacle. From the vastness of the quarries to the intimacy of the Black Swan’s Round Tower, the site-specific works harmonise with their environment. Fiona Campbell and her artists have achieved something wonderful.” Amanda Sheridan, Black Swan Arts
“Visitors have been fascinated and intrigued by the installations, which have brought together the arts and sciences. We have been able to reach a new audience by looking at geology from a new angle.” Juliet Lawn, SESC
It’s been a very intense and challenging few months. Incredible seeeing step in stone through to fruition, and so fulfilling. Overall, the project was a tremendous success, very well received by an extremely varied and broadly based audience. We were overwhelmed by such a high volume of enthusiastic visitors from the area and further afield, who visited our 6 venues. Through special events (workshops, walks, talks and performances) we enjoyed engaging a whole spectrum of the public, participants of all ages and interests, including school children, families and the elderly. We received massive public support for the project; people were genuinely delighted and inspired by the fusion of sound, art, landscape and wonderful use of unique quarry settings.
The project gained momentum as it progressed in steps to its finale. The final fortnight, tied in with Somerset Art Weeks Festival, was brilliant! Each weekend approximately 300 people visited the magical Fairy Cave Quarry venue alone. Family Day was really special, a huge success, so many enthusiastic children, grown ups and in-betweenies enjoyed a range of organised activities in the quarry. The 3 Finale venues added fresh impetus, with all 14 artists showing together for the first time in the project at Black Swan Arts.
The Black Swan exhibition was a beautiful, strong, inclusive show in a wonderful gallery space, including the Round Tower and Hall (where the young sculpture design entries were on show). It came together naturally in a grid-like structure, echoing the work. The Preview was buzzing and feedback excellent.
An ambitious project for the budget, with a very small management team, it was incredibly hard work. I really enjoyed working with such a fantastic set of high calibre artists, whose work I admire. All of us explored and developed new areas of our practice. We had immense support from many quarters: in-kind gestures, discounts, time given, technical help, assistance at special events and manning. Partner Nick Weaver helped me enormously throughout and volunteer photographer Duncan Simey was a huge asset. It was highly motivating to have such support. Our legacy includes a documentary film, catalogues, website, and artwork donated to Somerset Earth Science Centre permanently for educational and recreational purposes.
Bringing step in stone to fruition is the fulfilment of a dream to have contemporary art exhibited in these enigmatic, spaces in the Mendips. I have so many people to thank for this, particularly our funders including Arts Council England/National Lottery, partners, venues, supporters, visitors and of course, the artists!
Some visitor comments:
“That was my best HOUR of this year”
“In many years of visiting art events, I have never experienced anything as fascinating and inspiring as my visits to quarries today – especially this one.” (Fairy Cave Quarry)
“Had a lovely day with the boys exploring, was great to combine being outdoors with some interesting art..”
“Spent a fascinating afternoon at Halecombe and Westdown/Asham quarries. It was a treat for the senses and a revelation about the environments on our doorstep. Thank you!”
“Wonderful – best art gallery I’ve ever been to”
“We’re really enjoying the step in stone events and seeing places/quarries never been to before!”
“A hit for all ages”
“What a brilliant, inspirational and unique exhibition in a stunning setting”
“Love the work in this setting, quite magical in amongst the trees, and thank you to SESC for a warm welcome”
“Ingenious art in a spectacular setting. Do go! Fairy Cave quarry”
“Amazing creativity & lateral thinking. Our family enjoyed a really interesting ‘exhibition’. A wonderfully different experience.”
“Inspiring and fun – creativity thrived in the kids as a result”
“A wonderfully different experience”
“Like being back in Africa in my village – brilliant! Can’t wait to bring my grandchildren – thankyou!”
“Unique and surprising”
“As a geologist (amateur) married to an artist I found the combination of the 2 subjects absolutely fascinating. Especially loved the sketchbooks, also Catherine’s and Amanda’s work..”
A few best pics to tell the story…
Above: Caroline Sharp, Pioneer Seeds, Stoneware and Whatley Clay, Willow. Photo Duncan Simey
Below: CarolineSharp, Birch Layers, Birch, Split Hazel, Willow. Photo Duncan Simey
step in stone Exhibition at Black Swan Arts. Photo Sally Barnett
Fiona Campbell 23/11/15
Spent a day in the Fairy Cave Quarry last Friday, looking after the show, and was rewarded with fantastic light shows. Here are some photos to whet your appetite – last chance to see this treasure of a place this weekend.
Bron Bradshaw 16/10/15
UPDATE before the Bank Holiday (!)
ANTICLINE: GPS-triggered soundscape for Westdown Quarry (now running). This work can be downloaded free from my website (all instructions for downloading and use are HERE!)
SYNCLINE: array of 6 autonomous megaphones beaming audio content into The Amphitheatre at Fairy Cave Quarry (work-in-progress)
PERICLINE: sonic audio-art gallery piece for the Black Swan, Frome: this is the third piece in the triptych of audioworks for Step in Stone; it’s now in its final stages:
Very many thanks to great guy Charles Clapham, Workshop Supervisor for the School of Earth Sciences, Bristol University. I rang him up out of the blue with my strange artistic request to create rock core samples out of the Fairy Cave Quarry rock so I could animate them and he said, “bring’em in!” “When?”, I asked. “Now,” he said. Two weeks later he rang me up – he’d made two 25mm cores out of the rock. Thanks to Bristol Uni!
[Ralph Hoyte working with Phill Phelps]
It’s been an incredible fortnight, unleashing inner reserves of energy I didn’t know I had, and thank goodness for the unyielding patience and support of partner Nick Weaver, helping to pull off the installation of Step 2 while finishing off artwork, getting signage done for 2 venues and co-ordinating it all… Halecombe and Westdown quarries are now open daily for all to visit – see Duncan Simey’s wonderful selection of pics from a very rainy Friday. Jack Offord filmed us for the documentary – looking forward to seeing the results of that on our Preview evening of 2nd October at Black Swan.
Below is a selection from our Step 2 installation days and a couple of photoshoots by Duncan Simey taken since.
And some of our finished work:
My main pieces are the ones with long colourful tentacles, based on crinoids (see earlier post about the making process)! Sadly a heavy steel spring (a small component of my work) went missing and other parts tampered with at Westdown the first weekend – if anybody spots this lurking in the bushes there, do contact me, it might be from my work!
The past week has been filled with our workshops, guided walks and talks, held at SESC, Westdown and Halecombe Quarries. The guided walks, in collaboration with Rosie and Pippa from Somerset Wildlife Trust, have been really well attended, and workshop participants of all ages have explored a range of creative approaches related to artists’ work and the project. Thanks to our wonderfully inspiring workshop leaders (Bron, Tanya, Christina, Suzie), all seemed to thoroughly enjoy the experience! Sally’s talk was much appreciated and I did a talk for 27 Active Living members, who were enthralled.
Last week culminated in a very inspirational performance at Westdown/Asham: Artmusic’s ‘ECHO’ sculpture and sound installation on Saturday 22nd Aug was animated by live performances of Artmusic’s ‘BLAST’ – a theatrical response to the rock and mechanics of quarrying, with specially composed trumpet music being played from locations which echoed around the quarry. We had a great turn out and the audience seemed to really enjoy the unique show and setting. “A delightful melange of live and recorded fluttering trumpets grab our attention this way and that while butterflies flit among the stones…. As they move slowly up the valley from stone to stone, always edging closer to melody, we begin to follow, or not, or meander above and below. ..” Caroline Radcliffe
People brought picnics, dogs, cameras, sketchbooks and the sun was scorching all day!
Can’t wait to download Ralph Hoyte’s GPS Soundwalk ‘ANTICLINE‘ – now available for your smartphone before visiting Westdown.
Hope you can visit soon!
Fiona Campbell 24/8/15
RALPH HOYTE: Battened down the hatches and got seriously down to the actual act of creation this week (impending deadlines always help inspiration, of course). I’m creating SYNCLINE in Fairy Cave Quarry with my frequent collaborator Phill Phelps (audio engineer, coder, musician). It all started with me saying to Phill, ‘hey, how about hanging autonomous speaker units off the rim of the cliffs and beaming sound into the quarry?’ (see earlier entries).
So far we’ve bought most of the gubbins: 6 megaphones (more waterproof than conventional speakers, being made of metal), the mp3 player circuit boards, the wiring etc. We’re waiting on the bike batteries to drive the things – held up in China, I believe.
So much for the hardware. The software, in this case, is the poemscripts I’m writing. ‘Poemscripts’? The technology, that is to say the form, decides the content. Let’s say I wrote a conventional poem and simply divided it into 6 parts, or voices. You’d have 6 voices possibly overlapping each other. This would be mere cacophony. So the point is, how to compose for 6 ‘voices’ in this setting. I decided to set up 6 buckets, theme them, then simply dump all material pertaining to that theme into that bucket. Current buckets are:
- Fluid (refers to the nature of the material, not a description of the content. The voice is fluid)
- Intelligence (on themes of ‘what is intelligence’)
- Lists (of relevance to the two quarries)
- Oracle (oracles lived in caves and prophesised)
- Quarries (related to these particular quarries)
No human voices were abused in the making of this work. They are all synthesised. Each ‘theme’ has a synthesized voice. The synthesised voices were virtually auditioned (which led to some rather amusing conversations, e.g.: Ralph: where’s Ana? Phill: she’s downloading. Ralph: tell her to get a move on, we haven’t got all night! Phill: OK, she’s downloaded – but whatiszname … Ralph: Oliver, English Oliver – Phill: he needs upgrading, that’s the old voice, let me get his updated voice…)
So far we’ve got:
- Veena: Indian, female: lists
- Moira: Irish, female:
- Kate: English RP: geology
- Alice (a-lee-che): Italian, female: Latin & intelligence
- Susan: American: fluid
- Chantal: French: quarries
- Oliver: Standard English: Oracle1
- Alex: American, female: Oracle2
- Fiona: Scottish: possible fluid
- Kyoko: standby
Each quarry/medium of delivery demands a different mix. SYNCLINE in Fairy Cave is fractured, often broken, gnostic, hermeneutic. Not only do we have a quarry, where things which were not meant (!) to be seen lie exposed to the sun, the air, the gaze; also things here were smashed up, pulverized, blown apart, make up our roads, we drive Mercedes GLA45 AMG 4MATIC’s on them; but also: SYNCLINE – the earth in her groanings moved, she fractured the rocks, they were made molten, or lay flat and serene whilst the millennia snowed calcium on them. So the words are fractured, groaning, the millennia have sowed inconformity in them, things have intruded on their reverie, the notes are incongruous, scatty, effluvial…
Delivery is ‘in progress’. The mp3 readers are just … mp3 readers, They don’t do fancy stuff, they just read file1, read file2, read file3. So we sow ‘blank’ (silent) files in amongst them. The amount of silence depends on the nature of the voice. So Veena, for example, takes 8 hours to finish her list, and only then loops. Susan is more vocal. But we have to sow enough silence in amongst the files so that the chances of cacophony are small (but cacophony is sometimes good). Then we simulated on Ableton Live. Then we turned some down so you get the effect of the megaphone nearest you is loudest (of course), and the others are at various distances (which they will be, depending on where they are aimed). Then we considered the level of each, so we’d know how close you have to get to a megaphone to hear it. Then we put an echo on some. Then we decided we were tired and there were too many variables to code, so we went and cooked supper and drank cider.
ANTICLINE in Westdown is for a different media: GPS triggered smartphone media. So people will walk through the quarryscape. Will you expect ‘a story’. Maybe you’ll get one, maybe Discobolous will eject his head from the bedrock and stagger forth. I don’t know, I’m currently writing it, I don’t know what he’ll want to do, say. Maybe nothing. Voices? They haven’t spoken, yet.
Ralph Hoyte 16/7/15
Cath Bloomfield 3/6/15