ARTIST RESEARCH FELLOWSHIP PROPOSAL

Nicola Ellis, Artist Research Fellow 2022-2023

Title: Contextual considerations.  

 

 

OBJECTIVES: 

1. To research the Artist Placement undertaken by Garth Evans at British Steel  Corporation 1969 – 1971 and to understand the immediate and lasting impact the  placement had on Evans’ work and practice.  
2. To carefully consider the phrase ‘context is half the work’ – used regularly by Artist  Placement Group when describing the approach to placements and their tangible and  intangible results – in relation to Evans’ placement. I will consider how the context of  the British steel sites shaped Evans’ work at the time, how it was manifested in his work and in the documentation of the placement.  

To carry out this research I request access to Evans’ artist papers, the photographic work  ‘British Steel Photographs 1969-71’ and all other documentation of the placement at British  Steel in the HMI archive. I will then cross reference this information with documentation of  Evans’ sculpture in the archive, including exhibition catalogues and press release materials produced either side of the placement period.  

 

RATIONALE 

Throughout the last ten years I have been working with steel and fabrication processes to  develop a sculptural practice which has occupied increasing amounts of space in industrial and  manufacturing environments. During the last three years I have developed a strong  relationship with Ritherdon & Co Ltd, a manufacturer of steel enclosures in Darwen,  Lancashire. This has resulted in a shift towards responding to context as a main mode of  operating at the Ritherdon factory and in my wider practice.  

 

My work that is produced at the Ritherdon site ultimately has two lives: the first taking place within the factory and functioning as a disruption or something ‘other’, which still speaks the  same languages as the factory ecosystem. The second life of the work plays out in a gallery or  other presentation space as something that has been shaped by a context elsewhere which  – more often than not – few people in that space have had the opportunity to experience first  hand. The work does bring information about its original context out of the factory, however inevitably some of its original nuances are lost in the re-location, often replaced with  information about its new context.  

 

I have now secured a permanent residency at the Ritherdon factory however I have also  reached a natural point for reflection on the role and translation of context in my existing  works, before planning the production of new work. I want the new work to utilise the  inevitable losing/gaining of nuance as part of the work itself rather than it existing as an  obstacle to be maneuvered around, in the exhibition phase.  

 

To date I have been able to discuss the idea of Artist Placements and the concept of ‘context is  half the work’ with artists working in different contexts, however I have not been able to  connect with anyone specifically about placements in steel-based production and manufacturing.  However, by combining my lived experiences of working within steel  production plants/manufacturing contexts with access to the HMI Garth Evans archive  material, I will gain a deeper understanding of how the British Steel context appears in Evans’s  practice and works, which will function as a much-needed point of reference for my own practice at this time.  

 

In the first instance this research will inform my ongoing sculptural responses to a  manufacturing context. In the second instance it will inform my thinking around an additional  – and more formal- collaborative relationship with Ritherdon and robotics specialist  Digiotouch, which will continue until the end of 2023. The project will explore product  customization and the potential for human-robotic collaborations on the Ritherdon factory  floor. My role within the project will include the facilitation of co-created knowledge by  machine operators, factory management, myself and the technology provider. This will ensure people operating the new infrastructure and technology will have input into how it will  function within their working environment. . I will also be developing a new range of powder  coating finishes for Ritherdon, informed by my previous artworks and experiments in the  factory ‘paint shop’.  Therefore, the considerations about context facilitated by the HMI archive  will also inform my thinking around this 180 degree shift in dynamics, in which my practice  begins to inform factory infrastructure and my work is presented in the context of Ritherdon  products and customer base. 

 

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PROGRESS REPORT FRAMEWORK

A framework to support artists reflecting on artist placement experiences.

Written by Nicola Ellis during a Henry Moore Artist Research Fellowship, 2022–2023

Artist placements, in my experience, often evolve in their own time. Sometimes, this takes the form of a “domino effect,” where one experience, interaction, or realisation logically and clearly leads to another, in a relatively linear and controlled fashion. At other times, the experience resembles a “rolling snowball,” in which material, ideas, and actions are gathered through the inevitable passage of time on the placement site. These elements compress into an undefined mass of overlaps, which become increasingly complex as the snowball continues to roll. In many cases, several snowballs and domino trails may be active simultaneously.

Reflecting on an artist placement while it is ongoing can be particularly difficult, especially in the early stages. The artist is often trying to:

• Develop a new way of working within an unfamiliar and often overstimulating environment.
• Compare this new way of working to previous experiences in other contexts.
• Consider how they are perceived by those within the host environment, despite their work often being undefined at that stage.
• Contemplate how their work will be perceived externally, and how to communicate that to wider audiences.

During this time, a significant portion of energy is dedicated to moment-by-moment negotiations, where attention is zoomed in on minor details and occurrences. These micro-level interactions take priority, often at the expense of deeper reflection on the broader relevance and context of the placement.

Eventually, however, reflection becomes crucial, and a “zooming out” must occur. This may be prompted by a specific event in the timeline—such as an exhibition or public presentation—or may happen more organically when a natural pause allows space to take stock.

The following framework is intended to support that zoomed-out reflection, whenever it may take place. It includes a non-exhaustive list of questions and considerations that can help the artist articulate how their placement relates to and informs broader contexts.

These points are not listed in any particular order of importance. Headings are presented in bold, with sub-points in italics for further consideration. Artists are encouraged to adapt, rephrase, or expand on the list as necessary.

Consider the following points and how they have shaped your artist placement experience:

1. Initiation
   How did the artist and organisation come into contact, and how was the placement initiated?
2. Workforce Size
   What is the current size of the workforce? Has this changed recently? Are changes anticipated?
3. Physical Layout
   How is the organisation’s property laid out, and how does this affect interactions or activities?
4. Internal Communication
   How do staff communicate formally and informally? When and where do these communications take place? Are there social activities outside of work?
5. Communication with the Artist
   How do staff communicate with the artist, and how does this compare with how they communicate with others in the organisation?
6. Individual Roles
   Who are the key individuals in the workforce? How long have they been there? How do individuals enable or inhibit the artist’s work?
7. Shared Language
   Is there a common language (materials, processes, systems, intent) between the artist and workforce?
8. Shared Values
   Do the artist and workforce share any values? Are there areas of misalignment? How are these identified or addressed?
9. Mutual Interest
   Is there genuine interest between the artist and the workforce in each other’s work? How is this expressed?
10. Organisational Values
    What are the organisation’s values? How are they communicated internally and externally? How does the artist communicate their own values?
11. Organisational Workload
    How is work managed and delegated? What systems and hierarchies exist?
12. Artist’s Workload
    How does the artist manage their own work, and how does this compare to the systems in the organisation?
13. Time on Site
    How often and for how long does the artist spend time on site?
14. Autonomy
    Does the artist have the freedom to work independently? Are facilities or systems in place to support this?
15. Organisational Timeline
    How long has the organisation existed? What significant changes has it undergone?
16. Funding
    How is the organisation funded, and how has this evolved? How do funding sources affect the placement?
17. Current State
    What is the organisation’s current condition—financially, physically, and socially?
18. Wider Industry Context
    What is the state of the sector or market the organisation belongs to? What national/global pressures might affect the placement?
19. Agendas
    What are the motivations of the artist and the organisation? Are these aligned or in tension?
20. Stakeholders
    Are there other interested or influential parties involved in the placement? What are the power dynamics?
21. Impact During Placement
    How has the placement affected the practice, operations, or perspectives of all parties involved so far?
22. Impact Beyond the Placement
    How might the placement influence future practice or operations? Speculate and seek input from others involved.
23. Contextual Relevance
    In relation to Artist Placement Group’s idea that “context is half the work,” how has the placement context informed your activities or outcomes?

Notes:

• Not all points will be relevant at all times; relevance may change throughout the placement.
• Keep evolving your reflections. A working document can help track changes over time.
• You may wish to impose a word limit on each section for clarity and focus.
• Adapt terminology as appropriate. For example, “workforce” might not suit every context.
• While each placement is unique, using this framework can create useful common ground for understanding and comparing experiences.