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 In April 2006 a new opportunity was launched by GHP which enabled local artists to shadow the lead artists and Project Teams on each project, through a new bursary scheme. This opportunity is different from other professional development schemes, as the artist shadows the total process and experience of working with local government teams on these new models of working, as well as learning from the lead artist about how their role forms as a part of the team.
Lead artists on Green Heart Projects have been able to develop a dynamic relationship with a team with a broad range of expertise; an experience which is informing the development of their own practice, and will benefit the shadow artists in a similar way.
This bursary scheme has been piloted by Charlotte Bernstein in Watford, on the Bushey Arches project. Based in Watford, Charlotte was particularly interested in the opportunity to work alongside a team of officers with a range of specialisms. She gave GHP the following report one her experience of shadowing the Bushey Arches team.
As the Shadow Artist for Stage One, part of my role is to familiarise myself with the project so far, attend key meetings, meet the lead artists and acquire a flavour for what may happen later on. It’s early days, but by the end of September, I will have attended ten sessions including review meetings and have presented my experience to the local arts community.
The personal benefits, so far, include discovering more about the history of the area by spending time at Watford Museum with Rayna Nadeem, the lead artist for Stage One, and meeting the project team from GHP, Watford Council and the Highways Agency. The project seems to be developing organically without fixation on final form, so it’s open to input from a group with a range of expertise and skills. This way of cross-disciplinary working really appeals to me, as I don’t perceive a boundary between professionals.
During the project, I have become aware of the role that GHP plays in regards to gauging (sometimes) politically sensitive issues; rather than expecting the artist to a sole negotiator of the process. I recently attended a Local Committee meeting and was able to experience the tension over previous issues to do with the site. It was interesting to see the public reaction to a GHP presentation and how the word ‘art’ can sometimes cause apprehension when mentioned in relation to public space. As an artist this can vex, yet as a local, I appreciate why people are concerned, as they will be directly affected by the integrity of any design.
The role of Shadow Artist is experimental and the title sounds a bit strange. I was concerned at first that I might not have the opportunity to contribute, but I have been able to make my voice heard during meetings. Over time, I imagine being in an observatory role hard to sustain over the length of the projects development and implementation. By this I mean, that I’ve had ideas bubbling away that I would like to pursue. I think an important bridge between this element of the Exposure Bursary, and the ultimate aim of providing Hertfordshire based artists with the skills to lead projects, is developing a more hands-on role.
In terms of my background, since graduating with a degree in Fine Art from the University of Hertfordshire in 2001, I have been involved with exhibitions, residencies and commissions in various settings, openly applying media such as video, audio and live art. I have also developed my practice in terms of artistic strategy and education.
Over the last two years, I have been a core artist with the Live Art Garden Initiative, the aim of which is to develop an art, architecture and ecology project, and later in the year, will participate in a series of review meetings involving artists, scientists, philosophers, architects and researchers.
In a few weeks, I will begin an MA in Fine Art (Sculpture) at Wimbledon School of Art; a course founded on an ethos of experimentation, exchange and collaboration. During this time, I plan to further develop my research and practice in areas of human biology, energy resource and engagement with the environment. The next stage of this project will take place in December in India, when I attend a three-week course of Intuitive Anatomy, and I hope to travel to Japan and China to research architectural form in greater depth. For me, opening up to a way of working that challenges the limitation of our perceptions, will make for a sustainable (urban) environment.
I would be interested in remaining with the project, as I feel it would add value and I would love to get more involved in the creative melting pot of ideas and matter as well as attending site visits and getting an insight into how utilities are managed. Additionally, should Watford consider moving forward with GHP, I would like to witness how Tony Stallard negotiates his role as lead artist during the next stage, as the process moves into concept development and site installation.
To find out about Charlotte's work in more detail please visit www.charlotte-bernstein.com
Another two bursaries have been awarded to Hertfordshire artists to shadow the GHP projects as follows:
St Albans Clarence Park- Munaza Amir
Stevenage Town Centre Gardens- Kimberley Bevan
Reports from these artists will feature in future e-newsletters
The Exposure Bursary brief is available at www.greenheartpartnership.org/news
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