"Broadly Appealing": where public arts meets personal practice

“Broadly Appealing” where public arts meet personal practice

“Most people now accept that you cannot breathe new life into cities, towns and communities without culture. Sometimes the cultural element alone becomes the driving force for regeneration” (Tessa Jowell, from “Culture at the Heart of Regeneration”)

Introduction Arts projects in the UK take a number of different formats: broadly, there are projects that are self generated by artists, projects commissioned by the arts development teams of local and county councils, and regional and national projects instigated by major organisations such as the National Lottery and of course the Government. The purposes of these projects may be manifold, but at their basics they are generally intended to fulfil two premises: to generate a wider interest, understanding or appreciation of the arts, and to allow the public and community at all levels to participate in some form of creative activity. The second premise also holds the caveat that culture and the arts are, in economic terms, a tool for regeneration within communities, and this is something that must be taken into consideration when structuring or responding to an arts project brief. Given that culture may be used as a tool for urban regeneration, for creating a sense of community, or for engaging the public, one sometimes finds that these outcomes are a by-product of the original project proposal, which may simply be to decorate or commemorate a site or occasion: the public input into the whole selection process is extremely variable. It is my belief that what is understood to be culture means very different things to the bodies at either end of the process: from the artist, at the cutting edge of cultural productivity, to the commissioning body, which has reasons for funding arts projects that may ultimately have little to do with an appreciation for the arts and more to do with the effects of ‘culture’ on society or the economy. I would like to describe the differences in intent, outcome, and measurable cultural value for these two different approaches to the arts project, as in my professional and personal practice I have found myself responding to both. “The value of artistic labour is difficult to quantify or measure because of its collective, intangible nature….however, clearly the artistic and cultural labour of the creative ecology makes a substantial contribution to the general welfare of society and its communities. (Shorthose & Strange, 2004: 49, cited in Bohm and Land, 2007)

Culture and Community Art as economic force has long been recognised by the Government, although there is a conceptual difficulty in economically quantifying its value. John Holden says in his 2007 report that “…the creative industries are still, in spite of all the attention that they have received, not fully conceived, explained, narrated or understood.” In his opinion, “at a fundamental conceptual level, the creative industries’ idea veers between on the one hand being based on the creative capacities of individuals, and on the other being a categorisation of industry types.” (Holden 2007) Indeed, the term ‘creative industries’ is itself a relatively recent concept: “The core of culture [is] still creativity, but creativity [is] produced, deployed, consumed and enjoyed quite differently in post-industrial societies from the way it used to be…” (Hartley 2004) In fact, urban studies theorist Richard Florida recognised the effect of what he called the ‘Bohemian Index’ – namely that when artists move into underdeveloped areas, bringing with them a certain amount of ‘cultural cool’, this effects a form of community renewal and urban regeneration. This is in essence the effect that Jowell refers to in her introduction to the DCMS paper ‘Culture at the Heart of Regeneration’. Moreover, culture – and artists – are being used as tools to effectively give a community a sense of itself and its worth. This sort of cultural economics is seen as bringing in job creation, tourism, and visitor numbers, and these are figures that can be quantified, and thus given a value: this accounts for and legitimates expenditure in these fields. Ironically, it seems that cultural success has, for the artist, an economically inverse value: in their 2008 paper, organisational theorists Bohm and Land consider that “if an artist reaches a mass audience or enters into standardised, industrialised production, then his or her status as an artist becomes questionable”. This then is the dichotomy of the working artist: to maintain one’s credibility, but have difficulty in earning a living, or to enter into a partnership with the forces of economy, and be perceived to have ‘sold out’. Nevertheless, the legitimation of culture in terms of its social impact has the effect of creating funding opportunities for arts projects at all levels. The value of culture may sometimes be considered in terms of the distinction between high arts and popular arts, however increasingly it seems that “…to study cultural things is an activity which often refers to the exploration of the practices and lifestyles of the elite in a particular society, of high culture…[however] it can also involve the investigation of the lived experiences and representations of everyday life” (Smith 2000)

Arts in a social context Community-based arts projects take many forms, but probably have broadly the same remit: to use the arts as a tool for unifying a community or area that is deemed to have social problems. A popular project is to run arts workshops with disenfranchised young people: those excluded from school, or deemed to be a problem within their community. Ostensibly these activities are meant to allow them some form of self-expression: yet, it seems often to act as a means of bringing them in line with societies’ expectations for them: the more marginalised the youth or community, the more narrow the aesthetic parameters of the community arts product. Arts in these cases may be a means of bringing people under the same banner, unifying them to a governmental or societal idea of what is normal, what constitutes community. Ironically, these workshops and projects do not truly allow them self expression, as much of what they are allowed to do is proscribed: I have often found myself saying to young people that “you can draw/paint anything you like, as long as its not rude or illegal” - the bottom line being, of course, that I have to consider the needs of the organisation that is, ultimately, paying me to work with them.

In fact, many public or community arts projects are often simply a vehicle for getting a child’s or a member of the public’s actual, physical input on the finished artwork, by whatever means. This manner of working seems to be popular with many community organisations who believe that this allows everyone participation in creating a piece of fine art – which it does. However, what often emerges is not necessarily a work of art, but a work that serves a function to the community. If your organisation is working with a

fine artist, a writer, indeed any arts specialist, they should learn something from that process that they could not have done themselves: there should be a legacy, not only in the final artwork – which, in terms of a piece of fine art, should necessarily be something that the community could not have done themselves; this is after all, why they brought the artist in originally – but also in the process. The community or school should benefit from the experience of working with that specialist, by learning something new that they would not otherwise have been able to do. This is the gap that the autonomous artist working within a social context needs to straddle: to create work that has integrity, and leave a legacy that runs deeper than a child being able to look at a product and saying ‘I put my finger on that’.

By contrast the schools under the Creative Partnerships banner are usually looking for something other than the usual ‘community’ style art: Creative Partnerships as an organisation are focussed on process rather than product, and encourage schools to be creative in their applications for projects: although these may have a curricular theme, the interpretations can be quite open, and the hope is that both school and practitioner learn something from each other, and particularly that the practitioner leaves the school with a creative skill or idea that the teachers can continue to use as a teaching resource. Despite this emphasis on process, the school is usually quite keen to have a product as well, and there are few arts practitioners that would not want to see some kind of physical outcome at the end of their residency. Projects of this kind allow the artist to intersect their personal practice with the needs of their business or employment.

My experience as an arts practitioner within a social context has, broadly speaking, fallen into the role of being the commissioned artist working for an organisation that has a particular need. When not invited into an artist residency by bodies such as Creative Partnerships, I look for arts opportunities on sites such as the Arts Council’s “Arts Jobs”, or similarly in Artist’s Newsletter. These types of projects tend to have a very specific brief which is drawn up by the commissioning body, be it school, local council, or regional council, and these briefs are then advertised nationally.

The Arts commissioning process In an arts commission the artist is invited to submit a proposal that addresses the objectives within the brief, and from these proposals a short-list of artists is drawn up. Short-listed artists are, at interview, invited to give a more detailed demonstration of their proposal and previous work. This process is a way for both organisation and artist to get to know the needs of the other: however, to get to this stage, it is often incumbent upon the artist to invest a fair amount of time in research into the brief, the history of the school or site, the commissioning agent and other relevant factors including perhaps a site visit, before drawing up a proposal that may well include sketches, scale drawings and even maquettes. Tendering for work in this way is not of course limited to the creative industries, but for a self-employed artist it is often a matter of weighing up the time invested for a project one may not even be notified of a failure to be short-listed for. Sometimes, and this is certainly true of larger scale projects, the short-listed artists are paid for the interview, and often to develop a

proposal and present it: however, the amount of time invested in a speculative application is by many artists dependant on the overall fee: these are some of the decisions an artist must make before even drafting an application.

Artist Steve Downey was formerly, among other roles, Arts Development manager at Essex County Council. Now a full time artist, he has found that the experience of being on both sides of the commissioning process have been invaluable in both roles. The experience of being an artist helped him, in the office of Arts Development , to understand the needs of the artist, and he found that this understanding allowed him to give the artists that he commissioned a lot of freedom and to trust in their vision – not something that is common among council officials, even in the arts. Equally, as an artist, he understands the need of the organisation involved – that they need to see that their artist is competent, reliable, and in control. He says “If I’m an artist working for an organisation I… come to the table with the whole project worked out”. This, he says, goes a long way to relieve the fears of organisations that may be unused to working with artists, and is always much appreciated by them.

Proposals and applications It is important, before applying for an arts project, and especially before considering a bid for funding, to create a project proposal. Like a business proposal for small businesses, an artist project proposal performs several functions: it forces the artist to refine – and define - the details of his or her project idea, it shows that the artist is professional and understands the needs of the project and the organisation commissioning it, and it communicates the merits of the project to outsiders such as venues, investors, or collaborators. “Although writing a business plan may appear at first glance to be a tedious process, a properly prepared business plan can save an entrepreneur a tremendous amount of time, money and heartache by working out the kinks in a business concept before rather than after the business is started.” (Barringer 2009) If you substitute the words ‘project proposal’ for ‘business plan’, then this makes perfect sense, especially as a self-employed artist, where one must synergise the needs of one’s creative practice with one’s business. Costing, funding, viability, budgetary control: these are all themes that must be addressed in a proposal. “Such a plan must include: your goals for the enterprise, both short and long term; as description of the products or services you will offer and the market opportunities you have anticipated for them; and finally, and explanation of the resources and means you will employ to achieve your goals in the face of likely competition.” (Barrow, Barrow and Brown 2005) Although a plan like this may not be an immediate passport to success and sources of finance, it will “help you to… communicate your ideas to others in a way that will be easier for them to understand – and to appreciate the reasoning behind your ideas.” (Barrow, Barrow and Brown 2005)

A strong project proposal should also be supported by a strong CV, one that evidences one’s experience in the field to which you are applying. An artist may find, with their diverse interests and strengths, that they have need of several CVs – for example, in one they might weight their experiences as a public or school artist, listing school residencies and workshops first, and exhibitions second: in another, they might make more of their exhibitions and artist residencies, with the workshops and public arts projects taking second. Place. Different applications for different projects mean that any CV and personal statement, while always accurate, should hopefully play to the strengths required for the particular project or organisation that it is meant. (appendix 1)

Insurance and Clearance It is also vital for any artist working in a public sphere to have public liability cover. The current minimum amount of cover required currently stands at £5 million: a figure that has risen steadily in the years that I have been self employed. Artists Newsletter, recognising that its readership is increasingly required to operate in public spheres in order to earn a living from their practice, offers its members this amount of public liability cover as part of its subscription fee through its online community AIR (Artists’ Interaction and Representation). This has proven to be on the one hand a useful tool for increasing its subscriptions, and of huge benefit to its members. This is, in fact, only one of the many services that AN provides for the working artist. In addition one is often required to have a CRB, or Criminal Records Bureau check. This is required by law if one is working in a school or college, whether as a member of staff or as an artist in residence, or if one is in contact with vulnerable adults. The law as it stands, and in contrast to public liability insurance, seems to require a CRB check to be carried out by the institution rather than the individual; with the result that I currently hold four. These are often in fact accepted by other institutions that may not see the point of paying for yet more CRBs for artists who may only be working for them for a matter of weeks.

For example, I am one of six artists commissioned by Essex County Council for this years “Journey to the Podium” programme, which pairs artists with sports people training for the Olympics. (appendix 2) As part of this commission requires the artist to mentor a young person from a partner school, having an up-to-date CRB was a vital requirement. The Arts Development team were pleased to discover that, in my case, the CRB had been issued by another Essex authority, as otherwise they would have had to make a new application – a process which costs money and takes several weeks, during which time the artist is unable to begin work.

Keeping your name in the frame From the point of view of creating a public profile for oneself as a selfemployed artist, continuing to apply for a variety of arts projects is the useful from the point of view of introducing or keeping one’s name and practice within the radar of commissioning bodies. Artist Nicola Burrell, who is an experienced and successful artist with both a public and personal practice, says that the self-employed artist looking to earn a living in this field must keep one’s hand in by engaging regularly in the application process: “You may have to apply for ten things to get one job. But its worth all those failed applications, because even with the ones you don’t get, people will see your name, and remember it next time it comes up”. And, if you persist in applying for a range of projects, those people – often Arts Development officers or Arts administrators - will consider you a serious and committed artist with an interest in public art and community engagement.

With this in mind I, as an artist, enjoy the challenge of a commission ostensibly outside of my scope and remit, one such being commissioned by Forest Heath District Council. This was a tender for an artist to create new work for the small village of Red Lodge in Suffolk. (appendix 3) I was approached by another Cuckoo Farm Studios artist, Natasha Carsberg, who proposed a collaborative application.

Despite having a solid body of work in this field, Carsberg felt the need to broaden her ideas and practice, as did I. We had worked together before, on a residency in the Auvergne in France called Chantiers des Arts: fees for this project did little but cover costs: however both of us felt that it would be worth having on our CV, and thus the investment in terms of experience and exposure more than compensated for the projects economic shortfall. The benefits of collaboration on a project in this manner are manifold: the planning, research, site visits, and preparation can all be shared, and as these are generally a very heavy time investment for a single artist this can be a considerable lessening of the burden. Also, as Carsberg astutely reasoned, “They might be more inclined to short-list a pair of artists, getting two for the price of one. And this is a big enough project to make it worthwhile sharing the fee”. The fact that this was, at this stage, a non-specific brief – neither in terms of what kind of artwork it was looking to commission, where it was to be sited, or indeed how many artworks were required – meant that this allowed for a very open interpretation of the brief: the organisation commissioning it evidently had little idea of what they wanted, other than that it should be “broadly appealing”.

Our joint application (appendix 4) did get us short-listed and to an interview; and although we were not eventually selected for the project, the committee were interested enough in our collaborative ideas to put us on their database for future projects, either in the public realm or for community based workshops. Collaboration can open up many new avenues of experience in terms of both personal development and professional practice.

Funding options Should the public arts commission not meet the artists needs in terms of professional development, or if the artist sees an opportunity for a public or community based project that they wish to take creative control of, there are many funding options available. It has to be said that many of these grants and funds do specify some kind of community or public engagement in the project, and often require the artist to match fund or raise ‘in-kind’ sponsorship. However, creating your own project naturally allows one a certain autonomy in terms of vision, aesthetic, and outcome.

Nikki Betts is a dance artist who works both as a freelance artist and as arts coordinator for others: she finds that as an individual the work involved in selling ideas to and convincing funding bodies is more difficult and complicated than as an arts organisation: “The obvious difficulties in acquiring funding as an individual means that often great ideas do not become a reality, due to funding criteria: (No individuals can apply - and the need to create working partnerships with those who can apply) This can prove difficult and sometimes the creative outcome becomes diluted or changed (not always for the good of the project)” (Betts) When managing a project for someone else she considers the main difference is in the amount of support you are given. Ideas can be shared and discussed – something which is also a benefit to artistic collaboration, as mentioned previously. Therefore, she says, “I try to work as an individual in the same way I work as part of a group. Planning and organisation need to be at the forefront of development and adopting this discipline proves to gain greater results.” This, again, echoes the experience of Downey when approaching a commission.

There are a number of grants available to individual artists, from the Elephant Trust, which offers small grants to fine artists wishing to develop their practice, to the Winston Churchill memorial trust, which allows for travel bursaries of at least four weeks overseas in a number of different fields, including the Arts, Crafts and Music. Local councils also have a number of grants available for projects that meet their criteria, and perhaps the most popular and well known source of funding for artists and small business people of all levels is the Arts For All Award, which is supported by the Arts Council England, the Big Lottery Fund, the Heritage Lottery Fund and Sport England Council. This will fund everything from specialised equipment needs to the costs of large-scale public arts projects, but is especially geared towards “projects that promote education, the environment and health in the local community”. (Essex Works, arts funding file)

One such recipient was Michael Goodey, who devised a project entitled ‘Signs in the Landscape’. In collaboration with firstsite and Colchester borough council, he applied for a ‘Grants for the Arts’ award to cover the cost of his project, from research and development to construction and installation. In this application he was assisted by Colchester arts organisation firstsite. According to firstsite, “In reducing a specific landscape or series of views, to a set of re-arranged symbols, Goodey is creating a journey that is both literal and conceptual.” In this case, the concept made the project interesting to the cultural ideals of firstsite, and the notion of these artworks becoming part of a cycle trail – the Viewfinder Trail, taking in key tourist locations in the area - was doubtless a factor in its interest to the Arts Council. The project continues to be popular with both the public and local authorities: images of his work being used by Essex County Council’s “Summer of Art” campaign on all kinds of promotional material, from leaflets to beer mats. Goodey’s original idea and design was straightforward enough to have the kind of mass and cultural regenerative overtones that made it a perfect candidate for public arts funding. Ironically for Goodey, the original grant did little to cover his fees, and while remaining popular, the project failed to provide the artist with an adequate income. Arts council funding is also available for specific tools or material needs, not just public arts projects: at the other end of the scale, hand-weaver Jason Collingwood successfully applied for a small grant of £1’500 to purchase a loom. As his practice required a specialised, and relatively rare, type of shaftswitching loom, and weaving is a craft that is relatively under-subscribed, the grant was awarded unconditionally: that is to say, he was not required to demonstrate any public or community engagement aspect of his practice, or put up any funds in kind.

Essex County Council produces an Arts Funding file, available on request, that lists a number of funding opportunities, from small, one-off grants to individual artists to national funding schemes and charitable trusts, as well other ways to raise funding for your project, including advice on getting arts funding from private companies, in the form of donation or sponsorship. For example, Essex County Council runs a small grants scheme: this scheme is aimed at individuals, voluntary and professional organisations who want to run arts projects for the benefit of people in the County of Essex. “The scheme offers one-off project support and awards are normally between £200 and £2,500.” (Essex Works, arts funding file)

None of these grants and bursaries are available to students: however a careful knowledge of the guidelines, criterion, and anticipated outcomes of each means that one can prepare for future projects while still undergoing a course of study.

Personal applications

For the purposes of my proposed practical research, I may well look to the ‘Anna Lindh Euro-Mediterranean Foundation for the Dialogue between Cultures’ which seeks proposals for activities and initiatives that support intercultural dialogue in the 37 Euro-Mediterranean countries. Their programme is co-funded by the European Union and the 37 members of the EuroMediterranean Partnership, and as part of my research is looking towards exploring the history of the medical museum in Europe, and working within them - with staff and visitors – it may be a possible source of financial support following completion of my studies.

My interest, in terms of future arts projects, is to become more proactive in setting up the kind of project I wish to run and be involved in: having had several years experience of being an arts practitioner responding to a brief or tender, I would like also to develop my personal practice by setting up projects of my own devising, as sourcing funding for it accordingly. As my current research interests are tending towards the interstices of the arts and sciences, there are specialised programmes of support for projects of this kind, assuming it meets certain criterion.

There are a great many precedents for artists inspired by the aesthetics and materials of scientific display: Damien Hirst’s early immersions such as “The physical impossibility of death in the mind of someone living” catapulted the artist to worldwide notoriety, and his later installations such as “Pharmacy” continue to reference these themes of medicine and the Vanitas. More recently, film-maker Amanda Schiff had an exhibition of curiosity boxes in the Grant Museum of Zoology at UCL: her intimate, curious works were displayed in amongst the bones and wet collections of the museums’ permanent displays.

“Broadly appealing”, to paraphrase the Red Lodge brief, might, indeed, be a way of describing the effect that the medical and natural history museum has upon the general public: one doesn’t have to have an interest in the sciences to be interested in the display of its artefacts, human or otherwise, as I discovered during the time I have spent exploring collections such as that at the Wellcome Trust in London: all manner of people come through the doors to explore Henry Wellcome’s medical and ethnographic collections. In the Grant Museum, children and their parents jostled with students to inspect the displays, and in the Musée Dupuytren in Paris, visitors that I spoke to were from a cross-section of the public: medical students from the teaching hospital in which the museum was situated, artists and art students, and small groups of the curious with no medical or artistic affiliations at all, only human interest and curiosity.

Conclusion It has often been the case for the self-employed artist that the community project, teaching, workshops and public arts are only one side of the creative coin: on the other side is the autonomous artist, who needs the means to fund his or her studio practice. The one intersects, develops and feeds into the other, so they are not completely separate: nevertheless, they have a different end goal and context. In my personal life, these two practices have been divergent: the type of work I made in order to earn a living was visually and philosophically very different from the work I would make in my studio. However, as I develop and mature as an artist, I find that these two strands of my work increasingly intersect - resulting in both a richer personal practice, and a more creatively interesting approach to the public art project. Recently, my public artwork has had more emphasis on the forms and aesthetics of my studio practice, as evidenced in the work I made for Colchester’s ‘Creative Conveniences’ project, and the upcoming George Yard Memory Box. (appendix 5)

In their 2007 paper on cultural value, Bohm and Land consider that: “…if an artist reaches a mass audience or enters into standardised, industrialised production, then his or her status as an artist becomes questionable”. This then is the dichotomy of the working artist: to maintain one’s credibility, but have difficulty in earning a living, or to enter into a partnership with the forces of economy, and be perceived to have ‘sold out’. However, with the rise in appreciation of the arts as both a tool for regeneration and for giving a cultural ‘cachet’ to an otherwise mundane project such as a public 18 building works, it is sometime possible for the artist to intersect their own practice with the needs of the public without compromising their integrity, and the benefits of working within a social context is that there is a clear opportunity for one’s project to leave a legacy. One should never underestimate the effect that your work may have on the people who interact with it, nor fear the intersection of one’s practice with the needs of both earning a living and fulfilling one’s vision with integrity.

So where do I, as a self-employed artist, now consider myself in terms of the arts project? As it stands, I find myself at the crossroads of the two extremes of arts project management: between the applications for tendered art projects, and project proposals to further my own visual research. As a student I may not be able to apply for funding for my personal projects: however, as a self-employed public artist I can work with various bodies such as local government or organisations like Creative Partnerships to enable arts projects in schools or communities, and use these opportunities to develop – and fund – my personal practice. “…culture and the arts are, after all, fairly autonomous zones that will always exist in an ambiguous relationship to society and capital” (Bohm and Land 2007) Maintaining the balance of this ambiguous relationship is the challenge – and reward – of the self-employed artist today.

Lisa Temple-Cox 2010 MA Arts in a Social Context Arts Project Management: References and bibliography: • • • • • • • • • • • Barringer, Bruce R. Preparing effective business plans: an entrepreneurial approach. Pearson education inc. (2009). Barrow, C., Barrow, P. and Brown, R. The Business Plan Workbook Kogan Page. 5th edition (2005) Bohm, S. and Land, C. No accounting for culture? Value in the New Economy University of Essex (2008) Creative Partnerships infobook What is Creative Partnerships CCE pdf Cycling Discovery Map No.21: the viewfinder trail. DCMS Culture at the heart of Regeneration (2004) Essex Works Arts Funding File Essex County Council Florida, Richard Bohemia and Economic Geography from Journal of Economic Geography 2 (2002) Holden, John Publicly-funded culture and the Creative Industries Arts Council England (2007) Smith, Mark J. Culture: reinventing the social sciences. Open University press (2000) Turner, Graeme. British Cultural Studies: an introduction. Routledge, 2nd edition, (1996).

Interviews/in conversation: • • • • Natasha Carsberg: landscape artist, sculptor Nicola Burrell: artist, sculptor Nikki Betts: dance artists, arts project manager for Optua Steve Downey: artist, arts administrator

Webpages: • • • • • • • • • • • • • • • http://morbidanatomy.blogspot.com/2010/02/pandoras-box-curiosityand-dangerous.html www.a-n.co.uk/air www.a-n.co.uk/jobs_and_opps www.artscouncil.org.uk/funding/grants-arts www.artsjobs.org.uk www.creative-partnerships.com www.creativitycultureeducation.org www.creativityforlife.co.uk/Steve Downey.html www.elephanttrust.org.uk www.essex.academia.edu/ChristopherLand/Papers/106795/NoAccounting-for-Culture--Value-in-the-New-Economy www.firstsite.uk.net/page/3097/Michael+Goodey www.miller-mccune.com/carousel/for-contemporary-art-context-iscounterproductive-9220/ www.visiteastofengland.com www.wcmt.org.uk www.wellcomecollection.org

List of images: Cover: Page: 1 2 4 5 6 7 9 ‘Creative Conveniences, Mens’, (in situ ) Lisa Temple-Cox ‘Creative Conveniences, Mens’, (details) Lisa Temple-Cox ’Signs in the Landscape’, (detail) Michael Goodey Wickford Library mural project, Lisa Temple-Cox Creative partnerships/ Tyrrells School, Lisa Temple-Cox Enrichment week, Colchester Institute, Lisa Temple-Cox Steve Downey (various) ‘Crack:under pressure’, Lisa Temple-Cox / Mary Wiendling

10 Nicola Burrell (various) 11 Natasha Carsberg (various) 12 ‘Share 2010’, Nikki Betts (project organiser) 13 ’Signs in the Landscape’, Michael Goodey 14 Jason Collingwood 15 ‘Immersions and moulages’, (maquettes), Lisa Temple-Cox 16 top: ‘The physical Impossibility of death...’ Damien Hirst centre: Amanda Schriff (various) from ‘Pandora’s Box’ 17 Lisa Temple-Cox, private commissions 18 Lisa Temple-Cox, ‘Immersion 1’ (detail)

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