I was the last artist to install my work before the official opening date of the exhibition on the 7th September. This gave me a great perspective of my own work in the context of the exhibition as a whole. The contrast between Laura Ellen Bacon’s room sized installation, in which you could immerse yourself in a willow tunnel, and my own work which requires the viewer to engage with concentrated niches of detail, provided intriguing but divergent ways of exploring the spaces within the house. The geometric solidity of the ham stone pieces used in the carving of Thomas Appletons ‘Stonemasons of Barrington’ pieces and the nuanced grain of Gary Allsons oak (mature and new) digital carvings created an interesting dynamic opposite Maeve Clancy’s delicate narrative paper cutting. All the participating artists seemed to have drawn strongly not just from a response to the house but from relation to material, landscape and local craft ecology.
White Garden is based on the imaginings of a spectacular flower head inspired by the Gertrude Jekyll influenced White Garden at Barrington. A spherical form lends accord to this hybrid of component parts but each element is taken from different aspects its environment; plants from the garden and forms derived from the flora and fauna of Lyle’s extraordinary collection of wooden panelling installed around the house. A component part is also included for a number of glove makers interviewed as part of the research and making process, paying tribute to their extraordinary knowledge of material and process and the quiet, repetitive making required to acquire these craft skills.
Foliose is derived from lichens forms found around Barrington Court house and grounds. These lichens inhabit a pair of handmade gloves, supplied by Burfield Gloves and the correct fit for Barrington Head Gardener Christine Brain. Although rendered impractical by the application of the lichens the gloves are attributed by fit to Christine in honour of her work and expertise in the garden. As indicator species lichens tell an alternative history of the house and its’ environs. The work is designed to question assumptions about the aesthetic of leather, provoking a closer look, and articulate the diverse and patient making involved in working with such a material in both a contemporary and traditional context.
Press Release September 2013
Laura Youngson Coll
Laura is participating in a discussion about the work and exhibition with curator Deirdre Figueiredo, fellow commissioned artist Thomas Appleton and the supplier Harvey Stone. Barrington Court, Friday 4th October. For further information contact the SAW office 01458 253800.
Laura Youngson Coll
Blog of the Make the Most project: www.laurayoungsoncoll.co.uk/barrington/
Decorative Leatherwork: www.theintricateproject.co.uk
Sculptural/Installation work: www.theminiatureworldsshow.co.uk/laurayoungsoncoll/index.html
Make the Most exhibition at Barrington Court, Barrington Ilminster, Somerset TA19 0NQ.
01460 242614. Exhibition runs until 31st October