SUMMARY

The Movement and Action of Worms is a visual interpretaion of Charles Darwin's last pubished book, 

Darwin, C. R. 1881. MOULD & WORMS: The formation of vegetable mould, through the action of worms, with observations on their habits.

The process of creating the exhibition, was as important as the exhibition itself. I wanted to follow a methodical, controlled approach to the work, and it became apparent very quickly that the work would need to be made in sequence and in situ. Unlike the work for 'Voyage of Discovery' exhibition in 2009, my focus was not trying to describe a scientific principal in visual terms.  In this exhibition, my interest was in interpreting Darwin's words, a precis of the book in its entirity, using visual images. 

Process

Firstly, and fairly obviously, I read the book.

I then took each of the section headings from the book.

These became the titles of the 30 pieces of work. 

I then re-read each section, and selected a passage of text, which 'spoke' to me.

The gallery was prepared and all 30 frames were hung in position. Empty.

The selected words were attached temporarily to the frames.

At this point, i discarded the book itself, and focussed soley on my selected passages.

I tried to absorb the passage and its meaning, and then to represent the vision in my head.

It was important to me that the work followed in the same order as the sections of the book itself.

When I curate an exhibition in the gallery it is normal to move the works to suit the space.

In this exhibition however, it was vital that the pieces of work 'worked visually' in sequence.

I started at No 1 and worked my way around to No 30.

I think this gives unity to the whole, and ensures that there is visual cohesion.

It was important to me that viewers were told of the sequence, but were then left to explore.

Some people read a book cover to cover, some dip in and out, and some just glance.

Outcome

Many people made comments like "well i never knew worms were so interesting".

This is basically the same sentiment as Joseph Hooker, the 19th century British botanist's, "I must own I had always looked on worms as amongst the most helpless and unintelligent members of the creation; and am amazed to find that they have a domestic life and public duties!”

I believe that the exhibition works on different levels. 

.  The images themselves stand alone, as valid pieces of abstract art, and need no explanation.

.  The titles of the pieces help to focus the viewer's attention, but are not prescriptive.

.  The passages help to explain 'where the artist was coming from', and lastly,

.  The whole exhibition adds to the viewers knowledge about worms and Darwin, and may encourage more reading about environmental and scientific issues. 

A Successful Exhibition and another Ambition Fulfilled

I am so pleased with the way my exhibition The Movement and Action of Worms was received. Such great comments, and it stimulated interesting conversations. More than that, it brought new people to The Studio Gallery, (some of whom felt like potential future friends which is always good!), and old friends returned again.

The catalogues in a tin were VERY WELL received, and I sold several at the Preview Evening, and more throughout the week. My intention now is to try to move the exhibition on, to another gallery. Watch this space and keep your fingers crossed.

 

What a great weekend.

Well, its now Monday evening, after what has felt like a very long weekend, and a totally needed day doing absolutely nothing today! Literally! Stayed in bed, only to get up for water and lunch . 

Coastival which included the Preview Evening of the Movement and Action of Worms exhibition, is finished, and by all accounts was the most popular and successful yet. Well done to everyone involved. 

 

My exhibition "The Movement and Action of Worms" is open again this Thur - Sun 23rd Feb 11.00am - 3.00pm, and after that by appointment until 14th March. I am now hoping to find a gallery further afield who will take the exhibition later in the year. I had some really encouraging comments in the visitors book, which included:

"Really impressed by the focussed intensity and interpretative nature of the show."  

"Inspired collection, each one distinctive and also unique." 

"Worms are great!"

Thank you to everyone who has come along so far, and made this a really enjoyable experience for me. It has made me realise what a good life I have made here for myself in Scarborough, and what inspirational and supportive people I have met. Thank you. Good times, and good friends are ahead, and there is so much great stuff to look forward to in the coming months - it certainly won't be quiet!

The exhibition made me realise just what a control freak I am! I was already very aware that i have compulsive tendancies - it is afterall how i create my work. Inspired by Darwin's study at Down house in Kent, i once described my own work as "Methodical experiments, repetition and obsessive compulsion, combined with a comfortable but ordered homliness." I think this still applies, but i hadn't really realised that my need for control extended into how the audience should view the work. It's obvious to anyone who knows me probably, but was drawn in stark focus for me this weekend.  When people came to the exhibition, i found myself feeling really anxious, if they came in and started looking at the work out of order - to the extent that i felt compelled to redirect them to Image no 1, hopefully explaining my reason for doing so. I don't think that any of my audience were offended, quite the opposite I think, and actually, once i had explained my preferences, i was very happy for them to 'do their own thing' anyway.

I will document my reasons for directing my audience at a later stage, but today I wanted to say how proud i am of myself. It was an enormous milestone, personally and professionally to get this work completed and exhibited. I hope that the work can now go on and build its own relationships with new audiences and feel less controlled and contained by Helen Birmingham.

Tins completed

25 x slates with wire

25 x Microscope slides

All now into tins. The following photograph shows the tins being filled, one item at a time.

Edition 1  The Studio Gallery Scarborougih, February 2014 <edition of 25 boxes

Treasure boxes/catalogues £25 each

Limited Edition Catalogues x 25

25 x tea sample tins

25 x catalogue : set of cards showing 30 pictures in exhibition

25 x limited edition collages specifically for Scarborough exhibition catalogue

25 x antique watch glasses

25 x textile/stitching samples

25 x leaves tending to skeleton

25 x archaeology fragments brought up by worms

25 x pieces of slate with wire (to be completed)

25 x microscope slides with burnt paper (to be completed)

Worm Tins Underway

Today was a day for final decision making, and when it came to it, it was easy to make. Obvious to make. There was only one decision TO make. The tins i am using for the 'catalogue' are going to be some of my precious, treasured tea-sample tins. Even though I am finding it hard to think of letting some of them go, the work needs them.

I will make an initial set of 25 tins. Each one will contain a tiny handmade box (shown on yesterday's blog), with 30 cards, each showing one of the pieces of work in the exhibition. There will also be one-off "treasures" in the box,  and one from a series of a numbered edition of small collages, made from scraps collected while making the exhibition.

My last exhibition "Voyage of Discovery" in 2009 was really successful, and to say that I was disappointed to sell all 30 of the pieces would sound silly. But ...... 

I was disappointed not to have documented the pieces better, and sad not to have the opportunity to exhibit them as 'one piece' again. I do however have a piece of work, which was made from a collage of scraps collected while making the exhibition, and of course the catalogue.

It seems appropriate (and ironic) that at this exhibition i will be selling the collages (hopefully) - as part of a collectible 'worm tin' catalogue/record of the exhibition and therefore i will retain the 30 original pieces. I hope to be finalising another venue for the exhibition later in the year. 

OK so less than a week to go until the preview. But i am in control. 

Nearly there - but very nearly wasn't!

Well this has been a difficult week. On Sunday evening my last post was saying that I was going to have a day off, then get stuck into making the artist's books in tin boxes, which I had been planning since last June! I kept putting it off and putting it off - finding all sorts of displacement activites, some wholesome, some not-so! It took a real effort to try to look at what was troubling me.

I finally started in earnest very late on Wednedsay evening, when next Friday's preview started feeling as if it was breathing down my neck! i thought i knew what i was doing. Goodness knows I've been planning it for long enough. So i started printing off pictures; re-binding the books I'd bought to go in the tins; and finding samples of off-cuts to stick into the books. BUT i wasn't enjoying it. 

IT FELT REALLY CONTRIVED and I hated it.

But that threw me! What else was i going to do? Even if i am lucky enough that anyone wants to buy any of the 30 main pieces in the exhibition, i am determined that the originals are not for sale and are to stay together, in order to be able to move the whole exhibition to another venue, later in the year. It was the thing I've been worrying about subconsciously for weeks, and finally  i had made myself come face to face with it!

i knew very quickly that i would rather have nothing to sell at the previev, rather than produce something I wasn't happy with. So I stopped forcing myself, and cried!! A lot!! 

Then I spoke to my sister. She is the only person whose opinion I really really trust. I don't like her opinion sometimes (!) but I trust her.

She suggested that the boxes contain small treasures, like when we were children. She remembered a piece of moss and an owl pellet in hers. I have a really strong memory of a tiny book which she had in her box. It had photos of my aunt's wedding when we were bridesmaids. We were about 6 and 2. It was tiny - the size of contact prints - and her ownershiop of it was my first memory of covetting something.

So the idea of fhe tiny book/set of images in a handmade handprinted box came into being. It will have a copy of all 30 of the exhibition pieces in it, together with an original piece of artwork/collage and other treasures, all in one of my very precious tea-sample tins.

I am enthusiastic and inspired again! Just in time!!