COLOUR ECOLOGY AiRborne
House for An Art Lover JUNE-NOVEMBER 2013
Glasgow Wooden Bike Project
Colour-Ecology has been developing and evolving since January 2013, into a creative model for teaching eco-centric approaches that focus on helping to connect people with nature and low impact design.
~ An adventure that grew out of a passion for colour and a stewardship for nature, the project began with a period of academic research that led to talks on ‘The Cost of Colour’ at The Lighthouse and The Glasgow School of Art.
~ Stemming from a personal curiosity into the impact of the saturated hues I so obsessively used within my textile designs, I nurtured my understanding of the pollution and ethical dangers of synthetic colours and was compelled to adapt my textile practice, towards more conscious and compassionate actions.
~ Utilising natural dyes as an exploratory process, Colour-Ecology now encourages self initiated learning and knowledge sharing, maintaining an experimental nature and, facilitating participants to adventure into worlds of natural inquiry.
BELLAHOUSTON DYE GARDEN In April 2013 Colour-Ecology was very gratefully awarded an emerging artists grant of £500 from the Arts Trust Scotland which helped to purchase; initial seeds, compost, books and equipment. The project was then offered the AiRborne artist-in-residence position at House for an Art Lover (HAL) based in Bellahouston Park, Glasgow. Here an ample studio suitable for teaching was provided along with the gifting of the land pictured below and an artist fee of £1000 which partly contributed to materials as well as artist expenses. A later £300 was then awarded from HAL to Colour-Ecology to finance the contribution to November’s Living and Making Sustainability event.
The development of this space used Permaculture Design methodologies and principles including SADIMET (Survey, Analysis, Design, Implement, Evaluate, tTweak) alongside ‘Use and Value Renewable Resources and Services’ . A garden was designed that would act as a renewable natural dye resource for the endurance of the project. Having recently completed a Permaculture Design Course and considering taking on the diploma in Permaculture Design, this was the perfect project to test new skills. After a full survey and analysis of the space, the following design was drawn up. Colour-Ecology is now in it’s Evaluation and Tweaking phase.
Nurture the environment. To design, implement and maintain a dye garden in Bellahouston park that will yeild a renewable source of dyes.
COLOUR ECOLOGY researching the environmental impact of colour
Share and multiply knowledge. To illuminate the ethics behind Colour-Ecology in order to encourage environmentally conscious design and action.
impact of colour
Connect with nature. To grow and forage dye plants to be utilised within a series of public engagement workshops at HAL.
COLOUR-ECOLOGY DYE GARDEN BELLAHOUSTON PARK 2013
[KEY] WALL HEDGE RAISED BED EXISTING PATHS CURRENT LANDSCAPING USABLE SPACE BOUNDARY TREES LOG GLASS BOTTLE
RHUBARB
(RHEUM RHABARBARUM)
BROKEN SLAB
ROSE MALLOW
NATURAL GROWTH
(HIBISCUS MOSCHEUTOS)
FENNEL
(FOENICULUM VULGARE)
PURPLE LOOSESTRIFE
PLANTING PLAN
(LYTHRUM SALICARIA)
ST JOHN’S WORT
(HYPERICUM PERFORATUM)
HOLLYHOCK
(ALCEA ROSEA)
PURPLE BASIL
(OCIMUM BASILICUM)
SUNFLOWER
(HELIANTHUS ANNUUS)
NASTURTIUM
(TROPAEOLUM)
CALENDULA
(CALENDULA OFFICIANLIS)
MADDER
(RUBIA TINCTORIA)
NASTURTIUM
WOAD
(TROPAEOLUM)
(ISATIS TINCTORIA)
BORAGE
(BORAGO OFFICIANALIS)
WELD
(RESEDA IUTEOLA)
DYER’S CHAMOMILE (ANTHEMIS TINCTORIA)
SORREL
(RUMEX ACETOSA)
LADIE’S BEDSTRAW
IRIS
(GALIUM VERUM)
(IRIS PSEUDACORUS)
DYER’S COREOPSIS
SAFRON THISTLE
(COREOPSIS TINCTORIA)
(CARTHAMUS TINCTORIUS)
HOPI RED DYE
FUCHSIA
(AMARANTHUS CRUENTUS X POWELLII HOPI RED DYE)
(FUCHSIA PILALOENSIS)
HOLLYHOCK
(ALCEA ROSEA)
MEADOW SWEET
(FILIPENDUAL ULMARIA)
TANSY
(TANACETUM VULGARE)
YARROW
(COSMOS SULPHEREUS)
GOLDEN ROD (SOLIDAGO)
COMFREY
(SYMPHYTUM OFFICINALE)
WILD CARROT
(DAUCUS CAROTA)
Scale:
1cm = 1m
1:100
NURTURE THE ENVIRONMENT Throughout June and July 2013 we implemented the first three beds and cleared existing ones. Having pre-emptively sown seeds in containers in April and May we were able to transfer young plants that had been grown from seed. During 2013 we worked with six fully functioning dye beds, a finished glass spiral planter to be grown in the following season and two beds still under construction to be completed in 2014. During the course a responsible understanding of plant indentification and foraging practices were also taught.
CONNECT WITH NATURE We were able to harvest many plants, with some reaching their potential within the 2014 growing season. Throughout this process I was able to gain a personal understanding of which plants proved most useful and how much of each should be grown. Volunteers and participants were involved in the planting and designing of the garden and were also able to see a tangible connection from ‘soil to studio’.
DYE GARDEN
The garden at its peak during August 2013
SHARE AND MULTIPLY KNOWLEDGE
OUT-REACH The public engagement side of the project included volunteers assisting with the implementation of the garden, but predominantly focussed on workshops based on natural dyeing and drawing inspiration from nature. There were thirteen events in total, consisting of the following occurring at venues outside of the House for an Art Lover grounds.: June 2nd – The Red Shoes @ Tramway (1x 3hour) drop in style workshop - 100+ participants ‘The Red Shoes’ a drop in cold dip dying workshop with children and their parents. June 15th/ 16th - Kelvingrove Park – (2x 5hour days) - 120+ participants ‘MELA – Forestry Commission Kids Zone’ July 13th - The Whisky Bond (1x 2hours) – 8 participants July 27th - Making Explorations @ South Block – ( 2 x 2 hour) drop in style workshop - 12 participants August 28th - Show Me Yours @ (4 hours) drop in style and mobile dye gardening - 10 participants
SHARE AND MULTIPLY KNOWLEDGE
PUBLIC ENGAGEMENT The workshops based within the Arts and Heritage Centre were a wonderful opportunity to develop my teaching practice and invite participants into a space of experimentation. Colour-Ecology Residency Public Engagement July-November ( 5/6 months ) July 21st – 4 hour w/s (x 6 participants) August – 4 hour w/s (x 9 participants) September – 1 x 4 hour w/s (x 8 participants) 1x 1hours w/s – Glasgow Home Ed Group – 20 + participants October – 1x weekend workshop (2x 5hour days) – 8 students 2 staff 1x 4 hour w/s (x7 participants) Living and Making Sustainability (LaMS)- Friday 29th November – 2-6pm - 30 attendees AiRborne Exhibition – 29th - 1st October - 30 visitors
WORKSHOP
Images from the third workshop of the Colour-Ecology residency course. Held in September 2013 with mixed ages.
SHARE AND MULTIPLY KNOWLEDGE Throughout the workshops we explored a range of different techniques. Where possible we foraged for dye plants within Bellahouston Park to use within the steep / boil technique (resulting in one all over colour) and India Flint’s eco-printing / bundling technique (resulting in all over abstract patterning). As my personal knowledge developed during research phases of the residency I was able to directly share it with participants who also had their own contributions.
THE YARNS
Throughout the residency we dyed a total of 20kg of different wool / silk yarns and participants developed colour palettes / proportion designs to be used in the final knitted piece.
MASTER CLASS [October 5th/6th 2013] The two day master class was the most successful of all the workshops and was also the penultimate workshop delivered. By having two days (5hours each day) to work through ideas, participants were able to gain a considered understanding of the Colour-Ecology approaches. A breathing space in-between meant that participants returned to the second day refreshed and enthused, with time allowing us to go into detail about some of the ethics behind natural dyeing, by exploring ideas and principles within Eco-Design / Permaculture Design. We also took the opportunity to share feedback via sheets. The participants consisted of four Weave students from Cardonald College and four Fashion and Textile students at The Glasgow School of Art. Block printer Meg Held joined us on the course to facilitate natural block printing and weave technician (at both colleges) Heather Shields observed and took part. Most participants had never taken part in a natural dye workshop before. 100% said that: - the course met their expectations. - they would recommend this course to others. -they thought they would continue to practice the ideas/techniques taught on the course. - they would participate in future Colour-Ecology activities. 100% rated the following ‘excellent’: quality of teaching, tutor preparation, course content/activities, class size, equipment/materials, venue facilities. While 90% rated the length of the course excellent, one participant commented:
“ I would even be interested in a more in-depth longer experience, to gain a better understanding. ”
ARTWORK IN PROGRESS
Final fabrics inspired by participants work - in the construction and development phase in the arts and heritage centre at HAL.
EXHIBITION The exhibition and closing event were a great success with 30 members of the general public coming through the doors of the exhibition and 30 attendees to the LaMS event. We estimate that the sum of all public Colour-Ecology events during 2013, resulted in engagement with over 400 different people. The residency acted as an incubation period for Colour-Ecology during its infancy which has now turned into an ever growing project. Without HAL’s incredible support the project would not have been able to get off the ground in such a way. The affiliation that Colour-Ecology has had with HAL has also given the project an offical setting and sense of authenticity which other arts venues have recognised. HAL were supportive throughout the AiRborne residency in terms resources (space/finances) but also logistics, planning and technical support. The staff and continue to be of assistance in the development of the project beyond AiRborne.
IN THE DOVECOT
During the workshops we documented participant outcomes through photogoraphy and aimed to re-make some of the techniques explored for the final exhibition. The central images shows eco-printed and shibori dyed fabrics that took inspiration from particpants work.
JACK’S KNITTED LADDER
Workshop participants developed colour palletes and colour proportion designs using the yarns we dyed throughout the residency. We then organised the composition of these and I took responsibility for machine knitting the design. The piece was named ‘Jack’s knitted ladder’ after the story that Mags Smith told during the Living and Making Sustainability seminar.
LIVING AND MAKING SUSTAINABILITY The Living and Making Sustainability event was an afternoon of presentations, talks and stories designed to complement Colour-Ecology and open up the time spent at HAL to a larger group of people. It was a wonderful opportunity to gather like minded folk together and there was a great turn out of 30 people including contributors. HAL were able to find extra funds to assist the payment of contributors which made a huge impact. The contributors were therefore all recognised professionals and experts in their own field – this high calibre of contribution gave the event an authenticity and quality that we would not have been able to achieve otherwise. Below is a list of the contributors to the afternoon of talks which included the Colour -Ecology project. The full program including blurbs and slides from the talks can be viewed online. Lusi Alderslowe - A Taste of Permaculture lusialderslowe@gmail.com / www.permaculture.org.uk/scotland / www.urbanroots.org.uk/workshops
Kathy Beckett - AiRborne (Colour-Ecology) colour.ecology@gmail.co.uk / www.kathybeckett.co.uk / www.colour-ecology.co.uk
Mags Smith - Jack and The Dancing Trees mags.dragonfly@gmail.com / www.educationscotland.gov.uk/scotlandsstories / www.nagamas.co.uk
William Greensmith and Hannah Brackston - Collaboration Station han_brackston@hotmail.co.uk / willie-g@hotmail.co.uk www.hannahbrackston.wordpress.com / www.glasgowwoodenbikeproject.wordpress.com
Reuben Chesters - Making Local Food Work www.glasgowlocavore.org / 0141 328 3303 / reuben@glasgowlocavore.org
Roy Shearer - Rubbish roy@zero-waste.co.uk / www.maklab.co.uk / www.zero-waste.co.uk
AREAS FOR DEVELOPMENT
[GARDEN] -Completion of the larger dye beds and further use of these to generate a larger yeild of plant material. Implentation of more perennial species to reduce the energy needed each year to maintain and create the garden. Applications for funding to be made.
[RESOURCES] -For the length of residency (i.e. 6months) a fee of £3000 might support future artists to reach their potential. This could be sought by the artist via other routes if there is enough time between the beginning of the residency and assignation of the role (i.e. at least 12 weeks).
-A higher understanding of companion planting relationships within the existing dye beds and a developed sense for the new species that will come into the garden.
- The initial application to Arts Trust Scotland budgeted £2000 for the whole project ( not including a fee ) with £500 awarded, more could have been done on Colour-Ecology’s part to finance materials in advance of the project, although another funding application to Ideas Tap was turned down. HAL could recommend that a percentage of the artist fee is dedicated to materials, so as to acknowledge the need to invest in this kind of resource during the residency.
-Signage for the garden explaining the project, but also individual explanations of the plant relationships and purpose. Applications for funding to be made. -Utilisation of the green glass house for foreign warmth loving species. This may include eucalyptus, or even cotton (undergoing research) - the space would be an interesting place to experiment with what exotic dye plants might grow within the UK. -Opening up the use of the dye garden to a broader spectrum of people. How can it become a more acessible resource? [WORKSHOPS] -Diversify the audience. Increase engagement with different groups of people across socio-economic structures. Is it possible to put time aside in order to engage hard to reach groups that might not automatically engage in the arts? -Source organically grown local fleece and yarns to use within the workshops. Ensure the use of bleaches and chemicals is not permitted in it’s production. -Is there a greater purpose for the fabrics created? Do they go beyond functioning as an educational tool? Can they become a product? -Longer workshops, potentially with two days delivery and three days experimentation and development of a collection.
[FUTURE IDEAS] -Colour-Ecology will seek the use similar spaces to that in HAL’s arts and heritage centre as the space was a wonderful resource for teaching in. -Colour-Ecology will explore residential course opportunities. -Colour-Ecology is currently researching how to develop the project into an organisation so it may become a shared responsibility and resource. -Colour-Ecology would like to explore the use of wool processing, spinning and hand carding as a componant of the course. - Colour-Ecology would also like to increase its self-sufficiency in terms of materials. Is it possible to rely on vegetable and protein fibres we have grown ourselves? A long term plan is to develop a Colour-Ecology farm teaching the full process of textile manufacture. This could involve hemp, nettle and flax plantations alongside sheep farming.
THANK YOU!
PLEASE KEEP YOU EYES PEELED FOR ACTIVITES IN 2014!
Many thanks to House for an Art Lover and Arts Trust Scotland for their support and to the Glasgow Wooden Bike project for the loan of the box-bike. A further thanks to all the contributors to the seminar and participants, audience and blog readers throughout 2013.
PICTURE CREDITS: HEIDI KUISMA MEG HELD KATHY BECKETT