Watching the Sun Residency
Watching the Sun Residency
Virtual artist residency 30 November – 4 December 2020 In association with the Royal Astronomical Society
1919 Solar eclipse photograph, Arthur Eddington, image courtesy RAS
Introduction Dr Jo Mayes / Mayes Creative
Pinhole camera solargraph photos: below, Steve Cussons, opposite, Olga Suchanova
I am delighted to introduce this wonderful folio of work created by the 20 artists on the Mayes Creative Watching the Sun Residency in partnership with the Royal Astronomical Society. During the Coronavirus lockdowns of 2020 and 2021, when new collaborations were difficult to achieve in person, the artists, from Great Britain and Ireland, were able to take inspiration from and create new work on this theme. Mayes Creative, on the first of our new virtual residencies, offered a week of presentations, discussions, tutorials and provocations by specialists from the arts, sciences and heritage. We have been delighted to see how the artists engaged with each other in enthusiastic and creative ways. The resulting high quality and sheer inventiveness of the artwork has been an inspiration.
Mayes Creative’s Watching the Sun Project, has drawn from from the prehistoric stone monuments in Cornwall’s landscape, aligned to reflect the ancient people’s solar observations; Schwabe’s discovery of solar cycles in 1843; the influence of John Somer’s medieval eclipse predictions c.1390; and those of our astronomers involved in developing space technology in Cornwall today to name but a few. This Watching the Sun initiative in partnership with The Royal Astronomical Society, is part of the wider ‘Measuring the Universe’ programme. Sound, film and creative technology artists worked with the communities of Cornwall, Isles of Scilly and beyond, to inspire them about the story of solar observation and the new eleven-year solar cycle.
A word from Carolyn Kennett (FRAS)
Speakers, activities, online events
Chun Quoit, Cornwall Image: Carolyn Kennett
Humans have considered the passage of the Sun as supremely important since the earliest of times. Our megalithic ancestors have watched, recorded and marked its daily motion, celebrating its cycle at a number of points throughout the year. Two key dates would have been celebrated – these are the extremes of the solar cycle – the summer and winter solstice. The half way points being the equinoxes and the Celtic festivals of Beltane, Lughnasadh, Samhain and Imbolc would have been important to them. In Cornwall, we are lucky to have a great history of people relating to the Sun. My work considers the way in which they did this, either through alignments, position of monuments in the landscape, or the shadows they create. There are no written records, so a picture can be built by examining what remains we have on the ground and considering how they have a special relationship with the Sun.
Monday 30 November
Watching the Lunar Eclipse / Carolyn Kennett • Starlight and Photography discussion / artist Melanie King • Art Science Collaboration / Jo Mayes and
Justin Wiggan • Tregeseal Film sharing / Carolyn Kennett Tuesday 1 December Echo Point Activity - Measuring the Universe / Carolyn Kennett • Speaker: The Sun is a Star / Royal Astronomical Society Outreach Officer Sheila Kanani •
Sharing Creative Approaches / group creative provo-
Sheila Kanani, Our Sun is a Star, RAS
cations • Watching the Sun Astronomy Talk / Carolyn Kennett Wednesday 2 December
Individual personal responses to creative provoca-
tions • Speaker: Dark Skies and Earth Project / artist
and activist Steve Geliot • Open channel discussions and sharing Thursday 3 December Live streamed Instagram Heritage Walk / Jo Mayes and Carolyn Kennett • Drop-in astronomy sessions with Carolyn Kennett
Sian Prosser, RAS Archive tour presentation
Friday 4 December
Meeting: Creative Responses / Jo Mayes • Speaker: Watching the Sun #SeventeenSunsProject / artist
Peter Beeson • Speaker: Royal Astronomical Society Archive and Library materials presentation / Librarian Sian Prosser 6
Catherine Higham Painting, landscape architecture www.cjhigham.com Instagram: catherine.higham Twitter: @CatherineHigham
‘Watching the Sun’ residency sparked ideas which will inform my artwork from this time forward. It transported me, via Zoom, into the new realm of astronomy, learning from and interacting with scientists and other artists at a time when working in isolation had become the norm. I began to observe the sky at sunrise and sunset each day during December 2020. This repetitive practice provided moments of peace and solitude, and the connection to the universe when watching the sun gave me a sense of perspective whilst in the midst of a global pandemic. I attempted to record the December sky colours in watercolour, with a paper ‘swatch’ representing sunrise and sunset for each day. These 62 swatches have formed a colour palette for a series of paintings. Other ongoing work explores Hubble’s Ultra-Deep field image, visual representations of space data, archaeoastronomy mapping, and the technique of solargraphy. Continuing my observation of the sky into 2021, I have become drawn to the transitional time at dawn and dusk; the feeling of being in a threshold space, and the sense of anticipation. The resulting paintings shown here aim to distill this intersection between night and day, darkness and light.
Left: Sunsky swatches, watercolour Opposite top: Day to Night, Acrylic & oil on gesso board Opposite bottom: In between suns 1, Acrylic & oil on gesso board 8
Lisa Pettibone Sculpture, installation and print www.pettibone.co.uk firstname.lastname@example.org Instagram: lisa_pettibone
The residency offered an opportunity to share my interest in astronomy, learn more about the sun and mix with enthusiastic artists forming fresh connections. I was surprised to learn that there were several Cornish Neolithic sites – ancient people were sophisticated observers of the sun’s cycles and marked crucial yearly alignments with stone formations in the landscape. I had new respect for the societies that built sites such as Tregeseal and Chun Quoit. Their primitiveness belies a deep understanding of the connection between the night sky and human existence, something we rarely consider in modern day-to-day life. At another prehistoric site, New Grange in Ireland, I learned that light streams into a long stone tunnel structure momentarily marking the winter solstice and its lowest position on the horizon. I was curious about the spiral shapes carved into the stones: a book by Martin Brennan revealed these were likely to be abstracted drawings of sun, moon and star cycles. The human desire to map our environment is profound and I couldn’t help make comparisons with current space telescope missions capturing distant stellar light. We are not unlike our prehistoric forbearers in our curiosity and endeavour to unravel nature’s patterns. This compelled me to experiment with paper structures combining images of Cornish sites with fictitious handmade universes using the alluring blue of the cyanotype process. These evolved into a mobile of floating forms – in constant motion like the cosmos.
Above: Alignment, paper mobile constructed from cyanotype prints and painted paper 10
David Ian Bickley Media artist: television, installation, music, video www.davidianbickley.com Instagram: @david_ian_ bickley
I spent a delightful five days watching the sky, developing collaborative relationships and producing new works, mainly with painters, photographers, sculptors and printmakers. Using digital motion techniques and ambient music/sound design (also based on astronomical sources), I created a number of moving image collaborative works, of which these are just a few examples. I also made what I call, ‘digital Haiku’ experiments — a series of short texts to accompany the collaborative audio visual projects. These were made using material sourced on the Slack chat app, by searching for key words relating the concept behind the visual pieces.
Below: Video still, collaboration with Carolyn Lefley Opposite top: Video still, collaboration with Gigi Salomon Opposite bottom Video still, collaboration with Steve Cussons
Gigi Salomon Sculpture, installations and print www.gigisalomon.com
The inspirational lecture programme combining science, astronomy, with the archaeology of humanity’s early observations within the physical landscape of Cornwall, gave me the context to develop an understanding of our Sun. The practical tasks, Walking the Universe for example, encouraged the free exchange of ideas and practises by all the artists as well as collaborative and individual investigations. My interest in the 30 day cycles of Stone Rows, equinoctial apertures and alignments will form the basis for future projects... Sian Prosser showed observations by WH Wesley, John Somers, Annie Maunder and Nasmyth of Eclipses, The Milky Way and Sun spots which has been influential. I have photographed and projected found objects and templates to mimic ellipses, planetary orbits and instruments using shadows and reflections. Encouraged by the ‘Provocations’, I have made cyanotypes and projections too from my photographs of Yantar Mantar, the naked eye observatory in Jaipur, India. I simplified the architectural geometry of both Vrihat Samrat, a vast equinoctial sundial, with a gnomen 27 metres high and Jai Prakash, two hemispherical marble bowls reflecting the mapping of the celestial heavens used for diurnal and nocturnal observations using a shadow caster. This residency has offered up new horizons and connections for me.
Left: Shadow play with Objets trouvés ‘Gnomen Sundial Vrihat Samrat Mantar’ Opposite top left: ‘Gravity and Interplanetary reflections’ Projection with Objets trouvés Opposite top right: Moon in Orbit, cyanotype 14
Lewis Andrews India ink painting www.lewisandrewsartwork. com Instagram: @lewis_ andrews_art
The Watching the Sun Residency 2020 was rewarding for me in numerous ways. The engagement with other artists specialising within similar themes and ideas of research within their work, was both wonderful and enriching for my practice. I gained new ideas and material methods that I could utilise in my work. Taking place during a time where we were limited in contact with other people, it was a great breath of fresh air to be collaborating and sharing our thoughts and different working methods with each other. I enjoyed listening to the talks by different artists and astrono-
mers and viewing the Royal Astronomical Society archive. All of these talks contributed to my practice and have given me some much-needed motivation to create some new work. The ‘Ancient Furnaces’ series of drawings was my contribution to the residency. The ‘Ancient Furnaces’ series of drawings were created to highlight the nuclear fusion process of stars and the resulting elements produced. Following in the footsteps of my early Carbon ‘Cosmos’ drawings, the ‘Ancient Furnaces’ series is my interpretation of a star’s death in a supernova.
Below: Debris VI, India ink on watercolour paper Opposite: Ancient Star, India ink on watercolour paper
Judith Whitehouse Painting, drawing www.judithwhitehouse. weebly.com Instagram: @art.judith. whitehouse
The ‘Watching the Sun’ Virtual Residency has been an enlightening experience, learning about and looking at various aspects of astronomy and astronomers, both ancient and modern. This has led me into working with a variety of approaches and media, including my first foray with pinhole cameras. I have put two cameras up to record the sun from the Winter Solstice to the Spring Equinox and will change them every month for the whole year. On an incredibly bright sunny day I went out photographing glistening elements within my local landscape. One of these has been overlaid several times in Photoshop, then combined with my work ‘Drawing with Yellow’. Several abstract oil paintings have developed as well as papier mache 3D pieces and some collage work. My intention has been to capture a sense of the astronomical work involved in watching the sun; the measuring, the arcs, the looking, and also the tremendous energy of the sun and how it gives us life and for most of us, makes us feel happy.
Above: Watching the Winter Sun 1, oil on canvas Opposite: Navigate 1, mixed media sculpture Far right: digital image with drawing and photo 18
Becky Probert Photography www.beckyprobert.com Instagram: @becky_probert_photography
This residency was a wonderful opportunity to connect with other artists throughout the UK and explore different ways of making work. Inspired by the creative provocations put forward by the other participants and in response to the talks and discussions throughout the residency, I found myself fascinated by the solar cycle, the flipping of the Suns’ magnetic field and potential for the Sun to create flares so powerful during its active phase they could penetrate the protection of the Earth’s magnetic field, causing significant disruption to the technologies that we depend upon so completely in our daily lives. The Sun’s upper atmosphere constantly releases streams of charged particles into space and the termination of this stellar wind beyond the Kuiper Belt marks the boundary between the edge of our solar system and interstellar space. Using cyanotypes to explore these ideas seemed appropriate as the reactive chemicals used to coat the paper in this process are formed in the explosive energy of a supernova, and the image is exposed directly using only the light from our closest star.
Right: Plasma, digital photo Opposite: Magnetic Field, cyanotype 20
Steve Geliot, Dark Skies and Earth Project
Melanie King, Starlight and Photography presentation
Lisa Pettibone Sheila Kanani, RAS
Helen McGhie, Walking the Universe Lisa Pettibone, Walking the Universe
Scott Miles, Walking the Universe
Becky Probert Gigi Salomon
Lucy May Schofield, Walking the Universe
Scott Miles Visual artist www.scottmiles.org Instagram: @scott_miles_art
Growing up in the Southern Hemisphere, the sun was a ﬁerce presence, asserting unbearable heat, droughts, ﬁres, sun burn, and Ozone depletion. In 2013 I travelled from Melbourne, Australia to Upernavik, Greenland, to experience the shift from scorching 40 degree heat to the cold of minus 40 degrees – from bright white light to a sunless polar night. The longer I spent without seeing the sun, the more I became conscious of alternative reference points in the dark skies, and of the dominating presence of the sun in our lives. Understanding the sun’s position within the cosmos, that it is actually one of many, and that there are multiple ways to ‘see’ it, has driven my interest in how cosmic scale is conveyed through chromatic, linguistic, schematic and optical representations, comprehensible far beyond the limitations of the physical body. I have referenced these ideas in my painting practice, which allows contrasting perspectives and modes of communication to coexist. I have also developed a re-working of the book ‘The Heavens and their Story’ by A&W Maunder 1908, redacting areas of printed text and altering images to heighten the imaginative scope of visual language in the face of limited description.
Opposite, left: work in progress, a re-working of ‘The Heavens and their Story’ by A&W Maunder 1908 Opposite, right: Refractor (precession), oil on board, 26.5x20.6cm, 2021 Above: Refractor (spectra), oil on canvas, 45.7x40.6cm, 2020 24
Olga Suchanova Photography, printmaking www.olgasuchanovastudio. com Instagram: @olgasuchanova01
Art science virtual residency ‘Watching the Sun’ was one of the best and most creative processes in my art practice. I was influenced and inspired by talks and works by scientists and artists. In my hybrid art practice, I explore and experiment with the photographic medium in essence of art, science and technology. I am also interested in psychology, philosophy, physics and astronomy and how we perceive the world around us through science and religion. For this project I have started to investigate and experiment with colour; specifically what colour is the Sun in reality? Scientists view the Sun in different wavelenghts from radio to gamma rays; because we can see only the light in the visible range of the spectrum, so they give false colour to the visual representation of the Universe. In objective reality the colour doesn’t exist either, it only exists in our mind through the interpretation of light.
Above: 99 Suns, photopolymer etchings combined in a digital photo montage Opposite: working images of the printmaking process using Wesleys’ corona image (courtesy RAS). 26
Josie Purcell Eco-conscious photography www.josiepurcellphotography.com/ Instagram: @josieshutterpod
My passion for science mixed with the magic of our universe was certainly bolstered by my participation in the residency. Hearing from fascinating speakers on topics I have little knowledge, to meeting creative artists from a variety of disciplines provided challenge and inspiration. The benefit of an online residency for me has been the opportunity to take part while still keeping to other work commitments - I’d like to do more like this. The process has led to a new photographic series in which I will be delving into the names we have given to the moon over centuries. I am using details from an Almanac of astronomical data and miscellany to provide a basis for research. The artworks represent my initial quick cyanotype response through to a cyanotype/illustration print The Snow Moon from my Moon in a Silver Bag series. The style of The Snow Moon represents the childlike wonder we must strive to keep when looking up at the world above our heads.
Opposite far Left: Moon in a Silver Bag 2, test cyanotype with metallic gold Left: Snow Moon, cyanotype with metallic pen work Above: Moon in a Silver Bag, cyanotype with metallic gold 28
Lucy May Schofield Printmaking www.lucymayschofield.com Instagram: @lucymayschofield
The discovery of sun spots during the first few days of December informed my response to the residency. I was inspired by the eleven-year solar cycle and Carrington’s drawings documenting the mass solar storm of 1859. Both John Somers’ stunning moon eclipse almanacs and Caroline Herschel’s beautiful folded diagram observations led me to create a series of prints charting the changes of the sun and moon over seven days. These large-scale woodblock prints were carved and printed over seven days, a gradual layering of depth and detail depicting the development of solar flares on the sun’s surface as the full moon gently wanes.
The piece evolved to form seven folded pamphlets housed in a red silk covered clamshell box lined with gold and red linen creating a kind of archive to our days spent collectively and virtually watching the sun. The knowledge shared on the residency continues to have an impact on me and shape the work I am making, from the eight seasons of the wheel of the year, to ancient ritual sites, the life of stars, light pollution’s effect on human existence, the sound of Jupiter and supernova gold. I am grateful to have established a new love for our giant star.
Opposite and above: Seven suns & seven moons, folded water colour woodblock prints in a red silk covered box lined with red and gold linen Right: Conjunction, cyanotype on cotton made during the winter solstice in Northumberland National Park with Khosro Adibi’s Iris stone sculpture
Rachel Heseltine Painting www.rachelheseltine.co.uk
Stimulated by the residency as I studied the subject, I found I got more and more involved with the strangeness of the idea of Time, which we understand in a linear way as the Rate of Change. But if its folded and bent, like our anatomical brains, we only see a minutely small bit, which appears linear to us. I was also struck by the idea of what happens when our sun collapses and dies. This led me to thinking about the speed of light and how long would it take for earth to be eternally dark and cold. The painting (acrylic) 7.954 minutes, is a combination of image making and a primary school level of maths, explaining why it would take 7.954 minutes for the earth to die, following the extinction of the sun. In other words, it answers the question how long does it take a photon of light to reach the earth from the sun. Time, Bent and Folded (oil) is an abstract painting of time being bent and folded, but without explanation of how this is possible, because it is non linear and full of contradictions which can only be described in part by our present day mathematics.
Above: Time, Bent and Folded, oil painting Opposite: 7.952 Minutes, acrylic painting 32
Liv Gravil Rachel Heseltine
Sian Prosser, RAS Atchive Presentation
Becky Probert Olga Suchanova
Peter Beeson, Seventeen Suns Project
Jo Mayes, Tregeseal Heritage Walk Carolyn Kennett, Tregeseal Circle
Lucy May Schofield
Steve Cussons Works on paper, moving image https://sunwatchingstevecussons.art.blog Instagram: @stevecussons
I am very pleased to have participated in the ‘Watching The Sun’ artists’ residency which brings together several of my abiding interests; astronomy, art and archaeology. My first degree was in Mathematics with a specialism in Astrophysics, and, after a career in IT and Management Consultancy, I returned to my early love of art, studying for a Creative Arts degree. My practice revolves around printmaking, drawing and sculpture but increasingly I am drawn to participative and performative work. This residency was timed to coincide with the start of solar cycle 25. The sun’s magnetic poles switch every eleven years, as the magnetic forces twist up due to its spin, and eventually snap into a reverse formation, starting the next half of a solar cycle. This magnetic activity causes sunspots, solar ejections and prominences; arching loops of plasma forming giant firework displays. Whilst we touched on many aspects of the sun and stars during the residency, this particularly captured my imagination. I have tried to express this dynamism in a series of prints and drawings, sometimes directly incorporating the effect of magnetism with iron filings.
Above: Solar Prominence, Viscosity Monotype Opposite left: Magnetic Storm, Etching and Monotype Opposite right: magnetic storm drawing 36
Helen McGhie Photography, film, research www.helenmcghie.com Instagram: @helen_mcghie Twitter: @HelenMcGhie
Through the still and moving image, my practice engages with place and encounter. From my studio in Salford (UK), Watching the Sun was an illuminating online residency where I enjoyed navigating the cosmos through cyberspace. With others, I felt creatively exposed to the exceptional power of the Sun through the diverse creative and scientific workshops. Through provocations on light, night and observation, we collectively discussed and artistically explored the human desire to know and understand what is beyond reach - at once in awe and surrender of our Sun. In this publication, my work reflects on my practice-based AHRC PhD project in partnership with Kielder Observatory (supported by the National Productivity Investment Fund), which is engaged in creating new photographic encounters with dark skies in Northern England.
Above left: Vintage Trade Card (Meteorite) Above right: The Planets, instructional display Kielder Observatory Opposite top: Wanderer at Dalby Forest, 2021 Opposite bottom: Dark adaptation, Kielder Observatory 38
Susan Mannion Enamellist and Wood Engraver www.susanmannion.com Instagram: @susan.mannion
I was delighted to take part in the Watching the Sun Residency, created by Mayes Creative, with fellow artists from all over the UK and Ireland. This small group of artists were taken on an amazing virtual journey. Over the course of a week and subsequent online meetings, this small group of artists was taken on an amazing virtual journey to the outer reaches of our universe to study the impact of supernova, the distancing of the planets in relation to earth, the movements of our sun over the course of a year, as well as the history of research into astronomy. We were privileged to have experts in their fields to give presentations of research and a look into collections. It was a wonderful opportunity to connect with other artists and learn about each other’s art practice too. I really enjoyed meeting other creative people and seeing the amazing work that was created during the week. I was inspired by the discussion about supernova and learning that many of the materials I use in my artwork are created from the debris post explosion. I created a few pieces of enamel on copper, imaging the visual impact of a supernova.
Opposite top: Supernova 1, enamel on metal Opposite far left: Supernova 2, enamel on metal Opposite right: The origins of Copper, watercolour on paper Right: Chasing Two Suns, digital photo 40
Austin Taylor Photography www.austintaylorphotography.com Instagram: @austintaylorphotography
I was so happy to be selected for the Mayes Creative Watching the Sun residency and was inspired by my fellow artists and fascinated by the talks and presentations connecting art and astronomy. These left me both energised and in awe: I learnt so much. The group was incredibly energetic, talented, collaborative, and supportive, and it was a huge privilege to be with so many warm and generous people. This has been of such value to developing my creativity. I’ve created an analemma, which is a composite image showing the position of the sun at the same time of day from the same location over a year. It was a challenge because clear skies at precisely the same time of day is unpredictable in Shetland, especially outside the summer months. Often it was clear at 5 minutes before or after but cloudy in between! Remembering to go every time it was sunny was also challenging and meant the project was constantly in my mind! Even so, I missed some brilliantly sunny days because I was committed to something else - or simply forgot! It remains a work in progress because there are some gaps that I shall try to fill when opportunities arise.
Above: Analemma, Shetland Below: Analemma annotated Opposite: Location preparation 42
Carolyn Thompson Painting, printmaking www.carolyn-thompson.com Instagram:trewoonstudios
It has been a privilege to have been part of this residency, with the opportunity to be in the company of many artists, all of whom are exploring their own version of ‘Watching the sun’. The lectures and workshops provoked and stimulated many ideas and collaborations from the artists and created new footpaths for individuals to follow. I was particularly captivated by the archives at the Royal Astronomical Society. The collections of scientific data amassed over years of daily observations, struck a chord with my own practice of collecting reference material for projects. I made a decision to collect data for the month of January with specific reference to dawns and dusks. The project started in a familiar way; being out in situ, in the same place and same time, making oil sketches on a daily basis. I also kept a written diary of weather conditions, events of lunar and solar importance and daily news. I wanted the final pieces to visually represent the nature of all that I had witnessed on a daily basis for January. I used the medium of collage as the format offered a solution for mixing text and visual images.
Above: Watching the Sun January 2021 Left: Project collage Opposite: Pallette after a rainstorm 44
Carolyn Lefley Photography, printmaking www.carolynlefley.co.uk Instagram: @carolynlefley
At the start of the five day residency I placed a sheet of paper coated with a circle of cyanotype chemistry, on a table in my garden. Over the duration of the week the print darkened and even seemed to take on a green hue from the moss on the table as the paper was saturated with rain water. Astronomer Carolyn Kennett invited us to ‘Walk the Universe’ inspired by the 1769 Transit of Venus. Using strides as astronomical units I retraced the steps of a familiar walk up our local hill. Along the way I photographed natural objects to represent the celestial bodies. I mounted the final photographs in a 40 page
concertina book, representing the 40 astronomical units from the Sun all the way to Pluto. I am captivated by how the ancients saw the stars and the idea of archaeoastronomy. I did some research into the Pleiades star cluster, the seven sisters: Alkyone, Elektre, Maia, Merope, Taygete, Kelaino and Asterope. The light from these stars has taken 400 years to reach us. In gold thread I’ve sewn the Pleiades constellation onto a cyanotype print, referencing the theory that gold comes from stardust, the explosion of a supernova.
Opposite: ‘Walking from the Sun to Pluto’ book unfolded Above left: Sample pages from ‘Walking from the Sun to Pluto’ Above right: Five-day cyanotype Top right: ‘Pleiades in gold’, cyanotype 46
Liv Gravil Painting, drawing, printmaking www.livgravil.co.uk Instagram: @livgravil
In one of our first talks during the residency Melanie King drew a parallel between lighthouses and pulsar stars. I like this poetic explanation for a very unstoppable thing. Watching the Sun took place in December 2020 at a time when it wasn’t possible for us all to be in the same place. At the same time, we were looking at images of suns taken a hundred years ago - light from thousands of years ago washing up on our shores and kept safe. One of the notes I took, cut up into little pulsar-regular pieces, read:
When the radia / tion from our star hits / our atmosphere the / magnetosphere blooms. / If sunspots are too / strong they can knock out / the power in our / small homes. But we’re not / passive. We’ve flung back / radio signals / astronauts and cam / eras and satell /ites — songs and ima / ges, beams of light —
We’re far away, but we keep trying. Messages in extremely high-tech bottles. Throughout the residency, the thing that stuck with me was how everyone involved decided to process the act of looking up at the stars in order to share it with others, from scientists in the 1800’s to philosophers to experts to all of us; sat behind our computer screens, jotting notes and smiling at strangers.
Above: Constant and Always, drawing on paper Opposite: Pulsars and Cast Out and Tangling, drawings on paper 48
Molly Budd Photography www.mollybudd.com Instagram: @mollybudd__
While in Cornwall during the residency I was fascinated with how the natural and artificial light illuminates the coastal landscape. I tuned in on the textures, patterns and shapes to try and see differently and notice new details than I had ever done previously. Spending a lot of time in the sea, becoming in tune with the ebb and flow of tidal and seasonal changes, I brewed a seaweed developer and shot pinhole photographs of the long-standing tree outside my house. Coming together with natural patterns, paths, lines and traces you can see the photographs obscure the light and create new images. Continuing to use photography as my main light-capturing source, it felt successful to utilise my surroundings and be rewarded with immediate results – without chemicals.
Above: Tree View 1, photograph Opposite far left: Tree View 2, photograph Opposite right: Mark making on Cawsand beach, using stones, sand and water to create pattern 50
Lucy May Schofield
Catherine Higham Susan Manion
acknowledgements Thank you to all the participating artists for their prodigious and creative responses to the project. We very much look forward to sharing ongoing outcomes resulting from the collaborations and continued inspiration from the Watching The Sun Residency. We would also like to thank all the contributors with specialist knowledge for their enthusiastic presentations and thoughts. This residency was produced and delivered by Mayes Creative as part of the ‘Watching the Sun’ project, hosted in partnership with the Royal Astronomical Society and made possible by CLLD using EU funds. Mayes Creative Residency Team: Creative Director, Dr Joanna Mayes Residency coordinator, Millie Jones Design and production: Lisa Pettibone Editorial assistance: Gigi Salomon Limited edition jacket: Lisa Pettibone, Olga Suchanova, Becky Probert Printing: Careprint, Albury, Surrey UK