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1
Š 2015 Company Name
2
Introduction Johnson Fold is a social housing estate
That perception per sists, but people
located on the outskir ts of Bolton
on the estate are fiercely proud of their
consisting of around 1000 proper ties.
community.
Johnson Fold was or iginally far m land,
today is a place of contr adictions,
sold to the Council post war to create a
r anking highly on the gover nment?s
?garden estate?, a par ticular for m of
indices of depr ivation and an endless
social housing char acter ised by family
tar get for public sector regener ation,
houses,
lar ge
but also thr iving in ter ms of community
gardens and plentiful green space,
assets (including two churches, an
usually on the edge of the countr yside.
outstanding
tree
lined
avenues,
enviable At that point in time garden estates
families
often
overcrowded
displaced
ter r aced
fact
Johnson
pr imar y
number
Fold
school,
and
an
r ange
of
community groups and associations,
were desir able and highly sought after by
In
attr active green spaces, a growing site,
from
a food co- oper ative and so on). In the
housing,
words of one resident:
demolished dur ing what was refer red
"I wouldn't move away, not even if I won the lottery!"
to as slum clear ances, but over the subsequent
30
year s
their
stock
plummeted and by the 90?s Johnson Fold bore all the hallmarks of a ?sink
I
estate?, that is:
have
a
long
ter m
professional
relationship to Johnson Fold as an
"an area of council housing where the
employee of
behavior of tenants is first, under intense
landlord responsible for the estate, in
moral
my role as a creative producer I have
condemnation,
second,
both
with
the registered
the
social
cause and symptom of poor housing
worked
community
to
conditions and neighbourhood malaise?
commission more than 50 socially engaged ar ts projects r anging in scale
Slater, 2018 3
and dur ation over the last 12 year s.
Dur ing that time I have developed a strong bond with this community and the project descr ibed in this repor t was in par t bor n of my fr ustr ation with the difference between how Johnson Fold, and council estates in gener al, are perceived by society compared to the war mth,
generosity
and
sense
of
together ness I have exper ienced on the ground. Over
the
cour se
of
two
year s
I
have developed a ser ies of creative inter ventions using the concepts of ?clean? and ?dir ty? as a pr ism to explore class, gender and place, mir ror ing as an opposition the contr ast in perception inside and outside the estate. Much of this work has been car r ied out in collabor ation with the Foxes of the Fold women?s group, around twelve women r anging in age from 18 to 65, who meet weekly with the aim to ?suppor t one another and all women on Johnson Fold through life?s daily challenges?. Without their effor t, enthusiasm and good humour this project wouldn?t have
Images by Adrian Barber
been possible.
S.Short 4
5
Care I nstructi ons
I will ask eight women living on the Johnson Fold estate to share with me the ?care instructions?for the most precious thing they clean. In return I will take in a bag of washing from each woman, cleaning, drying, ironing and folding. To commemorate this exchange, I will add a new care label to an agreed item of clothing which refers back to the care instructions provided. Although the process will be documented, the individual care labels will remain private between myself and the participant. 6
How are w e to speak of th ese 'common th i ngs' George Perec
7
Image credits: this page Adrian Barber, opposite page Humphrey Spender
TO CARE The
Care
Instr uctions
project
Asked to list the three things they
make
most valued about themselves, ever y
visible par ticular char acter istics of
single member of the group, without
Johnson
or
confer r ing, began with a ?car ing?role
challenge the mainstream nar r ative
? I am a mother, I love my dog, I am a
of ?benefit scum?on their ?sink?estate
good neighbour...
represents an
Fold
attempt
that
to
disturb
by swapping the language of dir t for the language of cleaning.
Equally, they concluded that status in the community was assigned to
It is the culmination of 18 months of
people who are generous, loyal,
work made with and in response to
willing to help other s, involved,
the community on these themes, but
connected.
it was perhaps one conver sation in
In a cash- poor
par ticular that led to the final for m
depends more than most on social
of this project.
networks and reciprocity for sur vival
In early 2018 I led a workshop with the Foxes of the Fold women?s group around the ?values? of the estate, based on a ser ies of exercises which explored what the member s of the group valued about themselves, and what per sonal attr ibutes they felt were most valued by the community.
community that
? pooling money with neighbour s to buy a vacuum cleaner, shar ing seeds, cuttings and produce, a complicated system of loans and repayments based on paydays staggered across the
week,
reciprocal
childcare
ar r angements - being perceived as someone that cares for other s is of 8high
value indeed.
Bev Skeggs descr ibes car ing as a
refer s to as a long histor y of
for m
dividing the working class into
of
?cultur al
capital? for
?rough and respectable? (Skeggs
working class women: ?For
those who had already
experienced the negative allocative function of the education system by
1997). Str ather n's descr iption of respectability as the means by which mor ality is made public (Str ather n
1992) is par ticularly
the age of 16, whose employment
relevant,
in
prospects are bleak and cultural
discussions
capital limited,
group
caring (whether
a
number
with
about
the
of
women?s
cleaning
and
paid or unpaid) offers the means to housework there was a link made value,
trade
and
invest
in
between the outward appear ance
to of the home and mor ality, dir ty net ?make something of themselves?.? cur tains as a signifier for the type of activity that might take place in Skeggs, 1997. such a house, tales of mother s For the women in the Johnson obsessively cleaning their themselves,
an
opportunity
Fold group, their car ing roles ARE
door steps lest they be mistaken for
the something they have made of
a woman of ?poor char acter ?.
themselves, and they are proud to define themselves by and through these roles.
Some of the Care Instr uctions inter views touch upon the weight of
these
judgements
Skeggs also descr ibes car ing as a
respectability (and the fear
signifier of respectability, which is
falling foul thereof):
of of
in itself a marker of class. Both Victor ian attempts to distinguish
?It's like tidy house, tidy mind?
and
you know you don?t have to wor r y
the
about someone coming in your
contempor ar y language of shirker s
house and saying well that was
between
the
undeser ving
deser ving poor,
and
and worker s reflect what Skeggs 9 scr uffy. I?d be so ashamed!?
10
These obser vations inspired the
Sisyphean task. This piece has
creation of two pieces of work
since been exhibited in a number
using dollshouses, an apt for m
of community venues as par t of a
consider ing their or iginal use in
wider discussion around women
18th centur y Europe as a tool to
and mental health.
teach young girls how to keep a
The second piece, created for an
home in order.
exhibition in a galler y context, took
The fir st piece was a collabor ation
the for m of a dollshouse in which
with member s of the women?s
all
group
Dani
mir rored, and the house itself is
Gaines, and took as its star ting
visibly gendered female through
point the link between mental
the addition of found objects. The
health
piece includes segments of text
along
with
and
fr ustr ation
ar tist
housework, at
the
the
endless
the
taken
inter nal
from
sur faces
are
inter views
with
repetition of mundane tasks for
member s of the women group
little
about cleaning, chosen because
reward
environment
and both
how
one?s
reflects and
the
par ticular
words
are
impacts on one?s mental state.
emotionally rooted in pr ide or
In this house, the repeating patter n
shame.
of
opposition has been a per sistent
the wallpaper
features the
The
pr ide/shame
packaging of medication used to
emotional
relieve anxiety and depression, a
discussions about cleaning with
bed of nails dominates the sleeping
the women?s group, to the extent
quar ter s and each member of the
that
group, myself included, is tr apped
cleanliness and tidiness goes far
in doll for m, frozen in the action of
beyond a need to maintain a safe,
cleaning or ironing or vacuuming
functional,
but
never
to
complete
the
backdrop
value
to
the
attached
environment,
to
these
this 11 qualities are intr insic to their
identity and self- wor th, a physical
impor tance of ?sticking together ?.
representation of char acter. ?This
handbook
isn?t
just
To care, both in the sense of taking
infor mation, it?s a weapon. It tells
pr ide in one?s house and appear ance,
you what you?r e supposed to get and
and in playing a car ing role within
some ways of getting it, but the
the family and community, was of
str ength to get what you need and
such impor tance to the women?s
live as you want can only come out
sense of self that that I began to see
of fighting with other s.?
it as the key to developing a project fr amed around the values of the
It was apparent that ver y little had
estate, r ather than the middle class,
changed since 1971, and the tactics
neo- liber al
used by the gover nment agencies
values that
tend
to
descr ibed in the handbook were all
dominate mainstream discour se. Just how r arely an alter native to this discour se is heard was reinforced when I found what appear s to be the
too familiar to the women?s group, many of whom were themselves ?unsuppor ted mother s?.
last existing copy of a pamphlet
I wanted then to amplify these
entitled ?The Unsuppor ted Mother s
seldom heard voices (as well as
Handbook?,
the
highlighting the lack of progress in
Claimants Union in the early 1970?s.
ter ms of social justice over the last
It felt sur pr ising to see many of the
fifty
values ar ticulated by the women?s
redistr ibuting the pamphlet. One
group
hundred and fifty free copies of the
in
published
pr int;
by
suspicion
of
year s)
by
repr inting
and
author ity, the weight of the labels
Unsuppor ted
imposed on poor single mother s by
were
society and the implied cor relation
community,
between
mor ality,
Interlude exhibition at PR1 Galler y in
fr ustr ation at attempts to divide
Preston and by request to jour nalists,
working class communities into the
ar tists and activists from across the
pover ty
and
deser ving and undeser ving poor, the
12 countr y
Mother s
distr ibuted; to
Handbook
within
visitor s
to
the the
via a social media call out,
13
with instr uctions to make their
I do not have, or wish to have,
own
author ial control over how the
copy and
pass that
on,
creating the potential for an even
par ticipants
wider
remake their copy, or indeed if
circulation. One of
the
copies will be archived in the MMU
the
or
been for med by the giving and
Both the Unsuppor ted Mother s and
distr ibute
they choose not to, but a bond has
special collections libr ar y.
Handbook
use,
receiving of this gift.
Care
Instr uctions project sit fir mly in the realm
of
socially engaged
pr actice. Claire Bishop (2012) sets out three conditions that define a socially
engaged
process,
the
desire to create an active subject, empowered by the exper ience of par ticipation, the ceding of some or all author ial control and the restor ation of the social bond through a collective elabor ation of meaning. As an ar tistic act, the copying and distr ibution of the Unsuppor ted
The 'Care Instr uctions' project is based on a fair exchange between the ar tist and the par ticipant, both in ter ms of time and labour, reflecting the mutually beneficial relationships that feed the social ecology of Johnson Fold. Each par ticipant has author ial control
Mother s Handbook and the call to action to those who received it, themselves now active par ticipants in
the
process,
collabor ation
represents
across
time
a
and
geogr aphy. 14
over their own contr ibution and the relationship between
work and live within? (Hull, 2007) .
ar tist
I would add that the motivation is
and par ticipant is strengthened by
to affect change, whether in the
the exchange. This process also
people involved, the community or
speaks to Bour r iad?s theor y of
in society, as Anna Paster nak from
relational aesthetics, which judges
Creative Time says, ?social practice
ar tworks ?on the basis of the
artists create forms of living that
inter- human relations which they represent, produce or
activate communities and advance
prompt?
(Bour r iad, 1998).
public awareness of pressing social issues? (Paster nak,
2012).
Is a
It could be ar gued that Bishop?s
feature of socially engaged ar t
three
an
therefore, to care? It could be
implicit act of car ing by the ar tist,
ar gued that it was this shared
towards the par ticipants ? who we
value that has shaped the Care
under stand should be active and
Instr uctions
empowered by the exper ience at
outset.
conditions
suggest
the expense of complete author ial control by the ar tist - and to some for m of positive social change. This type of work is by its nature political, as Hannah Hull (an ar tist who
under took
residency between
on
a
long
ter m
Johnson
Fold
2012- 2016)
says
?the
medium is society, a community, or people; the tools are the systems, social constructs or habits people 15
project
from
the
TO CLEAN
My fascination with the politics of
despite
cleaning began dur ing a shor t
diminutive stature, I was perceived
site- specific project located in the
as a threat.
?twisting
and
claustrophobic?
subway under neath Preston bus station. I wanted to both obser ve and engage with the user s of this space, but it became clear that the ver y act of loiter ing without visible pur pose in the subway meant that, 16
my
gender,
age
and
Looking for a way to ?be? in the space without alter ing the behaviour of the people using it, and to open up the possibility of dialogue with them, I bor rowed a pinny and mop and began to clean
the subway. This instantly changed
so much of ?womens work? is to
my relationship to the pedestr ians
society?
passing by. To some I was invisible, they continued to talk amongst themselves, whistle, go about their daily business without fear
of
intr usion, to other s it was an invitation to a conver sation, they?d stop and chat about the weather, offer words of encour agement,
Was the act of cleaning, in effect car ing
for
the
antithesis
of
behaviour
they
subway,
the
the
anti- social
were guarding
against to the extent that I was perceived to be ?safe?? Or do people just not look that hard at the cleaning lady?
lament the state of the place and discuss the r ights or wrongs of the
It was dur ing this project that I
proposed redevelopment.
was introduced to the work of Mierle Lader man Ukeles, who has
Over the cour se of sever al weeks I went back to clean the subway again
and
again, and
despite
exchanging cheer ful greetings with the secur ity guards and other bus station staff as they came and went at no point did anyone question my r ight to be there per for ming
become a seminal influence on my own work. Her 1969 Maintenance Ar t
Manifesto
presents
an
alter native to the idea of an individual
genius
pulling
an
ar twork kicking and screaming from his own imagination in a moment of br illiance.
this action. Instead ever y day acts become ar t, This directed my pr actice to a new line of research around cleaning and status. As a woman, cleaning, (the passer s- by seemed to assume this was a paid role), was my status so low that I became invisible, as 17
the maintenance of life is wor thy of
attention, and the acts of
maintenance that facilitate the moments of br illiance are equally as impor tant.
In her manifesto Ukeles states ?my
context,
working will be the work?, and with
documented,
this in mind I began to consider the
Moleswor th
cleaning of the subway not just a
?Housework and Ar t work?, ?when
research
Ukeles
infor m
method the final
which piece,
would but
here
the
exchange
is
made
public.
As
says
renames
in
her
domestic
essay labour
as
?maintenance?, she uses ideas and
per for mance in and of itself, an
processes usually deemed private to
exchange in which dir t and dust was
open institutions and ideas usually
tr ansfer red from the walls and floor
deemed public? (Moleswor th, 2000).
to my body, my clothes, my tools, a tactile explor ation of the physical space,
a
provocation
to
an
audience
and
an
unsuspecting
invitation to dialogue.
By locating maintenance tasks in an ar t context, Ukeles challenges the low value assigned to domestic work. She talks about the ?lousy status? that
our
culture
confer s
on
The ?working as work?concept would
this work, ?maintenance jobs =
infor m the development of the Care
minimum wage, housewives = no
Instr uctions project, specifically the
pay?. Her proposal for an exhibition
per for mative action of taking in the
of
washing
appropr iately enough, ?CARE?), was
from
par ticipants,
an
activity tr aditionally associated with working
class
women
and
the
domestic economy. The symbolic act of
Maintenance
"zer o in on pur e maintenance, exhibit is as contempor ar y ar t, and yield, by utter opposition,
ironing the laundr y in the ar tist?s speaks to
clar ity of ideas."
a relationship
(Ukeles, 1969).
between the ar tist and par ticipant based
on
a mutually
beneficial
(entitled,
to:
washing, dr ying, folding and
home,
Ar t
Ukeles
under took
a
long
ter m
the
New
York
exchange (of time, care, and ser vice)
residency
with
located in the domestic sphere. This
Sanitation
Depar tment, in
type of labour would usually be
she resolved to shake the hand of
hidden but, by locating it in an ar t
18 ever y
single
public
which
sanitation et
Unsuppor ted
Mother s
Handbook
point out: ?We?r e never ?out of wor k?. If we?r e not at wor k, we?r e cooking, cleaning, looking after kids?. Because this work can?t be measured in economic ter ms, it is perceived by society to have no value (although cooking, cleaning and childcare are respectable enough if car r ied out for other s for financial recompense). How does it change the status of these tasks if they are located in an Mierle Laderman Ukeles, Touch Sanitation, Image: Ronald Feldman Fine Arts, New York
ar t context?
worker
gesture
used per for mance elements to create
intended not only to thank the
an open dialogue with the women?s
individuals for their ser vice but also
group on the theme of cleaning. The
to
the
Down and Dir ty Dinner Par ty was
impor tance of their work, visible, to
hosted in the home of one of the
challenge their ?lousy status?.
women, and all the group were
in
make
the
their
city,
work,
a
and
I began my research with a piece that
invited (in total 8 member s of the I was interested in explor ing these
group attended).
concepts with the member s of the no
I ar r ived late after noon and spent
str anger s to the idea of ?lousy
sever al hour s cleaning the floor, as
status?. There has been much talk
the usual daily activity of the home
from public sector agencies about
car r ied on around me, reminiscent
tackling
of my cleaning in the subway. I
women?s
group,
themselves
?worklessness?
on
the
estate, but as the author s of the 19 then set out a selection of fresh food
directly on to the floor in an ar r angement that spelled out the word clean ? I was interested in whether this would have any influence over the perception of the cleanliness of the food and the par ticipants willingness to eat it, inspired in par t by Sher man and Clore's (2009) exper iments demonstr ating the difficulty we have reading words when ?clean? concepts are pr inted in black and ?dir ty? concepts in white. The guests ar r ived and, reluctantly at fir st, shared the food from the floor while we had a lively conver sation about cleaning.
20
The Down and Dirty Dinner Party A perf ormancef or 8women. Act 1:
I am welcomed by the host. On my hands and knees I clean for some time, then lay out the fresh food directly on to the floor.
Act 2:
The guests arrive. W e eat, drink, and talk about dirt. No one feels unclean.
Act 3:
W e clean together. The floor is repurposed for dancing.
21
The themes r aised in this fir st
approached these themes from a
conver sation, from the association
different direction. Again working
between cleaning and mor ality via
with the women?s group, over a
judgements
respectability,
number of weeks we created a
gendered space and the division of
community garden, using plants
labour (the home and the domestic
that
as a female sphere, public space as
natur al home cleaning remedies,
a male sphere ? as one of the
lavender s, mints etc, or
par ticipants commented, ?street
par ticularly recognised for their air
cleaner s and binmen and window
cleaning proper ties. The plants
cleaner s are always men aren?t
were ar r anged to spell out the
they?), the lack of recognition or
word dir t, although as they have
value of domestic work (?I can
grown the letter s are no longer
spend all day cleaning and the kids
visible.
of
could either
be used in were
just come home and mess it up, no one even notices unless I don?t do
While we worked we talked about
it?) and the mental health impact
dir t, and the positive connotations
of the daily repetition of mundane,
there of, both in real physical
low status chores, have continued
ter ms ? without dir t we wouldn?t
to infor m my work, up to and
be able to grow food ? and as
including the Care Instr uctions
applied to labour and class, ?getting
project.
your hands dir ty?, showing some ?gr it?, ?salt
In the
response oppositions
to
of
the ear th? and
some
of
romanticised representations
thrown
up
(usually male) manual labour. We
by the Down and Dir ty Dinner
also
Par ty, clean/dir ty, public/pr ivate,
dir t=real, and how representations
male/female, I created a second
of (usually male) working class
inter vention, combining dialogical
lives and places are used to sell
and public ar t elements, which
music, film and fashion. 22
talked
about
of
authenticity,
The Clean Garden, 2017 and now:
23
The
Clean
Garden
has
been
pr ior to a ser ies of hypothetical
maintained by women from the
ethical dilemmas consistently gave
group since it was established,
less ?mor al? answer s than a group
with an open invitation to the
placed in a dir ty environment
community to use anything it
(Schnall, Benton, Har vey, 2008)
produces (one of the mint plants
because they already felt 'clean'
has grown so enthusiastically that
and 'good'.
it can now be found in numerous
Lakoff and Johnson introduce the
gardens across the estate). Whilst
researching
concept of or ientational metaphor, these
that
is a metaphor
in
which
inter ventions I came across a text
concepts are spatially related to
about language that was to become
each other, so for example in the
a key influence on my work. In
categor y of metaphor s related to
?Metaphor s We Live By? (1993),
happy=up, sad=down, we might
Lakoff and Johnson make the case
say we are on top of the world or
that metaphor is more than a
down in the dumps.
linguistic tool or poetic device,
vir tue=up and immor ality=down,
there are categor ies of metaphor s
for example a per son of high
that are so per vasive in our society
mor als, a fallen woman. As I was
that they actually impact on our
explor ing the language of dir ty and
behaviour. This has been backed
clean, par ticularly in adver tising,
up
for
the media, and online, I saw how
example explor ing the metaphor
the link between clean=vir tuous
clean=vir tuous,
and
in
scientific
tests,
dir t=immor al, a
dir ty=immor al
is
often
group of researcher s at Plymouth
represented
Univer sity found that test subjects
dir t=down, the per vasive idea that
exposed to a clean environment
cleanliness is next to godliness. 24
as
Similarly,
clean=up
and
For the last inter vention in this
were consider ably dir tier
ser ies, a group of families from
when we set off, and the far m that
Johnson
hosted us anything but clean in a
Fold
per for med
the
metaphor, walking from the ?dir ty? liter al
sense, but
than
this was a
(poor, urban) estate located at the
metaphor ical gesture, dr awing not
bottom of Winter Hill, up and up to
only on clean=up and dir t=down
the ?fresh? and ?clean? air of the
but also the relationship between
countr yside at the top.
local people and Winter Hill. Ever y Easter, thousands of locals walk up
We car r ied with us a ?cleaning in
its steep inclines in a tr adition
progress?sign, and r itually washed
rooted in religious symbolism ? a
away the dir t in streams and r iver s
spir itual cleansing through both
along the way. Of cour se when we
the physical exer tion and a climb
finally reached our destination we
closer to God.
25
Winter Hill was also the site of a
talk
Mass Trespass by disgr untled mill
between dir t and the working
worker s in 1896, protesting against
classes in the next chapter, but
Colonel
suffice to say our gesture left no
Richard
Ainswor th?s
about
the
associations
decision to block public access to
lasting mark on the countr yside.
the moorland, inspir ing a poem by
The subway project too ended with
Allen Clarke which begins:
a walk. The group of students and staff from UCLAN who made up
Will Yo?Come O?Sunday M or ning,
the audience were asked to replace
For a walk o?er
their
Winter H ill?
provided. As we walked, slowly
In
?Creating
the
shoes with the slipper s.
Countr yside? (cover ing a distance of just a few
Rosemar y Shirley talks about a
hundred metres in twenty- five
mor al panic around working class,
minutes), I talked about cleaning,
urban visitor s ?polluting?nature by
subver sive acts and respecting
their ver y presence. I will go on to
invisible women's work:
26
"You might be wonder ing why you?r e wear ing slipper s. In par t it?s because I?m inter ested in how something as simple as what we ar e wear ing changes our per ception of a place. In ver y pr actical ter ms you?ve got no choice but to shuffle along slowly, which in this space is a subver sive act. The ver y idea of being anti- social and intimidating whilst wear ing slipper s is clear ly r idiculous, and yet her e we ar e, ?congr egating?, ?loiter ing?. This footwear belongs to an inside, domestic space, to luxur y hotels and hospitals, spa days and institutions, and for me that r epr esents the contr adictions I?ve found her e. And fr ankly, I?ve spent hour s cleaning this floor, by taking off your outside shoes, by not walking the dir t in as my mum would say, you ar e r especting and pr eser ving my har d wor k. "
27
28
TO LABEL What is dir t? Anthropologist Mar y
in an histor ical context, noting
Douglas offer s the definition ?dir t
that
is simply matter out of context?.
associated with disease, having a
That is to say dir t is not absolute, it
clean house was a status symbol
var ies across time and place - the
simply
perception of a ?dir ty? room for
wealth, the resources to afford
someone who lives in a home with
ser vants, or amongst the lower
a mud floor will be ver y different
middle classes, that one had the
than someone who lives in a house
?leisure?time to clean. (Cox 2011)
with
the
To have a dir ty house then, was to
language of dir t, the embodied
be poor. The conver se was also
metaphor as Lakoff and Johnson
assumed to be tr ue, to be poor was
would have it, is per vasive.
to
cream
car pets.
But
Rosie Cox puts the language of dir t
long
be
before
because
dir ty.
it
The
dir t
was
represented
associations
between dir t and pover ty, and dir t 29
and
immor ality,
entwined
to
unleashed
pervasive
forms
of
become pover ty = immor ality, a territorial stigmatisation, a revolting nar r ative visible in the repor ts of
class discourse that was inscribed
the
working
upon the bodies of those who lived in
conditions amongst the working
these objectified zones? and dr awing
class in the Victor ian er a and in
on Hall, ?the hardening of public
cer tain national newspaper s today.
opinion into consent is constituted
The language of dir t became a way
by the accumulation and repetition
to distinguish between oneself and
of these expressions and beliefs in
a feared other, to categor ise and
every day life? (Tyler, 2013).
pathologise people and places. As
It
Ir is Young says:
expressions
committees
?When
the
into
dominant
is
the
repetition and
of
these
belief,
the
culture language of dir t as used to other
defines some groups as different,
people and places, that became the
as the Other, the members of these focus of a ser ies of text- based groups are imprisoned in their bodies.
Dominant
inter ventions focusing on Johnson
discourse Fold as an archetypal place, ?the
defines them in terms of bodily Council Estate?(Beswick, 2014). characteristics
and
constructs
Early on in the project, I collected
those bodies as ugly, dirty, defiled,
examples of the language of dir t
impure, contaminated or sick.? Young , 1990
(from
newspaper
gover nment
headlines,
statements
and
In her book Revolting Subjects
adver tising), and combined them
Imogen Tyler states ?the moral
into a ser ies of found text poems:
panic
about
council
estates 30
31
The labelling of Johnson Fold as
interested in meditating on the
?dir ty? was ver y apparent in the
language as I worked, giving it the
online comments (over a hundred
time and care that was in all
in total) attached to a negative
probability missing from the intent
newspaper ar ticle about the area,
of the author. Was he or she aware
the place was var iously descr ibed
they were using the language of
as a cesspit and a grotty dump
dir t to label, was this a result of
filled with litter, the people as
exposure to ?accumulation and
infestations, fer al, filthy, animals,
repetition?, and how did these
the dregs of humanity, lowest of
feelings of disgust at the dir ty
the low, bottom feeder s, filth and
?other ?manifest itself in his or her
scum bred by filth and scum.
behaviour in reality?
I used this final line of text to
This was an another example of
create a cross stitch sampler, a
action as ar t in my work, for me
medium
the piece was not contained in the
with
tr aditionally associated
the
domestic
sphere,
physical
product
representing a demonstr ation or
process, the act
test
attention,
of
a
woman?s
needlework
and
skill
in
the
but of
focus
in
the
care and on
the
containing
language and the knowledge that
sentiments expressing pr ide in a
after a cer tain length of time these
home or the recording of bir ths
letter s and words ceased to have
and mar r iages.
any meaning beyond lines and shapes, dissolving the language of
This offered an intr iguing contr ast
dir t as a mechanism of power and
with the online world, public but
control.
anonymous, instantaneous, casual and
throwaway but
available in
My
potentially
per petuity. I
was
or iginal
proposal
for
the
?Interlude? exhibition, held at PR1 32
Galler y in Preston in Febr uar y
value, if in fact they did look
2018, was to work with text from
down - could these examples of
the same source as the cross stitch
the language of dir t used to other
piece
the
people and place be hidden in
concept of or ientational metaphor
plain sight, as in the world outside
by presenting this an ar twork
the white cube?
not on the wall but the floor.
After playing around for some time
I was interested in how the act of
with the for m of the piece, I
looking
view
eventually replaced all of the text
a piece might, based on Lakoff
with the simple visual metaphor of
and
of
a dr ain. The scale of the piece
metaphor, subconsciously shape
ser ved, from a high vantage point,
but
to
incor por ate
down
Johnson?s
to
a
theor y
an audience?s perception of its
to tur n the entire galler y space 33
34
into a sink (refer r ing to the council
heterosexuality? (Skeggs, 2005).
estate
Dr awing
but
presenting
ver y
on
the
tr adition
of
differently in this new archetypal
per for mance ar t that uses the body
place, the white cube itself almost
as
a per sonification of clean) but from
assistance of the women?s group, I
floor level, sitting flush to the
recreated a piece of found text
ground it was all but invisible and
from Johnson Fold (or iginally seen
was repeatedly walked over by
wr itten in dir t on a white van) on
visitor s.
my own body using a spr ay tanning
The language of dir t is used not
machine.
only to label people and places, but
appropr iate not only because of
also individual bodies. For Mar y
the class connotations of fake tan ?
Douglas the body represents the
a natur al tan in this countr y is
ultimate
for
gener ally the preser ve of those
abjection, dir t and taboo (Douglas,
who can afford foreign holidays ?
1966) and Bev Skeggs talks about
but also the chemical process of
the:
?staining?the skin. I ?wore?the text
battleground
a
canvas,
and
This
with
medium
the
felt
for around two weeks until the
?loud, white, excessive, drunk, fat,
stain faded on my skin, engaging in
vulgar, disgusting, hen- partying
dialogue about the project with
woman who exists to embody all
anyone who noticed it.
the moral obsessions historically
associated with the working class Found text and the appropr iation now contained in one body?, of a familiar visual language A
body
that
?signals
around cleaning has been a feature
class
through mor al euphemism? with
of
its
inter ventions under taken across
associations
danger,
distaste
of
?pollution,
and
a number
of
the creative
the cour se of this project.
excess 35
36
For
the Interlude exhibition I
for m for a piece that explores the
adapted a ser ies of ?cleaning in
status of
progress? signs to include text
working class women in society,
relevant to the themes of my
and the invisible but per sistent
work
?
?social
progress?,
?linking
that
links
tasks and
cleansing
in
nar r ative
pover ty
to
mor ality through the language of
mor ality distr acts from str uctur al
class
to
dir t.
inequality? and ?dir t is a social
Annette Messing, an ar tist whose
constr uct?.
work concer ns the ever yday and
These were placed at
different
who often uses found objects, says
locations around the galler y space, deliber ately
domestic
inconspicuous
of this appropr iation:
as ?M ostly,
pieces of ar twork. In fact a number
I
believe
an
ar tist
doesn?t cr eate something, but is
of visitor s I spoke to missed them
ther e to sor t thr ough, to show, to
altogether, as objects they are so
point out what alr eady exists, to
recognisable we don?t need to
put it into for m and sometimes
consciously ?read? them anymore,
r efor mulate it? I t?s a language in
the shape, for m and colour are
itself, which is why we don?t pay
enough to decipher their pur pose.
any attention to it. I didn?t invent Similarly the Care Instr uctions project visual in
anything, I indicated.
dr aws on the familiar language of
clothing,
so
(Messager, 2006)
care labels
ever yday
The act of sewing new care labels
and
unremarkable to seem to be barely
into
wor th our attention, a suitable
ser ves to appropr iate those items 37
the
par ticipants? clothing
as ar twork, and the wear ing of
the new care labels to something
them to some extent becomes a
that we pay no attention?
per for mance,
although
no- one
I
need be aware of this unless the
par ticipant
divulges
made
the
decision
not
to
(publically) document the new care
the
labels in par t to play with the
infor mation.
theme of women?s invisible labour,
I?ve been interested in how what
I have created and ?installed?pieces
we wear changes our exper ience of
that won?t be seen by any audience,
a place for a long time, as I
but the care and attention that the
mentioned
par ticipants devote to cleaning,
dur ing
the
subway
slipper walk, but I am intr igued as
which
to how something invisible might
pr ivate,
alter the behaviour of the per son
?elevated?to ar t status.
who wear s it, just as wear ing the
made
public
and
using the methods they have
impor tance they place on the
descr ibed whether or not those
presentation of their homes, and judgements
and
continue to wash, scr ub, wipe, dust
Johnson Fold (as evidenced by the
of
hidden
anything, the women involved will
on some level on the women on
fear
is
usually
As Messager says I didn?t invent
label ?dir ty? clearly has an impact
the
is
processes are offered up as ar t, but
of
through for m I am indicating an
respectability).
alter native to the nar r ative that
Does it change the status of those
labels people and places as dir ty.
items of clothing, and the act of wear ing them, or does using a common visual language relegate 38
39
40
Shelley's Br acelet Michele's Kids Clare's Cabinet
Th e Care I nstructi ons Sharon's Garden Lou's Bedroom Kat's Pictures Dee's Dogs 41
Shelley's Bracelet My bracelet that me husband bought me, the first thing he ever bought me. I was 18, I?m 34 now so? a good while ago. It?s a gold curved one, really lovely. I used to sell roses round pubs and clubs, and he come to the office this one night to sell them himself as a joke, between him and the boss and that?s how we met. Our first date was at his apartment, and he made me a meal, that were the first date. Its not often I wear it now, I used to wear it constantly when I first got it but then I went through a phase of wearing silver a lot, so it got put in me jewellery box. But I always get it out occasionally and have a look at it. And it makes me smile. I clean it once, twice a year? If its been in my jewellery box collecting dust I definitely clean it up before I put it on. First of all I soak it in me jewellery cleaner that I?ve got, don?t ask me the make of it cos I?ve not got a clue, and then, for a good five minutes, take it out,42toothbrush, bit of washing up
liquid and water, give it a scrub, dunk it again in water pull it out then dry it off, and that?s it, that?s all how I clean it. Then I dry it with a tea towel. Or a polish, you know a yellow cloth thing. I enjoy it. Gives me a dead nice warm feeling, brings it all flooding back you know. I?d be gutted if I lost it. It actually snapped at one point and I lost the clasp on it, and we went to go and get it fixed and they said you?re better off just buying another gold bracelet for what it will cost. Keith, he offered to buy me another bracelet and I said no. Because, that were the first thing he bought me. I didn?t care how much, if it cost the same as the bracelet, I wanted the clasp. K is allowed to touch it. She likes asking questions about it. Where?s this from? Who bought you this? How long have you had it? ? Why don?t you wear it? I say? cos I like to keep it safe, where I know where it is in my jewellery box? and I only wear it on special occasions. She thinks its like a fairytale. When she gets married, I?ll lend it her, it can be her ?something old?. But then I want it back, she can have it when I pass. I?ll probably put some instructions in there, ?Look after it? Or else I?ll come back and haunt you!?
43
Michele's Kids What?s precious to me is my children. And grandchildren. Especially when they were little, and you used to wash their faces, and they screw right up, like this, and it makes me all, you know. I do it the old fashioned way, bit of tissue and spit? As old as my kids are, ranging from 33 this year right down to 21, old as they are, a bit of tissue, scrub their face and it?s their face ?mahhhh muuuum!!!? I?ve learned by my own mistakes, by taking care. You wet your tissue and then wash their face - I learnt from my mum, I remember her doing it to me and my brother and sister and then when she met my five kids, Deanah will remember that won?t you, Nana getting a tissue and wiping your face? screwing their faces up, and I remember me screwing my face up. I do miss me mum. It?s the silly things, if you?ve lost people you love, the most silliest things going like cleaning me children?s faces reminds me of my mum doing it to me. 44
I?ve seen my kids doing it, Maryann she does it to her kids and Deanah does it to her niece and nephews and my granddaughter, I?ve seen her do it a couple of times to me granddaughter too.
45
Kat's Pictures Me pictures. Pictures of me family, me kids, wedding day, me mum, me dad, his grandparents. They?re all on me walls, I?ve got some on me fire then I?ve got some in me bedroom. I tend to keep same coloured picture frames together, grouped up, and then I?ve got some which are laminated as well so there?s more than one in a frame. They?re mostly my photos. Well, my pictures but pictures of other people. I don?t like having me photo took. I?ve only got one picture of me and that?s hidden in my bedroom where no one can see it. That?s my wedding canvas. I hate having me picture taken. I clean them every other day. Just a damp cloth, a damp cloth with lukewarm water. That way you?re getting all the dust off, you?re not spreading it all around and there?s no chemicals in it that can discolour. I just use a normal dishcloth. There?s only me that can clean them the way I like it. If I did let someone else do it then I?d be right at the back of them doing it again. Its my job. I don? t trust Liam to do it? I don?t 46
trust him not to break them. They couldn?t be replaced. The frames are actually what my mother in law picked up from Ikea, limited edition. They came with different pictures, like stock pictures, and I took them out. They all get done on the same day. I work me way room to room. My favourite is the living room. The pictures of the kids? it?s a family room as well. Its where people tend to put their best photos. I love cleaning them, like compared to things like mopping or squeegeeing the rug I definitely enjoy doing me pictures a lot more. What do I think about? I look at them and it reminds me of how things were back then and how small me babies were and it makes me feel old and how old they are now. We go through old pictures quite a lot. Not the frames, the kids can?t touch them. They?re too high up. That?s deliberate. I don?t like them being dirty. It drives me potty when my house is a mess. How can I describe it, it?s like tidy house, tidy mind. You don?t have to worry about what if someone comes round, you know where everything is, you know you don?t have to worry about someone coming in your house and saying well that was scruffy. I?d be so ashamed! 47
Clare's Cabinet I like all my little crystals and things. They?re in a special cabinet in my hallway. The crystals are like, you know, my rose quartz, and I think its called amethyst, then all my little angel ornaments and my cherubs. If the kids didn?t keep opening the cabinet and dragging them out, it?d be in my front room. They bring me comfort, if I?m honest. I don?t even know if it?s true, I?d like to think its true. I have bought crystals specifically for a purpose. Rose quartz is love, I like rose quartz. Amethyst, that?s like a purple colour, and then I like my turquoise-y green one as well, I can?t remember what that?s called. Some of them are meant to help you with aches and pains? I?ve got hypo thyroid, I?ve thought about looking at the right crystals for that but I?ve never? I think it?s like half believing and half not. I clean the crystals in water. Just water. Just run them under the tap. They?re kinda a bit like pebbles, well they?re not pebbles are they but the way that you?d clean them and rinse 48
them under water. I don?t let them all go in together, apparently that ruins the energy. I don?t even know if you?re meant to put them in water. You?re meant to put them in the sunlight to recharge them, I know that much, I?ve not done that with any of mine for years because they were all put away til I moved in here. I used to though. I used to clean the crystal that was right for a certain mood when I was in that mood, but not any more really. I just like the idea of angels to be honest. I don?t believe in God or anything like that, I?m atheist so with my mum being a born again Christian it?s.. I don?t know, nothing could ever make me believe in it I don?t think, but I believe in my angels. To clean the angels I just dust them. Normally with a baby wipe. I use baby wipes for a lot, make up, clean the floor, clean up spills, clean the dogs paws when she?s sandy? I don?t clean them often. When did I move in here? October, Nov, Dec? in the eight months that I?ve been here they?ve probably only been cleaned twice. When I?ve noticed that its really dusty inside the glass cabinet, and the kids aren?t about, and I know that I can get everything out. I?m really strange, I take pictures of it on49my phone so that I know
exactly where I?m putting everything back. Sometimes I find it relaxing. But sometimes? the shelves are glass so making them not streaky? I like it to be perfect. It takes me about an hour and half, two hours. That?s a mirror at the back as well as? 1,2,3,4,5 shelves. On the top shelf I have three ?in memory?cards for my best friend Shaunna, her husband and then my friend?s dad and they are all surrounded by my crystals and angels. When Shaunna was in the hospice I got that little bear, and then that?s the necklace she got married in. That?s one thing I clean, I?m not sure if I?m meant to, but I clean it in coke, because apparently coke is meant to be good for cleaning silver. I leave it in for a bit, it?s still discoloured, I can?t seem to get it back silver. I don?t wear it. Maybe if I ever got married which is very highly doubtful! I wouldn?t call it a shrine or anything, its just about remembering her. I hope she looks down on me. I?d like to think so. I look in the cabinet everyday. `And I smell it, I open it up and smell it. The candles, I?ve got really really scented candles in there that have come from a spiritualist. I don?t light them but they smell really nice. And my angel sprays, ?Archangel Michael?s Empowerment?, it?s50 really musky that one, and I
like this one ?Aphrodite?, goddess of love, beauty and compassion. I mean you can see how dusty it is. A lot of the crystals are dull because they?ve not been cleaned in a while. I do like them when they?re shiny. When the kids are older I?m going to put the cabinet back in the front room, pride of place. I?ll have to dust it more then!
51
Sharon's Garden Are you recording this now? Oh my god? My garden. Its peaceful, I can lose myself? and plant different things, know where things are going, try different things. Even when its raining? Not when it?s absolutely chucking it down, like buckets, but the rest of the time. If I go out and sit in it I feel proud of what I?ve achieved. Firstly pull up all the weeds. Weeds are just the ones you don?t like, because some weeds have such delicate little flowers? Secondly, sweep it. Check if the grass needs cutting, if it does, give it a trim. And then sit in it and enjoy it. That?s it, you know?
52
Lou's Bedroom I clean my room first. Cos I like to make it more tidier. Before my other half comes over. Not just cos he?s coming over, I do it for me. Definitely for me. I get nice new bedding. New bedding every week. New bedding on, polish and everything. I got a new quilt yesterday, put it on. But it was thick, I was sweating all night. That smell though, heaven. I light candles, and I put my perfume on my bed. Britney Spears, Paradise. Or Black Opium. My candles smell of strawberry. I like a fruity smell. Like the Britney Spears perfume, that?s coconutty. I spray it all on my pillows, on my bed, then I have to do C?s bed as well. If I don?t spray his bed he gets in with me. Its for comfort. I spray it on C?s blanket too. He takes that everywhere. First, I put shake and vac on the floor. I get it from the pound shop. After I put it down its got to stay down for two hours. 53
Then I hoover it and.. ahhh It?s the smell. You walk it right in . Then I gotta strip my bed, make my bed, then I pick everything up. I even put shake and vac on my clothes before I put them in the washer. But then I bleach everything as well. My drawers. My bed frame. Windowsill. And my TV unit. I do my room before anything else.
54
Dee's Dogs My pups. Chase and Demon. They?re a Staff cross Lab cross German Shepherd cross Rottweiler. They?re a year, year and a half old now. I wash them in the shower. I have to blackmail them with dog biscuits to get in it. You have to try and get them to eat them before they get soggy, they get all wet. If they wanna get back out, bend down and let em kiss your chin and stroke em while you wash them. I wash them one at a time. With? well we use normal water with dog shampoo. It don?t take that long, depends how panicky they are. They like it after a while. I don?t, I get covered in dog hair, I end up more wet than the dogs, it?s not good. I?m thinking ?Hurry up! Just hurry up and get out!?? I dry them with a towel. They?ve got their own towel. One each. An old towel that we used to use on the other dogs. 55
I wear my old shorts. The bathroom is usually drowning in water. I clean it with the same towel and then stick it in the wash. They come out silky, soft. Then they go in the back garden and get muddy again. You?re supposed to wash them once a year but I wash them more than that? about 3 times a year. Them two anyway, they?ve got loads of fur. You can usually tell when they need doing by their paws, or their stomach, if they?ve got a load of mud on their fur. I?ve done them quite a few times since they were born. Chase likes mud. Poppy, the mum, we don?t need to train, she?s older, but the puppies... I?ve always had dogs, since I was a kid. I?d rather dogs that cats, I don?t like cats. I have scars on the legs from my neighbours cat. The dogs only scratch when they get over giddy, when they?re playing. I get on better with dogs than humans. 56
57
58
Reflections When I told my family and fr iends that I was embarking on a project about housework, I was met with laughter and gener al bemusement. Par tly because I am what you might call a natur al hoarder, which makes keeping a clean house difficult, although I have on occasion tr ied to rebr and the matter out of context that fills my home as a ?carefully cur ated collection?. While this project hasn?t made me any fonder of domestic dr udger y (?dir t is a social constr uct? is my new battle cr y), I have collected a fresh set of influences and research interests which will continue to infor m my pr actice for some time to come. As a hoarder/collector, the use of found objects and text within my work that I?ve explored for the fir st time through this project feels like a ver y natur al development, and one that I am keen to investigate fur ther.
Interestingly when the member s of the women?s group from Johnson Fold visited my house, they declared it to be ever so ar ty, the piles of clutter simply evidence of a creative per sonality. All the judgements of respectability they apply to their own homes were ir relevant here, because I am, as they tell me, ?posh?. That?s not exactly how I see myself, but it does expose some of the politics around class and cleaning, it is those par ticular groups of people labelled dir ty that are under the greatest pressure (inter nal and exter nal) to present as clean. 59
The more aware I?ve become of the language of cleaning and dir t, and how it is used to other people and places, the more examples of it I find, just like ?women?s work? it is hidden in plain sight, so familiar as to be unremarkable. My aim for this project was to make public a realm that is usually pr ivate, make visible a nar r ative that is usually masked ? as the sign said ?caution: linking pover ty to mor ality distr acts from str uctur al inequality? ? and by holding up a mir ror to these ever yday things to perhaps encour age other s to see them anew.
The same pr inciple applies to my relationship with Johnson Fold, I want people to see what I see, to consider the place on its own ter ms r ather than through the middle class values imposed by mainstream discour se, and to use my position as a creative to amplify the voices of the women?s group. I am lucky enough to have relationships with these women for ged, in some cases, over nearly a decade, and in consider ing the ethics of this project my star ting point was how to build on these relationships r ather than to benefit from them. Mierle Lader man Ukeles asks, after the revolution, on Monday mor ning, who is going to pick up the garbage? On Monday mor ning, once Care Instr uctions has finished, I will still be employed by the housing association to deliver creative projects on Johnson Fold, life, ar t, maintenance goes on. 60
61
I star ted this project as a ?Creative Producer ?but at times I?ve felt more like an ar tist- activist, dr iven by the sense of injustice the per vasive nature of the language of dir t has provoked. As Lakoff and Johnson ar gue this metaphor is more than just descr iptive, it impacts on our behavior, allows us to ignore the inequalities inherent in the system, it's more convenient to link pover ty to mor ality than to tr y and change this system. The fact remains that a child?s chances in life are now more deter mined by where and to whom they were bor n as compared to any other date in last 651 year s (Darling, 2007).
This shift towards activism has had a significant impact on my work as a creative producer, I?m now constantly asking the question as to whether a piece of work, however well meaning, will in effect impose a set of exter nal values on a community and therefore potentially reinforce social inequality, or is it genuinely fr amed by the values of the place.
I began the MA in Fine Ar t at UCLAN interested in ?the project?, at what point does it cease to become a neo- liber al economic trope and star t to become an ar tistic for m in and of itself. That?s cer tainly for med par t of my investigations along the way but I?m finishing the progr amme more interested not in where project becomes ar t but in where life becomes ar t (and vice ver sa). 62
As Mierle Lader man Ukeles states in her Maintenance Manifesto: "I am an artist. I am a woman. I am a wife. I am a mother. (Random order). I do a hell of a lot of washing, cleaning, cooking, renewing, supporting, preserving, etc. Also, (up to now separately) I ?do? Art. Now, I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art." The laughter I mentioned from my loved ones when I fir st talked about this piece of work was in par t because they didn?t consider housework as a suitably weighty topic for ar t. I hope, if they are reading this, I?ve done enough to change their minds.
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Image from The Unsuppor ted Mother 's Handbook
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