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The next stage in our degree was to make work in collaboration with another person or organisation. They needed to be local, or getting the work installed would be very difficult. I wanted to pursue my cine film investigations.

Our local art-house cinema, the obvious place for me to approach, was embroiled in a monopolies and mergers investigation, and its future was in doubt. The East Anglian Daily Times were reporting about it. They were too distracted to collaborate with me.

After more head-scratching, I decided to make the most of where I lived, and keep the project geographically manageable, by trying to collaborate with Moyse’s Hall Museum in Bury St Edmunds. Here is a movie about it! This museum has a really rich collection of social history – a multitude of narratives to tap into – so I thought it would be a great place to find sources for my project that extended what I’d begun with the cine film pieces.

I visited the museum to investigate and discussed my project with its staff. I was surprised to find no evidence of a 17thC coffee house I’d heard about, which had been run by women beside the town’s Great Churchyard.

I did more research. The Widow’s Coffee House was created by widow Mary Rookes, and continued by her daughters Letitia and Mary Rookes. They ran it from their home, wedged between the walls of St James’ Church (now Bury’s Cathedral) and the Norman Tower. The Rookes sisters are shown in a 1748 map of Bury either leaning from its upper windows, or imprisoned there. This image is taken through glass and therefore poor quality, but the map is too old to safely un-frame for this photo.

Rumours have persisted over centuries that these women provided other disreputable services as well as coffee. One even has it that when they died, because of their unsavoury lives, their bodies had to be buried half-in/half-out of the church.

The more I researched the coffee house, the more ambiguous the representation of the Rookes women appeared. It felt like an irresistible opportunity to continue working with multilayered narratives and build on what I’d begun with the cine films. The Rookes saw themselves as successful and respectable, whereas other people telling their story over time saw them very differently. Their building has long since been pulled down, but its site is open to the public, and seemed to be crying out for a site specific piece of work inspired by them. Here it is:

I discussed making work for the museum as well as the Great Churchyard site, the museum staff were really enthusiastic and helpful. With their help I got permission to make work for both locations. I needed to decide what to make.


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I’d looked at the work of various artists, in particular, Peter Doig, Daniel Richter and Murat Sahinler, for my cine film project. I hadn’t seen their work first hand. While I was making my catalogue I managed to see Peter Doig’s show No Foreign Lands at the Scottish National Gallery in Edinburgh.

I loved this exhibition. Not just because it was such an interesting journey through this artist’s work, but also because it was curated so well. Although the Gallery is emphatically traditional in its architecture, almost underlining that you are in Scotland’s capital, the way this work filled it meant the work really did transport me through Doig’s other lands. The building has huge walls, and this exhibition made full use of the space and light, so I felt caught-up in the fun of working on this scale and with this much colour and variety of texture. There was even a room plastered with his film posters, all made at speed for his local film club in Port of Spain, Trinidad.

Doig’s paintings are based on his particular visual experiences and photographs, which is a different perspective than the multi-layered one of my old cine film source. However, I had been selecting frames that I personally found visually exciting, and I often knew as little about the actual narrative of those images as Doig did, for example, when he worked from his photograph for Lapeyrouse Wall. There were several versions of this work in the show. It is one of my favourites. Doig had investigated and experimented with uninhibited gusto in these paintings and sketches. Seeing them made me realise how much more I might have achieved with my own photo-based images. Not in a depressing way – it was a useful lesson for my future work.

Peter Doig. Source photograph for Lapeyrouse Wall, Port of Spain, Trinidad, 2002, from the artist’s archive.

Lapeyrouse Wall
Peter Doig, 2004. Oil on paper, 235 x 1229 cm The Museum of Modern Art, New York; Fractional and promised gift of David Teiger in honour of Gary Garrels.

Poster for Trinidad & Tobago Film Festival
Peter Doig, 2008. Oil on paper, 76 x 105.5 cm Collection of the Artist.

Lapeyrouse P. o. S. Pink Umbrella
Peter Doig, 2003. Oil on paper, 41 x 31.5cm, Bruno Brunnet & Nichole Hackert, Berlin.

Lapeyrouse Wall
Peter Doig, 2004, Oil on canvas, 200 x 250.5 cm, The Museum of Modern Art, New York; Fractional and promised gift of Anna Marie and Robert F. Shapiro in honour of Kynaston McShine, 2004.


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It was interesting to review my collection of work related to the cine film frames at the time, but more so to look at it later. I used this collection as the subject for a sample catalogue we made for another module.

While I made the work, it was a real challenge to let the medium do the work, so that I didn’t introduce my own interpretation of the narrative I attached to each frame. Some pieces were far more successful in this respect than others, but were less appealing to viewers. The images in my previous post were satisfying to me, but not particularly interesting to viewers. Putting them all together for the catalogue some time after making them was a good opportunity to reflect on these pieces again. Some really were little more than sketches, but showing them in the catalogue was a very useful way to consider why some worked for viewers better than others.

Here is a screenshot of one catalogue page showing the cine frame and my sketch related to it. This sketch, despite seeming to me to be very primitive, and densely drawn, did engage some viewers pretty strongly. I’d made plenty of changes to the original frame which reflected different pieces of information about it that I’d heard over many viewings, but of course, my sketch is as silent as the cine film. Although I had to give the catalogue images some sort of label, I never attached any clues to the information that drove my composition. I can only think that the sketch’s ‘sketchiness’ is what draws its viewer in…

 

 

 

 

 

 


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