Catch Up and Overview Blog
It has been a long time since I last wrote a blog so I wanted to do an overview of where my research is up to and what direction it will be taking.
My research title is - Practice-based study of the Public Arts Programme at Theatr Clwyd: How sustainability, playfulness/joy and community engagement contribute to well-being and quality of life.
I aim to investigate the Public Arts Programme at Theatr Clwyd through a practice-based enquiry, contextually underpinned through research into the themes of sustainability, playfulness/joy, community engagement and well-being. The aims include to understand the contribution the Public Arts Programme has on well-being and quality of life of the community the theatre serves.
It is understood that sustainability, playfulness/joy and community engagement each play a vital role in enhancing well-being and quality of life:
Sustainability:
Environmental Health - sustainable practices protect natural resources, ensuring things like clean air, water etc. All of which are fundamental to physical health
“There is increasing evidence that environmental sustainability and human health are inextricably linked. A healthy environment provides the foundation for human health and well-being.” Haines, A & Dora, C. (2012) How the low carbon economy can improve health BMJ 344, e1018
https://www.bmj.com/content/344/bmj.e1018
Security for the future - by promoting sustainability, we create a more stable and resilient environment for future generations, reducing anxiety about the future
Connection to Nature - sustainable living fosters a deeper connection to nature, which is associated with improved mental health, reduced stress and greater happiness
“Contact with nature is important for mental restoration and has been shown to be beneficial for psychological well-being.” Barton, J & Pretty, J (2010). What is the best dose of nature and green exercise for improving mental health? A multi-study analysis. Environmental Science & Technology, 44 (10), 3947-3955 https://pubmed.ncbi.nlm.nih.gov/20337470/
Economic Stability - sustainability often involves resource efficiency and long-term planning, which can lead to economic stability and reduce the financial stress on individuals and communities
Playfulness/joy
Mental Health - playfulness and joy are key to reducing stress, anxiety, and depression. Engaging in playful activities releases endorphins, the body’s natural “feel-good” chemicals, which boost mood and overall mental well-being
“Playfulness has been shown to positively affect adults’ ability to cope with stress and foster mental health, indicating that it plays a vital role in overall well-being.” Proyer, R.T. (2013). The well-being of playfulness: the relation of playfulness with strengths of character, subjective well-being, and psychopathology. Psychology of Well-being: Theory, Research, and Practice, 3(1), 18
Creativity and Problem-solving - Joyful, playful; experiences stimulate creativity and enhance problem-solving skills, leading to personal growth and satisfaction
Social Connections - playfulness often involves social interactions, which strengthen bonds with others, fostering a sense of belonging and support
“Positive emotions, such as joy, broaden people’s thought-action repertoires and build their enduring personal resources, which contributes to emotional well-being and resilience.” Fredrickson, B. L. (2001). The role of positive emotions in positive psychology: the broaden-and-build theory of positive emotions. American Psychologist, 56 (3), 218
Resilience - experiencing joy regularly builds emotional resilience, helping people cope with challenges and setbacks
Community Engagement
Social Support - being actively involved in a community provides a support network that can offer assistance, advice, and companionship, reducing feelings of isolation and loneliness
“Community engagement, especially through social networks, has a powerful impact on health and well-being, enhancing social support and improving psychological well-being.” Berkman, L. F., Glass, T., Brissette, I. & Seeman, T. E. (2000). From social integration to health: Durkheim in the new millennium. Social Science & Medicine, 51(6), 843-857
Sense of Purpose - engaging in community activities gives individuals a sense of purpose and contribution, which is essential for personal fulfillment and self-esteem
“Active participation in community activities can provide individuals with a sense of purpose, belonging, and meaning, which are crucial components of psychological well-being.” Ryff, C. D. & Keyes, C. L. M (1995). The structure of psychological well-being revisited. Journal of Personality & Social Psychology, 69(4), 719-727
Collective Well-being - community engagement promotes shared goals and collective actions that improve the overall quality of life, such as local sustainability projects or neighborhood beautification
Cultural Enrichment - participation in community engagement events and traditions fosters a rich cultural life, providing opportunities for learning, enjoyment and personal growth
Integrated Impact on Well-being:
When sustainability, playfulness/joy and community engagement are combined, they create a holistic environment that supports both individuals and collective well-being. A sustainable community that values joy and play encourages vibrant social interactions and shared experiences, leading to a higher quality of life for all involved. This integrated approach ensures that well-being is not just a personal endeavour but a shared experience, rooted in a healthy environment, strong social ties and a joyful approach to life.
“A sustainable, socially connected, and playful environment can enhance the quality of life by addressing multiple dimensions of well-being, including physical health, emotional well-being, and social connectedness.” McMichael, A. J., & Lindgren, E. (2011). Climate change: Present and future risks to health, and necessary responses. Journal of Internal Medicine, 270(5), 401-413
Together, these elements create a balanced, thriving community where people feel connected, happy and secure; contributing to a better quality of life. This is what Theatr Clwyd wants to create with the renovations.
Commissions
Theatr Clwyd, in North Wales, is undergoing a major renovation to transform its Grade II-listed building into a more sustainable and community-centered arts venue. The redevelopment project, which involves acclaimed architects Haworth Tompkins, aims to preserve the theatre's rich heritage while making it a green, accessible, and modern cultural hub.
As part of this transformation, Theatr Clwyd has launched a public arts program that is central to the building's new identity. This program is commissioning both permanent and temporary artworks to enhance the space, reflecting themes of sustainability, playfulness/joy and community engagement. A significant focus of the program is inclusivity, aiming to involve a wide range of artists and disciplines—from painters and sculptors to theatre designers and digital artists.
Three major commissions have been announced and the artist chosen:
Creative Language Commission:
This piece will explore language and storytelling within the theatre, creating an environment that encourages gathering and interaction.
Counterweight Installation:
Inspired by the original counterweight system from the Anthony Hopkins Theatre, this installation will incorporate elements of the theatre's history into the new design.
Foyle Room Curtain:
A large-scale, bespoke curtain will be designed for the Foyle Room, a new multi-purpose space at the heart of the theatre.
These projects are funded under the Arts Council of Wales' "Percentage of Art" legislation, which supports public art as a key element of building developments. The open call for these commissions attracted significant interest, highlighting the excitement and anticipation surrounding the theatre's reopening.
The renovation is not just about updating a building but creating a vibrant, inclusive space that continues to serve as a cultural beacon for North Wales.
I am looking at this public art programme through a practice based study.
Before I went on maternity leave, the plan moving forward was for myself and a couple of other ceramic artists to complete the tile commission for the theatre. There are several direct commissions where the theatre and Studio Three Sixty (the company facilitating the commissions) are contacting artists directly without an open call process. The tile commission is one of these. This commission consisted of creating a 20m2 tile backdrop for the bar area. It was supposed to involve the community in the creation of it and add colour to an area that was quite neutral. I created numerous moulds before I left using the original Anthony Hopkins Theatre tiles as the model. They are listed so I had the original tiles 3D scanned and printed in a polymer that could be moulded. Once I had this process completed, I was then told the tiles I had could be used to make moulds as we had been given permission. So I created some with the polymer and some with the original tiles.
Here is a photo of the printed tiles and original making up part of the proposed arrangement:
I moulded both because I wanted a range of textures on the tiles; some with the coarse original textures and others completely smooth. To aid in the process so that we had loads of moulds to make numerous tiles at once, I used a vac former to make plastic moulds I could fill with plaster to have more models to make moulds.
Here is the mould making process:
1. Prepare the Work Area:
I choose a flat, stable surface to work on. This means the moulds would be level.
2. Prepare the Object:
I cleaned the original object and ensured it was free of dust or debris. I applied several layers of soft soap to the tiles as a releasing agent. This made it easier to remove the object from the plaster mould.
3. Create the Mould Base:
I flattened a piece of clay on the work surface to create a base for the tiles. I then pressed the tiles into the clay so that some of it is embedded in the clay. Ensuring that the tile was firmly in place and did not move.
4. Prepare the Mould Box:
Using cottle boards, I created a mould box around the clay base and tile. For some of the moulds, I used trays as the mould box. I made sure that the box was slightly larger than the tiles, with enough space around all sides for the plaster to flow.
5. Mix the Plaster:
In a bucket, I combined potter’s plaster with water. I stirred the plaster mix gently to avoid air bubbles; these can affect the mould and quality of the casts afterwards.
6. Pour the Plaster:
I slowly poured the plaster into the mould box, covering the tile completely. I tapped the sides of the mould box gently to help release any air bubbles that might have been trapped in the plaster.
7. Let the Plaster Set:
I then allowed the plaster to harden. It's an exothermic reaction, the plaster should feel cool to the touch when the mould is set.
8. Demould the Object:
I carefully removed the mould box, gently pulled away the clay base. I slowly and carefully removed the original tile from the plaster mould.
9. Finishing the Mould:
I checked the moulds for imperfections and then used sandpaper to get rid of any rough edges etc.
10. Cleaning and Storing the Mould:
I wiped the moulds with a damp cloth to get clay residue off the plaster. I then stored them to dry out completely. I would usually use a drying cabinet but one wasn’t available.
The plan for data collection, while I was off on maternity leave, was for the commissioned artists to fill in a form updating their progress as they produce the artworks. These would form case studies as part of my research. This hasn't happened unfortunately, due to an amendment needed to my Ethics. This is currently in the process of being sorted.
Exploration through making
Unfortunately, on my return, I learned that the commission for the tiles was no longer going ahead due to various reasons. Another artist has now been awarded the commission.
On reflection after making the moulds for the commission I was thinking about the importance of moulds and how they themselves can become the artwork.
A mould can represent a variety of symbolic meanings depending on context:
A. Preservation of a form and memory - This could be capturing a moment in time, a mould captures the exact form of an object at a specific moment, symbolising the preservation of a fleeting memory or identity. It can evoke themes of nostalgia, loss, or the desire to hold onto something ephemeral. It can also be describing memory and legacy. Moulds can be seen as a way to preserve the legacy of something or someone, serving as a physical record of its existence. This can represent the human desire to be remembered or to keep a part of the past alive.
B. Replication and reproduction - Commentary on mass production, moulds are tools for creating multiple copies of an original, which can symbolise the industrialisation and commodification of art or objects. This can critique mass production and the loss of uniqueness in a consumer-driven world. On the same theme, identity and cloning could be explored through moulds. Moulds can explore identity, replication, and the question of what makes something unique. The process of making multiple identical forms from a single mould can raise questions about individuality versus conformity.
C. Transformation and change - A mould can represent the potential for change not just the final form; but a potential to create and transform. A transition from one state to another. Conversely, a mould can symbolise a metaphor for constraints or limitations imposed on an object or individual, shaping them into a predetermined form. Exploration of societal pressure, cultural norms or the loss of freedom.
D. Absence and presence - A mould is often the negative space of an object; an impression of absence. A powerful metaphor for loss, emptiness or the idea of what we see by what is missing. The mould itself is a reminder of what once was, an echo of existence and the original. Evoking feelings of memory or the transient nature of life and existence.
E. Creation and origin - A mould is an essential tool in the creation process; a symbol of creation-representing the origin of a new form. Themes of creation, artistic expression or the concept of genesis. In a more abstract sense, a mould can represent the archetype or prototype from which others are made; the original or ideal form from which copies or variations are derived.
I feel like using the mould as part of my physical clay exploration can serve as a rich metaphor for my research. I am capturing a moment in time, the renovations at the theatre, moulding the original tiles as a preservation/reminder of the past. The building is changing and the mould can represent the potential for change-an exploration of the transition the theatre is going through. The mould itself describes and represents creation, the change from the origin; like the renovations.
Moulds have been used as primary and conceptual themes in various artists work:
Rachel Whiteread
A prominent sculptor known for her use of casting techniques to create negative space of objects and architectural features. One piece, “House” (1993), was a concrete cast of the interior of an entire Victorian house in London. The mould in this case became the artwork, turning empty space inside the house into a solid form. Whiteread’s work often explores themes of memory, absence, and the traces left behind by human habitation. Emphasising the negative space, making the invisible now visible.
“Whiteread’s use of casting is a process that turns empty space into a solid object, creating a tangible record of absence. This technique allows her to explore the relationship between memory and materiality, making the void a physical entity that speaks to the passage of time and the presence of absence.” Foster, H. (2004), The Art-Architecture Complex. London
Bruce Nauman
An American artist that has used moulds in several of his works. For “A Cast of the Space Under My Chair” (1965-68), he created moulds of spaces that are normally ignored or overlooked, such as the empty space beneath a chair. Nauman’s use of moulds often serves to challenge the viewer’s perception of space and the ordinary. His work questions what constitutes a sculpture by focusing on the absence of form rather than the form itself.
“By casting the negative space beneath an object, Nauman’s work challenges the conventional boundaries of sculpture. It asks us to consider not just the form of things, but the spaces that usually go unnoticed. In doing so, Nauman highlights the idea that absence can be as significant as presence”. Rothkopf, S. (2002), Bruce Nauman: Disappearing Acts. New York: The Museum of Modern Art
Antony Gormley
He is known for creating cast sculptures of the human body, often using his own body as the mould. His works “Angel of the North” (1998) and “Another Place” (1997) involve casting the human form in various materials. His pieces represent the human body in relation to space, exploring themes of existence, identity and the relationship between the individual and the environment. The use of moulds allows him to capture the precise physical presence and translate it into a broader commentary on human experience.
"Gormley's use of the body as a mold creates a dialogue between the internal and external, the self and the world. His sculptures are not just representations of the human form but are imprints of bodily experience, where the mold becomes a vessel for exploring human existence and its relationship to space and time." Warnock, M. (2006), Antony Gormley: Drawing Space. London: Hayward Gallery Publishing
I found an interesting quote about the general theoretical perspective of mould making and casting:
"Casting as an artistic practice embodies a duality - it both captures and transforms. The mould is a vessel of memory, a tool that can hold the essence of an object or body, preserving it while also allowing for endless reproduction and reinterpretation. This process speaks to the broader themes of replication, memory, and the tension between originality and reproduction in contemporary art." Bishop, C. (2005), Installation Art: A Critical History, London: Tate Publishing
Even though the commission has been cancelled, I still intend to explore the mould forms and explore the theatre's themes through the forms. I am currently looking into the history of the tiles that I have been moulding to better understand the forms.
There is a possibility that Studio Three Sixty would like to involve me in the other commissions - this is currently still under discussion.
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