Artists in Residence 2022:
Laura Phillips & Luke Godden
Photograph of Laura and Thorny Wych with an expanded cinema performance set up in the barn
(which was formerly a shippon for cows and pigs)
For this residency project, Laura was interested in developing and recording sites of transmission and exchange. The core impetus was to document plague stone sites as a visual metaphor and framework to make new expanded cinema works.
According to the Eighteenth-century historian William Hutton: ‘In plague-stricken seventeenth-century England, the need to quarantine sufferers of the disease produced a number of unusual social conventions. Among these was the establishment of so-called plague stones, which served as meeting places for, and boundaries between, the healthy and the sick within an affected community. In addition to serving as a site for exchanging messages, the stones also functioned as a point of commerce where goods were left for the ill, who in turn paid for them by placing coins in a hollow carved into the top of the stone and filled with disinfecting vinegar.’
Part of the residency was also to work collaboratively with artist Luke Godden, whose own lecture performances are inspired by politics of land management, archaeology and queer histories. For Luke, plague stones and their associated histories are an ongoing research project which focuses on investigations of ancient monuments, artifacts and other evidence which bear links to pandemics, epidemics and other outbreaks of disease. Research by Luke has been largely encouraged by his grandmother, writer and historian Maggie B Dickinson. Most of the findings have been focused on locations in the northwest of England; Lancashire, Cumbria, and the Yorkshire Dales. From medieval stone crosses, ancient packhorse routes and Viking tombstones - hunting plague stones opens a portal to histories that show us how life before convenience shaped landscapes and communities. Issues around faith, grief and transformation emerge in reflections.
Hand processed 16mm film was shown as part of the expanded cinema performance
Watch a snippet of the expanded cinema performance
at Silent Running environmental music festival at Analogue Farm
Laura and Luke installed screenprinted banners across the entrance to the barn
Photographs documenting Laura and Luke's extensive field research into plague stones
and pack pony routes in East Lancashire and West Yorkshire
Inaugural Artist in Residence 2022:
Devotions 1 & 2 (2022)
In the Lonely Country (2022)
During Lucy's residency at Analogue Farm in August 2022, she took as her starting point convergences between the ‘wild woman’ trope and Renaissance images of Mary Magdalene as an ascetic, covered in thick body hair, to produce a series of paintings reflecting on relationships between women, loss and the landscape, as well as how ‘folk’ iconographies and symbologies have been co-opted by institutions towards various political agenda. Legend suggests that after Jesus’s death, Mary Magdalene lived alone in the desert for many years, praying and fasting until her clothes became ragged. When they eventually fell away, she grew thick body hair to protect her from the elements. This story has become a potent symbol of her own bereavement, speaking to women’s hair as adaptation, defence and sanctuary, as well as the reflective, potentially cathartic power of time spent in natural landscapes and in solitude.
Solo exhibition of paintings And You Too Have Come Into The World To Do This at The Bug
As part of her residency Lucy led a drawing in the landscape workshop
with ten participants at Analogue Farm
Watch a short documentary film about the residency
Read an article discussing how the residency developed Lucy's practice
Listen to a podcast by Amy Callaghan, an artist who has a studio at Analogue Farm,
as she talked to Lucy Wright about her residency and her creative practice