Our Initial Response and Idea

During the very first lesson we had on Site Specific we found it hard to get to grips with the performance piece we was being asked to create. We did not believe as a whole class we would be able to come up with an idea which could work in the James Usher gallery. Because we were given the gallery as a site we firstly thought of doing a contemporary dance piece, as this may fit around the surroundings. However after extensive research into other companies Site Specific performances we became excited about how unique we could make our performance. Also after reading Michael Pearson, ‘Introduction to Site Specific’, the task became more understanding and this is when our ideas as a group came together.

The first time we explored the gallery we were surprised about how big the two sites we had been given were and this meant we were able to create a performance without being restricted. However there was the set back that the gallery was being ‘re-hung’, meaning whatever we had seen may move by the time it comes round to our performance. We first of all decided that we liked a window which looked out into Lincoln in the room which explores the History of Lincoln itself. We believed this would be extremely interesting to research as we are new to Lincoln it would be beneficial for us to find out the background of the town we now live in. Next to the window there was a timeline of what was outside the window many years ago, for example ‘2000 years ago you would have looked out through oak woodlands, down to a marshy river’. Although the facts we had read were interesting we decided the space near the window was to small to create the kind of piece we wanted. We did not want it to be subtle and knew we needed to make use of the space in the rest of the gallery and museum. Whilst then exploring the Usher Gallery, we noticed a recurring theme of clocks and pocket watches, after research we found out this was because James Usher was actually a watch maker and collected them himself (see other post). After discovery this information we knew as a group we would definitely base our performance around time and clocks, our aim was still vague at this point but we knew at least a small concept of the idea. We then went on to find a room in the Usher Gallery which is upstairs; it is a huge space with many paintings of how Lincoln used to look. We found the photos extremely interesting to see how much the town had completely changed. This then gave us another small idea for our piece that we wanted to base out performance in Lincoln but by bringing something new to Lincoln.

As a group we all done separate research and thought about many different ideas. We then met up and discussed each individual idea and tried to combine these into one performance. We are using ‘Lonetwin’ as an inspiration towards our performance also (see other post). The initial idea was to make sure we interpret time and show our different culture as we are all from areas surrounding London which is extremely different to Lincoln. We come up with moulding the iconic clock ‘The Big Ben’, which is in London, and placing it into the gallery during the performance, as if we are smuggling our own culture into Lincoln. We decided that polystyrene would be a good material to use and it is light and easy to carve. Furthermore we thought about the costumes we would wear and came up with the idea of wearing balaclavas as it would be more shocking to the public walking through and would highlight the idea that we are not meant to be bringing this sculpture into the gallery. A soundscape was an idea we were also keen to use, and have decided to play throughout the room noises you would usually here whilst in London and maybe even sayings or songs which are iconic to London.  Under each clock dial on ‘The Big Ben’ it says in Latin, “Domine Salvam fal Reginam nostrum Victoriam primam”, which translates to, “O lord, save our Queen Victoria the first”, we thought this maybe a good quote to repeat whilst we were sculpting.

After ordering some polystyrene and trying to carve it into Big Ben it was more difficult than we thought and also very expensive to buy. This gave us doubts about the sculpting idea and we began to research other materials we could use. We are happy we decided to try this option out very soon as it shows us that we need to come up and try out many different ideas.

 

Research on The Usher Gallery and James Ward Usher.

We have done some research on The Usher Gallery and James Ward Usher himself as we believe knowing the history of the site could be used and interpreted into our performance to ensure it is relevant to the site we are working/performing in.

The Usher Gallery:

. Opened in 1927 following a bequest to the city by Lincoln jeweller James Ward Usher.

. Usher collected a lot of the art that is displayed in the gallery. He built his collection up over 30 years and it consisted of ceramics, watches, clocks, coins, silver, miniatures and paintings.

. Usher himself was a talented artist.

. He never married therefore in his will he left his collection to the city of Lincoln on the understanding that it would be the basis for a museum and art gallery that would bear his name.

. He left almost £60000 towards the cost of the building which was designed by Sir Reginald Blomfield.

. He was educated at Lincoln Grammar School and Totteridge Park School

.1886 he was the first business man in Lincoln to introduce electricity into his shop from his own generating plant.

.Chose the ‘Lincoln Imp’ as his logo at the jewellers

.Honoured with the position of Sheriff in Lincoln in 1916

As Sir Reginald Blomfield designed the building for The Usher Gallery we thought it may be helpful to research his life as well as we could link his involvement to the building with our performance as well.

.Blomfield was an architect, garden designer and an author

.He was educated at Haileybury School and Exeter College, Oxford. He graduated with a first-class degree in Classics.

.He played a major part in the completion of the Quadrant in Regent Street and the Lambert bridge, both situated in London.

 

Why we thought it would be relevant to look into the history of The Usher Gallery was due to our discussion of the corporation of time which was inspired by the collection of clocks and watches in the gallery. Knowing the history and portraying it during our performance emphasises the notion of time that is linked to the site we are working in.

Another interesting factor was the architecture of  the building compared to James Usher himself. It is evident he was a business man and part of the middle classes but The Usher Gallery itself seems to replicate that of a manor house which was more associated with the upper classes during the 1920’s when the gallery was built. This could be an interesting factor to explore. An idea I had which was inspired by the crockery and tea set collection in the gallery was that half way during our performance to sit down and have afternoon tea thus channelling the contrast between the working class (Usher) and the upper class (the architecture of the building).  It could also be interesting to link the architect himself Sir Reginald Blomfield to our performance. A way in which we could link this is through our ‘cultural smuggling’ of London in the shape of Big Ben into the gallery as Blomfield influenced the architecture of large landmarks in London so therefore not only are we introducing ‘cultural smuggling’ into our performance we are linking it to the history and the architect of The Usher Gallery.

Tea set

The inspiration for the incorporation of time.
The inspiration for the incorporation of time.

 

The man who married a mountain…

4th February, the collective

This week, we decided to explore further and begin to come up with some genuine ideas for our performance as a piece.

Living and being in the space – we liked the idea of turning back time (inspired by the extensive watch collection found in the usher gallery) and exploring what the building was like when it was the residence of James Usher as opposed to be open to the public.

Ways in which we can find out more about the Usher Gallery as a place of residence:

Local lib

Records

Drawing

Photographs

 

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When we came across the piece outside the usher gallery, we inquired as to what it was symbolic of. A member of staff told us that the artist, was inspired by a story about a man who was so in love with a mountain, he wanted to marry it. The artist then took this a step further and planted the engagement ring on a tree located outside the usher gallery in order to portray the concept of the bond between love and nature. We were intrigued as at this point, as we were the only group that had noticed the ring in the tree. It was from this, that we finally felt we were really looking at the space and paying attention to detail as we began to see things around us in a different light. From the ring in the tree (pictured above) we began to look in to the idea of seasons as the ring could only be seen fully when the tree was not in full bloom, i.e in the winter. In comparison, during the summer, when the ring is hidden by all of the leaves on the tree. We felt this could be a potential basis for our work as a group. Here’s what we came up with:

 

 

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In the summer, when the leaves cover the ring, it is even more hidden and people walk past without knowing that the installation is there.

This is where we arrived at our concept of revelations and the revealing of spaces.

 

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See you soon!

Authors: Ellie Henshaw

Word Count: 355

 

Origins Cont.

Date: Tuesday 29th January

‘There doesn’t need to be a distinction between life and art! Life can BE art’ -Alan Caproe.

This is a quote that we have decided to follow as a group. As drama students, a lot of what we do depends on script work and devising a piece. When looking in to other practitioners that used site as their stimulus, a general characteristic of their work is that it doesn’t necessarily make sense, and is often open to interpretation. We really want to focus on life as art, mainly hammering in on obscurity.

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Forgotten. Sights.

Every time we walk past some thing of beauty, out appreciation of said subject deteriorates. Walking past a thing of beauty frequently can cause unappreciative attitudes. All we have to do is stop and look. Take time out of our busy days and just look. Take in the surroundings, rather than letting them pass you by.

What we learned from this was that space does not necessarily have to be interesting or obscure for people to appreciate it.

It was from this that we began to question what is needed to make some one stop and notice what is going on around them and really take in their surroundings.

This lead further in to the idea of obscurity and the way in which peoples’ perception of places change.

An underlying idea for this week was the idea of making some thing happen in a space which would usually be passed by in the collection by the general public and those that work there, and make something happen in order to draw attention to, and expose the space.

After exploring the collection, we came across a piece that contains a video of everyday things happening, but sped up. This is something that Caproe was trying to portray – ordinariness exemplified as an art form.

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Until next time! xx

Ellie Henshaw

Word Count: 319

First Ideas

Having looked around the space and had a chance to feel comfortable in both buildings, we have had some time to think of possible ideas for our performance. Interestingly, Susan Bennett’s book Theatre and Museums focuses on the link between acting and where a piece is staged, for example a museum. Being that we have a chance to perform in The Collection Museum, I found it interesting to note that ‘museums traffic mostly in material designated as representing the past, while theatrical performance takes place resolutely in the present’ (Bennett 2012, p.5). Obvious as this may be, this confronts the idea of our performance being ‘site’ specific, and whether this means we need to focus on the history of the building. Is it instead possible to make a modern element the main feature of our performance and simply touch on the history of the building? In this way, we will still have free theatrical reign and our ideas may be able to flow more freely.

Whilst considering this, we have also spent time in both buildings and so far have been more drawn to a corner of the Collection with a large window that looks out onto some modern glass offices. This may be another way of connecting historical and modern elements of Lincoln within our performance piece, as there is a large sign in that area discussing the development of Lincoln from fields to concrete. According to this sign, ‘2000 years ago it was woodland’, and ‘100 years ago there was red brick’. Therefore we must consider the changes the site has gone through to become the Usher Gallery and the Collection Museum. By connecting these elements we may be able to delve deeper in the details of the site, whilst getting our audience to consider a future building that may stand in place of the Collection, as the Collection stands where fields once were. Whilst we consider history, we must also consider the future.

collection

Pottery in The Collection Museum

References: Bennett, Susan (2012) Theatre and Museums, London: Palgrave Macmillan.

Author: Lacey Cole.