Tate Exchange

The Tate Exchange is a current workshop experience that is being run on the 5th floor at the Tate Modern, London. Working with ArtLab @ Tate Exchange, we ran workshops over two days with primary and secondary school children. By working as a co-researcher in the Artlab team, we were able to explore artists materials ‘from the clay that the dinosaurs walked on to building new experiences with 3D printers and green screen’.
Throughout the day, the students were taken through different ways of making, producing and thinking about artworks. Clay was used to create faces, and then hands using blindfolds and description. Creating a long piece of artwork that spanned the table was the most difficult challenge a many of the students had ideas that they wanted to execute, but found there was not enough time to do this in.
We also had the challenge of wrapping plastic, dyed in pink to raise awareness for breast cancer, around various objecting including balls, people, chairs, pillars and even on the windows. This allowed an extra level of creativity and thought in order to physically manifest the ideas in real life. A group of girls wrapped an exercise ball, and then themselves in a group attached to the ball. This did make it difficult for them to move, however they seemed very comfortable!
The last activity of these days was looking at green screen on iPad’s. Using a green screen app, we were able to make different colours the green screen e.g. yellow, to be able to see the image in the background. These images and videos were captured by the group, and layered using this app. Thirty second videos were created by over six groups and previewed by the group at the end of the session. Throughout this experience, I was able to assist the groups with their ideas, and creating their videos. I even participated in one, being a basketball hoop for a group who looked at ball games and participation.

Ladybird Archiving

The Ladybird Archive is part of the Museum of English Rural Life (MERL), University of Reading. The artworks and books are on loan to the university, so long as they are kept archived behind the scenes. MERL do not own these artworks, Ladybird Books Co. still own them – we are simply keeping them. There are over 700 boxes of artwork that have to be checked, counted and re-boxed. The re-boxing process also includes writing what is in each box, and joining boxes together if there is space, or if the boxes are broken. This was to be done with clean and dry hands, in a clean environment. If there were any artworks that were stuck, my supervisor at MERL took them apart, to ensure that no damage was done to the artworks. Each week, for anywhere between two and five hours, this is my role.
The first week I was very excited to be able to handle the artworks. I sorted the boxes that held the original artworks for The Enormous Turnip, through to Goldilocks and the Three Bears, The Magic Porridge Pot and The Story of Marco Polo, along with many others.
The second week I was able to view the archive where the boxes are being held. This was a wonderful experience as I had never been in an archive before, especially not one that I was working on. In the three weeks that volunteers have been working on the archive, two shelves were cleared as boxes were condensed.
All artworks in the photographs are credited to Ladybird Books.

We even included the packing process on Twitter for the Explore Archives week:


Grand Opening of The Museum of English Rural Life (MERL)

A grand re-opening of the Museum of English Rural Life (MERL), Reading, was held today, to showcase the refurbishments and never displayed artefacts held in the museum walls.

During the re-opening MERL, I gave a helping hand in the print room. This is where families and friends who were visiting for the day could print, and take home, a unique piece of artwork. The original drawing was completed by Martin Andrews, a previous lecturer and student from the University of Reading. My role throughout the day was to ensure that each piece had a name, and was hung up to dry in order to be collected at a later time. Each person who created a print had a sense of awe, as they worked the 100+ year old printing press to create their piece. Over 70 prints were made throughout the day, and more paper had to be sourced before we ran out.

I ensured that Martin had enough ink throughout the day and help him with tasks such as setting up the print in the press and ensuring ink did not go anywhere other than the intended surface. I also had a role to protect the ink from prying hands as this would have permanently stained clothes.

This role has helped broaden my perspective of art within charities and the impact that it can have. I also now understand the processes behind the drawing, creating the ‘stamp’ for the press and the process of handling the printing press with the public, including adults and young children.

Source: my print, a failed prints, of the day