June 2024

Kate V Robertson

I spent a wonderful week at Arcadia, from 24th - 30th June 2024. I could tell instantly how restorative the experience would be, with everything I could ever ask for - a well-stocked and spacious workshop, outdoor work space, plenty of scrap wood to forage from, a lovely cosy cabin just for me, complete with a treetop vista over the beautiful surroundings of Drymen. Bliss.

The plan for the week was half pre-determined and half open, I had planned to build some supports/structures to display some bronze pieces I have made previously. I find it very hard to finish work in the studio, with the possibilities being endless and without knowing where the works will be exhibited, yet they need to be finished - at least provisionally - so I can move on with other pieces. So, I had decided to make wooden structures, loosely resembling AV stands and other ‘presentation’ furniture, such as lecturns. I had bought some second-hand wood (I try to avoid using virgin materials) and had pre-cut the parts I would need for around 4 such pieces.

The main idea for the week was to master the experiment with the Japanese technique known as Shou Sugi Ban. Originating in 18th Century Japan, Shou Sugi Ban is a method of preserving wood by charring it with fire. This ties in with my current interest in anachronistic sculptural practice, mixing the ancient with the modern and futuristic.

The first couple of days I spent assembling my pre-packed items and seeing how they burned. This had mixed success, I had tried to design for disassembly using dowel fixings, but this was very fiddly and measurements had to be exact - not my strong point. Come back screws, all is forgiven!

I initially was burning with a blow-torch, which was immensely satisfying to do - however I also quickly realised that some of the wood I had used was not ideal for this technique, which works best on soft wood with visible grain. I had thought that the charring finish would cover the fact that the wood was mismatched, but it didn’t. I had the best results on timber CLS, but that wasn’t the right shape for the pieces I was making. So, I didn’t have instant results but now have established

the basics of the technique and know how to progress with it. In future, using a chimney-shaped stack of wood to burn the surface in a fire would be the way forward, as in the original method. The blow-torch may be satisfying but it takes a lot of time to get enough charring on the wood. I will also burn everything before assembling too, as the joins were hard to char without destroying.

After I had assembled and charred all the pieces I brought with me, I thought it would be interesting to contrast found natural wood, direct from trees, with the industrially processed found wood I use elsewhere. My recent works have been preoccupied with manmade processes such as those associated with consumption or technology, and I thought using a natural ‘waste’ material might provide an interesting counterpoint to this aspect of my work. So, I collected various sticks, twigs and logs, from both the beautiful Sculpture Trail at Arcadia, and Rob’s firewood stash (which was both plentiful and ready-dried).

I used some of these tree bits in combination with the furniture pieces, and made some improvised items, which loosely resembled tripods or mic stands, which I found quite comic and reminiscent of older works of mine.

I also made some figurative pieces using twigs, which came to me during the week, in reference to Giacometti, who I am fond of. However these pieces - although were fun at first - were very fiddly to stick together, and very fragile, so mostly they didn’t work as well as I’d hoped - and certainly not built to last, and they broke almost as soon as I burned them. I did like this one piece that was a replica of Giacometti’s Hand, but I think it would need to be cast in bronze, as I had to fix it every few minutes, especially when documenting it al fresco!

I also took a couple of log sections, and was intending to try my hand at a totem pole type thing, which involved using a borrowed chain saw and palm router, neither of which I had used before. My unfamiliarity with the tools made the results mixed, but I also remembered that I always use found shapes or patterns, or incidental mark making, rather than drawing or carving, so this method didn’t really suit me. I found some man-made items such as a plug (for a sink) and a plug (for an appliance) and used these to make face shapes. I enjoyed seeing how I could get these sections to interact with each other, but I’ll need to rethink how to take this idea forwards. The best part of these were the incidental surface of one log which had both grain cracks and saw marks, I did a rubbing of this too and left that for the Arcadia Archive.

At the end of the week I staged a photoshoot to document the work I had made in situ. This was really fun, particularly the absurd image of me pushing random objects around in a wheelbarrow and improvising with it as a step ladder!

Rob and Susan were brilliant hosts and I really enjoyed getting to know them, and was inspired by the life they had built for themselves and were willing to share with others, which was a real privilege. The undistracted absorption in work and nature was better than any holiday, and I feel really nourished and restored now, and grateful to Arcadia for the gem of an opportunity.

Santiago Del Pozo

ARCADIA DIARY Develop Ideas

Day01

I have only been here for a few hours and I feel privileged. I am eager to get to know the place better and to start developing my project. A project thought in Arcadia and for Arcadia, but first I would like to share where I am starting from.

A few weeks ago, when I was offered this opportunity, I planned to approach this residency with nothing defined. With an empty mind, to live the experience in a freer way and take advantage of all the possibilities that the place offers, without limitations.

I must say that it has been impossible for me, it is difficult to change the way I work. I have a very active mind and I have been thinking about the word EMERGENCE and its meaning for days. A meaning that must be interpreted and understood in its original context.

I have come with some sketches in my mind, somewhat blurred. Some of them will probably fade away during my stay and others will emerge, or at least I hope they will.

But I want to use every minute to explore this unique place. With the permission, of course, of our friends the midges!:).

To do so, I see fieldwork as essential and collect useful samples that will help enrich my practice.

I have thought of doing it in two ways: the first would be to collect all kinds of seeds that I come across and later, when I return to my workshop in Edinburgh, I will continue working on them.

The second way will be with the collaboration of the passage of time and the natural environment. I have thought of placing circular pieces of carpet on the floor. These will be scattered in different carefully chosen locations, clear examples of the diversity of the environment. The aim will be to record any type of natural life in the environment. Observe how the natural environment interacts with the pieces and what emerges from them.

I am a little clearer about the way I want to work, with a work philosophy that I have been developing for some years now and which is based on respect for the environment.

For me, working in a sustainable way has become a necessity and does not have to be incompatible with contemporary art, but rather the opposite, an ally. That is why the whole of my practice is involved and revolves around this idea. This includes the concept, the materials and the way they are found, collected, treated and worked. Trying to produce 0 emissions and 0 costs. Relying on the practice of recycling as the main protagonist in this creative process.

Day02

Today I combined workshop work with field work. In the workshop I worked with recycled materials: wood and carpet. I have made progress in the manufacture of the pieces which will be placed in points of interest in the natural environment of Arcadia.

Bearing in mind what they are designed for, I thought it appropriate to give them a circular shape, making reference to Petri dishes, laboratory utensils used in biochemistry for the study of microorganisms.

Each piece is made up of two parts joined together. The wooden part is to make it more resistant and will be anchored to the floor and the carpet part will be visible, exposed to the elements to record the mark that nature will leave after the passage of time.

For the moment the aesthetics of the pieces is secondary, we will have to wait and let the elements collaborate to see this transformation from ugly duckling to swan.

I also spent some time exploring the surroundings. With magnifying glass in hand the afternoon flew by as I observed the local flowers and their friends the bees.

Now time to relax in the cosy hut and enjoy watching the sunset.

Day03

One more day in the workshop and The Arcadia Cells are almost ready. I hope they will see the light of day in the next few days.

The Cells of Arcadia is the title I have chosen for this bio-sculptural installation.

I think the colour of the carpet was a good choice. It is a very discreet grey and will not alter the harmony of the natural environment. My intention is that the pieces will blend in and end up forming part of it.

Day04

Today I used the day for contemplation and inspiration. A very important part of the creative process.

The sun has shone and it has given me the opportunity to explore Arcadia at its best. I show you the path that leads to how I imagine paradise, with the two things I like most in this world, Art and Nature.

Day05

I left the pieces glued yesterday afternoon and today I found them dry and ready for the final finishing. I have applied a couple of coats of beeswax to protect the wood from the weather and to make it last until our next meeting in 6 months. At that time, I will photograph and report on the progress of each of them.

In between layers, I have taken the opportunity to assemble other smaller pieces to found trunks. Prototypes of experimental bio-sculptures created in collaboration with nature.

Looking at the surroundings of Arcadia and the buildings that house the workshops I think the pieces will be successful. Interesting how nature grows over any architectural element. It comforts and inspires me how these two worlds coexist.

Day06

I am very excited to start with the installation of the pieces. Once I have decided where they will be placed I start to make the pegs with which they will be fixed to the ground.

The most important moment came, showing them their new home and saying goodbye to them until our next meeting.

Day07

After a week of intense work it is time to rest. I see no better way to do this than by visiting the natural surroundings of Arcadia. Nearby, just a few miles away is Balmaha, a small village on the eastern shore of Loch Lomond and the point where the Scottish Highlands begin. I decide to climb the iconic Conic Hill and see the beautiful views it offers of the loch and islands.

In the evening, farewell dinner in the best company; Rob, Susan and Suzanne. I only have words of thanks for them. Thank you very much for allowing me to live this experience.

Kate V Robertson

Santiago Del Pozo

October Residency 2023