THE EXLAB STORY DOCUMENTATION OF THE EXPLORATORY LABORATORY PROJECT 2010 – 2012 THE EXLAB STORY DOCUMENTATION OF THE EXPLORATORY LABORATORY PROJECT 2010 – 2012

CONTENTS

04. The ExLab Story

06. ExLab 1: Summary 08. Exhibition 09. Symposium and Field Trip

10. ExLab 2: Summary 12. Research and Dialogue “As technology and science become ever more 14. Artist Commission: Simon Callery - Inland Sealand present in our lives, and as our relationship to, 18. Artist Commission: Proboscis - Storyweir and understanding of, landscape changes, so 22. Artist Commission: Simon Ryder - A Natural History of our artworks reflect the concerns and hopes of 22. Pseudomorphs the day. In a landscape that has been described 26. Artist Commission: Zachary Eastwood-Bloom - Digital Earth as a linear laboratory for the earth sciences, and 30. Artist Commission: Mat Chivers - Overlay which retains a rich seam of imagination and 34. Artist Bursaries inspiration, the Jurassic Coast presents a unique 37. Exhibitions opportunity for artists and scientists to attempt a 38. Walks, Talks and Tours mutual creation of meaning at a time of unparalleled change.” 40. Legacy BRYONY BOND – CURATOR, EXLAB 1 EXHIBITION 45. Big Picture Partners 46. Credits and Acknowledgements

www.bigpic.org.uk

02 03 5 2 reaching out to new audiences for the The first phase of the project, focusing on visual arts. an exhibition and symposium at Bridport Arts Centre in October 2010, set the scene The Jurassic Coast has been described as and marked the start of a working a linear laboratory for the earth sciences. partnership with the Jurassic Coast team. 8 Its rocks – exposed and accessible along Staff, buildings, marketing and knowledge its length – sequentially record 185 million were brought together with the 2nd phase years of the Earth’s history, openly of the project developing from that gallery 1 12 displaying a superb range of active 4 11 exhibition to a scattered-site show in coastal processes. Whilst the public unusual locations across the county - 5 6 explore the wonders that this coastline has artists, 7 locations, 7 member to offer, scientists are busy gathering data organisations and numerous partner to help understand its formation and institutions, all delivered on a short inform its future management. ExLab 10 9 timeline and a modest budget. brought earth scientists and artists together to investigate our understanding The intentions behind resilient practice are, of this significant coastal environment. in theory, fantastic. The many research 3 7 papers that endorse it make it sound a The ExLab project developed visual arts simple solution, but it is definitely not and earth science collaborations that easy. Putting it into practice requires offered opportunities for artists to tenacity and commitment from all investigate the landforms and geological KEY 7. ExLab 2 Artist Commission: Simon Ryder, involved. To encourage a shared ethos, processes of the Jurassic Coast World 1. ExLab 1 Exhibition and Symposium, Coastwatch, Portland Bill collaborators, partners and artists were Heritage Site, helping to highlight the Bridport Arts Centre 8. ExLab 2 Artist Commission: Zachary invited to participate in dialogue days, issues of the management of this dynamic 2. ExLab 1 Exhibition, The Exchange, Eastwood-Bloom, Walford Mill Crafts, where they explored ways of working Wimborne and constantly changing coastline. ExLab Sturminster Newton together. Some of the artists worked 9. ExLab 2 Artist Commission: Zachary 2 was timed to present a high profile 3. ExLab 1 Field Trip: Secrets of Portland, outside in public places, others worked Portland Eastwood-Bloom, Durlston Country Park visual arts event in Dorset, leading up to online, others in their studios. Showing the 4. ExL ab 2 Pre-View Exhibition, AUCB 10. ExLab 2 Artist Commission: Mat Chivers, and during, the 2012 Olympic sailing final artworks in non-gallery locations Bournemouth Spyway Barn, Langton Matravers events in Weymouth and Portland. It also meant visitors could see some intriguing 5. ExLab 2 Artist Commission: Simon Callery, 11. Artist Commission: Mat Chivers, functioned as a pilot project for Bournemouth Natural Science Society places they may otherwise not be able to 33 Newland, Sherborne collaborative practices in Dorset, bringing 12. ExLab 2 Post-View Exhibition, Bridport Arts access - the Coastwatch Centre on 6. ExLab 2 Artist Commission: Proboscis, Hive together seven established arts Beach, Burton Bradstock Centre Portland, Spyway Barn on the coast path organisations in the county to explore at Purbeck, or a little stone cottage tucked ways to work together to share resources away in Sherborne. and skills. National Trust staff and volunteers; THE EXLAB STORY COLLABORATION academic researchers from Universities working in various disciplines; Durlston The ExLab project began in autumn 2010 ExLab was delivered by Big Picture - a Collaboration, resource and skill sharing Country Park rangers - all helped Big with an exhibition and arts and science collaboration of Dorset-based arts are key aspects of resilient practice, Picture to present ExLab, from the early symposium ( ExLab 1), and culminated in organisations working together to sustain essential to managing change in the arts discussions to welcoming visitors over the a series of newly commissioned site and develop vibrant visual arts activity ecology and stabilising small, vulnerable summer. It will take some time to measure responsive works displayed at various across the county. As a largely rural organisations during economic turbulence. what has been gained from ExLab, but locations across Dorset in the summer of county with no major arts venues, Dorset Lacking a flagship gallery in the County of one thing is sure, resilient practices are 2012 (ExLab 2). has limited opportunities for audiences to Dorset, but hosting a number of smaller inspirational and promising. Big Picture access contemporary visual art. The The focus for the project was the geology and diverse arts organisations, Big Picture has started something that many other ExLab project set out to address this by of the Jurassic Coast - a designated World members agreed to pool their resources organisations can learn from. commissioning innovative new work to be Heritage Site. and test collaborative practice through the displayed in rural non-gallery locations, ExLab project.

04 05 EXLAB 1 EXPLORATORY LABORATORY 1: OCTOBER 2010 The first phase of the Exploratory Laboratory project included an arts and earth science symposium for artists with accompanying exhibition, other activities and events for schools and the public. A Handbook was produced discussing how artists are working with science and technology, including information about the Jurassic Coast and the issues and methods involved in management of the Site.

Landslip between Eype and West Bay Neal White Ilana Halperin SYMPOSIUM A ONE DAY FIELD GUIDE 11 and 12 October 2010 TO THE SECRETS OF This two day residential event was PORTLAND intended as an introduction and research 14 May 2011 opportunity for artists interested in working with coastal contexts and considering As an additional opportunity for artists and applying for the ExLab residencies and audiences to experience aspects of how commissions. The programme included geology impacts on land use, Office of Alex Hartley Michael Eden Katy Woods gallery talks from the artists featured in the Experiments artist Neal White devised and led a guided journey unlike any standard EXHIBITION monitor the coast and brought together accompanying exhibition plus presentations and demonstrations from tourist bus tour. Portland's extraordinary artists from around the country working marine and natural landscape of flora and earth scientists on the geology and Bridport Arts Centre: 18 September - 23 with observation, earth sciences or data fauna, its geomorphology and remote geomorphology of the site and the October 2010 visualisation and adopting new techniques coastal location have helped shape one techniques and technologies currently The Exchange, Sturminster Newton: 30 and technologies to create new work. The story. In this tour, White led participants being used to monitor coastal change, October - 1 November 2010 exhibition included work by Mat Chivers, around other potential narratives as a Michael Eden, Ilana Halperin, Alex Hartley, including LIDAR, Terrestrial Laser Scanning series of previously unlinked sites and The opening exhibition highlighted some of Charlie Hooker, Aaron Koblin, Sarah (TLS), Differential Global Positioning events in Portland mapped as a setting for the new techniques and technologies O'Hana, Katy Woods and Neal White with System (dGPS), Gigapan photography and experimental activity. From sites of cold being used by earth scientists to map and the Office of Experiments. seabed mapping using high resolution war secrecy, experiments on the public multibeam sonar survey techniques. and secret military research, to Portland’s own interpretation of its geology, industry Speakers included Sam Scriven, Earth and social history, participants together Science Adviser, Jurassic Coast World experienced a rich web of fact, place, and Heritage Team, Richard Edmonds, Earth in some cases fiction. Participants were Science Manager, Jurassic Coast World invited to become experimenters and Heritage Team, Henry Aron, Coastal researchers themselves, encouraged to Pathfinder Project Officer, Andy Elliott, consider the journey as an exploration Senior GIS Developer, Dorset County within the tension between nature, the

Aaron Koblin Charlie Hooker Council, Peter Tinsley, Living Seas Team imagination and the real. Manager, Dorset Wildlife Trust, Andrew Ford, Lecturer in Geoinformatics, School of Applied Sciences, Bournemouth University, Edward Alves, Technical Manager, Metropolitan Works and artists Katy Woods, Charlie Hooker and Michael Eden.

Mat Chivers Sarah O’Hana

08 09 EXLAB 2 EXPLORATORY LABORATORY 2: 2011 - 2012

Phase 2 of Exploratory Laboratory (ExLab The artists’ works were seen at seven 2) commissioned a series of new artworks locations across Dorset over the summer inspired by the Jurassic Coast World of 2012. Some of these were off the Heritage Site. Artists Simon Callery, Mat beaten track where visitors stumbled Chivers, Zachary Eastwood-Bloom, Simon across them whilst out walking, others Ryder and creative studio Proboscis each were sited at popular tourist destinations. responded to different areas and aspects An isolated stone barn, a busy beach, a of the coastline. They spent eight months run down old cottage, a coastal folly and conducting intensive research, working a coastguard station on the top of a cliff - with scientists and data, to inform and each location and artwork presented a create a series of site-responsive works challenge to install and look after for the that brought new perspectives to the six week exhibiting period. Volunteer Jurassic Coast and the inland geology of stewards at each location helped to inform the area. Each artist and commission was visitors and engaged in a dialogue supported and managed by different expanding understanding about the work members of the Big Picture collaboration. and ideas behind it. The outcome was a fascinating range of A Handbook was produced discussing arts responses to the particularities of each and science collaborations and each place and how geology has impacted on it artist’s approach to their commission. culturally or physically, increasing our understanding of this unique landscape.

VISITOR AND STEWARD COMMENTS “Nice to see artworks outside rather than in a gallery space.” “Glad I stumbled on this.” “Fabulous! Just like Venice Biennale.” “I felt that location on a popular coastal walking route was very effective - leisure walkers passing by had both time and enough curiosity Curiously shaped rock forms known as ‘Doggers’ emerging from the cliffs near Osmington Mills to stop, look and enjoy.”

11 Photo © Matt Hayden

Photo © Proboscis 2012 RESEARCH AND DIALOGUE

ExLab wanted to open up both art and important to bring other people into the geology to wider audiences and cross the underpinning process of the collaboration - boundaries between the two disciplines. external comment is imperative to ensure Much of that exchange took place during that the wider context is acknowledged the research process. When the research and considered. period began all partners, artists and The commissioned artists spent their scientists spent time together in what were research period investigating the site, termed ‘internal dialogue days’. During the drawing extensively on the expertise of first of those days everyone talked, geologists and geomorphologists from the walked, and listened to each other, shared World Heritage Site Team, Cultural passions and showed each other things of Geographers from Exeter University and wonder and by doing so, gained glimpses geoinformatic technology at Bournemouth into each other's practice. The second University, plus other scientists and experts session featured more structured feedback sought out through their own contacts. with invited guest Sian Ede. Sian has They spent time at their given locations, pioneered many projects bringing artists talking with people from the area and and scientists together and wrote ‘Art and drawing together copious materials and Science’ (I.B. Tauris, 20 July 2005). If the ideas before presenting a final proposal of binding of art and geology is to capture work for each commission. the imagination of total strangers when it is presented in the public realm, it’s Photo © Rose Ferraby

12 13 Photo © Simon Callery ARTIST COMMISSION SIMON CALLERY: INLAND SEALAND 33 NEWLAND, SHERBORNE: 28 JULY - 9 SEPTEMBER 2012

This commission sought to turn attention the geology underfoot and to register its to the geology of inland Dorset and to impact on the character and use of the reveal its relationship with the geology land. A valuable collaboration with earth clearly exposed along the coast. scientist Sam Scriven, from the Jurassic Coast World Heritage Team was ExLab commissioned Simon Callery, a established through a shared interest in painter whose work challenges established promoting new understandings of notions of landscape painting. His landscape. canvasses make no attempt to depict landscape but involve the viewer in an This resulted in a group of paintings and encounter with paintings whose physical photographs presented in the intimate qualities are shaped by an awareness of domestic setting of 33 Newland, the materiality of landscape. Sherborne. The works were specifically scaled and installed to encourage visitors Simon undertook a five-day walk through to navigate them in motion and to move the county from inland Sherborne to from room to room akin to walking the coastal Portland. He set out to respond to landscape. Photo © Andy Whale

15 Photo © Andy Whale Photo © Andy Whale

VISITOR COMMENTS “Excellent stuff - powerful and stimulating. “We are on the ExLab trail. We felt it was like Very exciting to see something so brave in walking into the unknown, with colour meeting Sherborne. Please do come back!” our eyes. Lovely event.” “Thoughtful and profound response to the land “Very stimulating show - thanks for making us of this region. ‘Burnt Umber Painting’ - sublime. think along different lines and respond to Made me think of the Greats of landscape something different!” painting. Thank you ExLab. Very, very good. “It was so good to be given so much P.S. Well done to all the volunteers who have interesting stuff. I had never thought of art that helped with this too!” isn’t image based before. It stretched my mind.” “Fantastic to see such stimulating and brave artwork in Sherborne. Much needed.”

Commission managed by Sherborne House Arts Photo © Andy Whale

16 17 Photo © Pete Millson ARTIST COMMISSION PROBOSCIS: STORYWEIR HIVE BEACH, BURTON BRADSTOCK: 28 JULY - 9 SEPTEMBER 2012

STORYWEIR is the outcome of the Hive Proboscis engaged with people who use Beach commission, in which creative the beach, resulting in events, structures, studio Proboscis (Alice Angus, Giles Lane, objects and audio-visual works about the Gary Stewart and Stefan Kueppers) influence of geology on the human worked with local people, scientists, experience of the place. Cultural Geographers (Ian Cook, Nicola The title ‘Storyweir’ reflects the idea that Thomas, Rose Ferraby and John Wylie) the project was a ‘weir’ for catching from Exeter University and cellist Matthew stories, inspired by traditional methods of Benjamin to explore the complex fishing - including seine netting, which intertwining of humans and geology at was (and still is) used to catch mackerel Hive Beach. at Hive Beach. It’s also inspired by the Hive Beach is a continually shifting strip of desire to catch stories from across human shingle between land and sea where the and deep geological time. endless cycles of sun, tide and waves Works were presented on Fisherman’s cause changes larger than we can Green above the beach, in the National imagine, but which are also felt by Trust Information Hut and in Hive Beach humans on a daily basis. Cafe.

Photo © Proboscis 2012 18 19 VISITOR AND STEWARD COMMENTS “This is brilliant! More of this kind of event please! This would bring me back. Thank you!” Photo © Pete Millson “Very helpful steward and interesting art piece.” “A little boy just came in and asked me what it was all about and where the story started! I love “So nice to hear narrative being formed from one this! He was using each panel and said it made to the other... People like to hear what it’s about. a really funny story: ‘Once there was a sheep in People sitting around and underneath it for a boat who saw some fish and met a shade - nice to see it as a living piece of art and mermaid...’ I thought it was such a lovely idea people doing day to day activities. Really makes to create such narrative from the images. Fab!” it fit in here on the beach.” “Really like it! Thought provoking and “Truly Jurassic experience.” memorable.” “Just before I was packing up yesterday a brother and sister were using each other to make a story up using the shapes! Brilliant interaction! They were walking from panel to panel, talking to each other being on each side of the panels... starting with ‘Once upon a time’!...” “Really enjoyed - inspiring!”

Commission managed by Bridport Arts Centre and PVA MediaLab, in partnership with the National Trust, supported by the Hive Beach Café Photo © Pete Millson

20 21 Photo © Andy Whale ARTIST COMMISSION SIMON RYDER: A NATURAL HISTORY OF PSEUDOMORPHS COASTWATCH, PORTLAND: 28 JULY - 9 SEPTEMBER 2012

A NATURAL HISTORY OF Every element that made up the ‘A Natural PSEUDOMORPHS was the commission for History of Pseudomorphs’ installation has the Isle of Portland and was inspired by gone through numerous transformations. the unique geology, industry and nature of To achieve this, Simon has worked with the place. stonemasons, archaeologists, engineers, computer animators, and has collaborated A pseudomorph - literally ‘false body’- is with the musician and composer Oogoo something that changes what it's made of Maia on the soundscape for the film. while keeping its original shape. At the heart of Simon Ryder's work for ExLab lies Local people, places and history were a fossilised Jurassic snail, the Portland central to Simon’s research, so the Screw (Aptyxiella portlandica) which has Coastwatch Training Centre, located next been revealed from within a core of to the old upper lighthouse on Portland Portland stone using the latest 3D Bill, was the ideal place to present his scanning and printing technologies. Simon work. has also explored how the pseudomorph Simon is also a prolific blogger and might be used metaphorically to explore presented a selection of his writing posted other Portland features, such as The Race during the research for this project. - an area of dangerous currents just south of the Bill.

23 Photo © Andy Whale Photo © Andy Whale Photo © Andy Whale

VISITOR COMMENTS “Simon Ryder’s work was a real joy to see.I “Really interesting, thoughtful presentation went twice and could of gone back many times. offering a fresh ‘outsiders’ impression of our It gave me a real understanding of the geology familiar environment.” of the Portland Bill site whilst the resulting works retained an ethereal magical quality.” “Some fascinating work beautifully presented. Well worth the trip!” “Fascinating - learned something new.” “Very engaging expo. Enjoyed the differing disciplines involved. The diary helped to follow the process of ideas between.”

Commission managed by b-side, supported by National Coastwatch Institution, Portland Bill Photo © Andy Whale

24 25 Photo © Andy Whale ARTIST COMMISSION ZACHARY EASTWOOD-BLOOM: DIGITAL EARTH WALFORD MILL CRAFTS, WIMBORNE AND DURLSTON CASTLE, PURBECK

DIGITAL EARTH was a craft-based Zachary is interested in the idea of commission, led by Zachary’s fresh synaesthesia - producing a response in approach to the discipline. He combines one sense through stimulating another. He traditional methods of making with highly plays with the senses, creating sound technical processes of production and from form, images and sculptures from challenges preconceptions about what the data, landscape as object. As the viewer, term 'craft' embraces. you may be expecting to look at works - however you will undoubtedly have to Working with the countryside around engage all of your senses, just as Zachary Durlston Country Park, access to did in the making of the works. landscape scanning processes used in geology have opened up new ways of Digital Earth was presented both inside working for Zachary, which has resulted in and outside at Durlston Castle and in the both 2D and 3D images and models, as gallery at Walford Mill Crafts. well as an innovative audio work and film. Photo © Andy Whale

27 VISITOR COMMENTS “I enjoyed the film very much and the way it was presented. I am no expert but what I have seen was most impressive.”

Photo © Andy Whale “Networks is very interesting and brings together art and science in a really good way.” “What a wonderful and inspiring exhibition, so innovative – fantastic.” “Zac has done a wonderful job, bringing in scientific methods into aesthetic, beautiful “Fascinating to see two worlds (art and pieces.” science) merging.” “Very interesting exhibition.” “Extraordinary! Thought provoking. Very interesting talking to the artist and the volunteer. Well done!”

Photo © Guy Woodward

Commission managed by Artsreach and Walford Mill Crafts and supported by Fine Family Foundation

29 Photo © Andy Whale ARTIST COMMISSION MAT CHIVERS: OVERLAY PURBECK: 28 JULY - 9 SEPTEMBER 2012

OVERLAY presents a portrait of the symbiosis with each other, the deep bass extraordinary geology exposed in the cliff rhythm of the music slowed to a grinding face near Dancing Ledge at Purbeck. It pulse, subtly alluding to the African source refers to how the coastline was formed of the physical phenomenon we see in the millions of years ago, when the African film. and Asian tectonic plates collided resulting As with other artists in the ExLab project, in the 90 degree faulting which gives the Mat’s work often combines traditional limestone its distinctive appearance. approaches to making, such as carving by The film was shot in the gauzy light of a hand in stone and drawing on paper, with summer dawn from a boat on the sea contemporary digital and science based below the cliffs. Animated by the ebb and technologies, to make normally invisible flow of the waves, the camera tracked the processes visible. It was the first time Mat cliff face as the vessel was lifted and had worked with film. turned by the ocean. A vintage recording ‘Overlay’ was shown just off the coast of West African percussionists was played path in Purbeck at Spyway Barn, built on the boat at the same time as the film from locally quarried stone, and at the was being captured. Shot in slow motion Bournemouth Natural Science Society. the soundtrack and the film exist in Photo © Andy Whale

31 VISITOR COMMENTS

“Good to have a day out immersed in other Photo © Andy Whale artists ideas and be inspired to take a different “Very effective way of communicating this power tack in my own work.” and majesty of what lies underfoot.” “Lovely piece to stumble upon . Love that it’s “Came unexpectedly, which has added to the displayed in the barn on the coast. Loved the experience. Interesting . Warm welcome.” ambience from the movement.” “Lovely film - super idea and interpretation - a “Nice to see our heritage and landscape being completely different view of the coast.” promoted!” “Not what we were expecting to come across “A fabulous effective way of showing this during our walk - very different and interesting. beautiful coastline.” Thanks for giving our legs a break! Plus an “Very interesting and modern idea! Art, art and education!” more art!!! We didn’t expect to find something “Absolutely wonderful. Will be back for another like this in the middle of a field in an 18th viewing.” century barn... very inspiring.” “An extraordinary work that really grows on you - really got us thinking about the formation, erosion, quarrying and attack our coast had endured. Great and memorable work.”

Commission managed by Carolyn Black and supported by The National Trust

33 SARAH GILPIN in several different directions in the future, and which would not have happened without the bursary award - thank you! I am delighted that one direction has been taken up with Lichens to be a key feature of the Church Ope way-marker on Portland, as part of the planning for the new Legacy Trail. KAREN HANSEN

The opportunity to practically follow through on my ideas significantly refocused and clarified my thoughts and objectives. I have had meetings and walks on Portland with lichen expert Bryan Edwards, discussed possibilities of work in the landscape with the Portland ranger Lyn Cooch, discussed and researched macrophotography with the Portland Bird Observatory's Martin Cade and naturalist ARTIST BURSARIES Bob Ford, and considered walks in the landscape inspired by Hamish Fulton. Managed by Dorset Visual Arts (DVA) and development project related to one of ExLab provided three professional the ExLab’s principal areas of interest. development bursaries for Dorset based The bursaries were awarded to Sarah artists. These took the form of small Gilpin, Frances Hatch and Karen Hansen. The bursary has opened up new angles of grants to undertake a personal research approach in my work with Design & Natural Form. The opportunity to research “Thank you very much for giving me the and study without the pressure of having to produce direct tangible result has opportunity to delve into all this exciting work.” allowed me to explore and understand KAREN HANSEN new tools in 3D-modelling and design processes. It has helped me to overcome “This bursary has been so important for me…it fears of failure. The research has already has stimulated on-going shifts in the way I work As my focus shifted to the boundaries and begun to shape up in new designs using interactions of lichens, as opposed to their learned techniques and certainly helped to and given me focus. Loads of work is beginning magnification, my initial instinct to buy a reinforce understanding of the to flow from it too...” macro photography lens proved interdependency of all life. Looking at the FRANCES HATCH unnecessary. And learning from Simon microscopic detail of plant structure and Ryder’s example, I realised I could, if development is the beginning of a new “The impact of this bursary on my practice has necessary, work with people who already strand in my efforts to promote been significant.” had those tools and skills. sustainable design and living. My ideas have concentrated into a seed The bursary enabled me to study the SARAH GILPIN which has the potential to grow, perhaps history of plant development based on

34 35 I’ve explored the area between Old Harry Rocks and South Beach with Malcolm EXHIBITIONS Turnbull (author of Geology of the Jurassic Coast; The Isle of Purbeck), Graham Scott (Senior Archaeologist and Diving Supervisor, Coastal & Marine, Wessex Archaeology), Sue Hayward (Heritage Manager at The Russell-Cotes Museum and Art Gallery in Bournemouth). Each visit has offered insights into other ways of seeing through specialisms other than my own, and my own vision has both broadened and sharpened through new understandings. A visit to Judith Wetherall’s studio has fossil records, undertake a detailed taken my work into an ever closer microscopic study of the horsetail plant, connection between place and the attend a short course in 3D printing and materiality of place (Judith is a lecturer, Photo © Andy Whale laser-cutting, begin to learn 3D digital practitioner and conservator in gilding and PREVIEW EXHIBITION modelling techniques, develop furniture decorative arts). I explored animal protein 9 July - 3 August 2012 design inspired by research and establish binding mediums, consolidation mediums new contacts across disciplines. and techniques employed in conservation An exhibition at The Gallery, The Arts University College at Bournemouth, showed previous I am now part of new rep-rap group at and gilding, looking at ways in which I work by each commissioned artist alongside evidence of their research processes for the AUB and entering into creative dialogue could integrate these with locally occurring ExLab project. with ESI in Falmouth. pigments from the cliffs. FRANCES HATCH

A fundamental shift has taken place this The bursary has prompted research which year as a result of the research: last year I POSTVIEW EXHIBITION I may not have given myself permission to was on site by dawn facing the sea and 13 October - 24 November 2012 do without it. Action research does not following the light. This year I am working At the end of the project an exhibition at Bridport Arts Centre brought together aspects of require an immediate product. This with my back to the sea, scanning the all the commissions, including a new video work by Proboscis made specifically for the freedom to explore is a great trigger for cliffs and fingering the stuff they are made gallery, in a concentrated reflection on some of the ideas, investigations and insights that creative play whilst at the same time of. In much of the work I’m using no came out of the project. Alongside the work in the gallery, films made by three of the introducing information, insights and a pigments other than those already present artists were shown in the theatre at the Arts Centre. clarity of purpose. in the specific place in which I’m working.

36 37 EVENT: Storyweir; live video and cello COACH TOURS: Journeys taking in the event by Proboscis and Matthew Benjamin artworks whilst viewing the coastline that at Hive Beach. inspired them.

“Simon Callery helped me to understand and appreciate what I had seen on my previous visit.” “It was good to finish with a talk from the geologist - it gave a context for the artist’s work. The artist and geologist were both ready to consider questions and accept comments. It was refreshing. An afternoon MUCH better than I had expected. Many thanks to all of you.” WALKS TALKS TOURS EVENTS “The combination of beautiful landscape, views

Throughout the summer the project offered ExLab commissions were scattered around and walks, geology and art all together is great.” opportunities for all ages to explore some the county - special coach tours offered a “Great to have a science talk on the coach. I of the ideas behind the artworks. From unique experience involving, art, travel, exhibitions to field trips and coach tours, landscape and information, accompanied knew very little and learnt a lot.” each commission provided an opportunity by scientists, artists or curators. to meet the artists and get involved. “Excellent, Simon was there to talk about it.”

FIELD TRIP: Artist led walks in Sherborne, TALK: Geomorphologist Sam Scriven gives EVENT: Live performance of Zachary EVENT: The Princess Royal visits the Purbeck and Portland explored the a talk in Sherborne explaining the geology Eastwood-Bloom’s sound piece rearranged Simon Ryder installation at Coastwatch, landscapes and concepts that inspired the of Sherborne and how it relates to the specially for string instruments and Portland. work. Jurassic Coast recorders by Ian Pillow of BSO.

38 39 commissioned artists and the bursary worked on it in my way, I am now more LEGACY holders, at a time when research residencies sensitive to it. The central intention of the are increasingly rare. The research-based project was to find new ways to sensitise our Feedback from artists, scientists and partners nature of the brief meant that artists were audience to the qualities of the discreet able to develop themselves both creatively geology underfoot between Sherborne and ARTS AND SCIENCE “We didn't know exactly what the results [of and technically, supported by an experienced the coast. COLLABORATION working on Storyweir] would be, but the curatorial team. The artists reported that they What I learned in Dorset has enabled me to process was full of enjoyment, sharing (of have developed new practices as a result of begin work this winter on another geology The ethos behind ExLab is one of knowledge, ideas and experiences), and - taking part in ExLab including using new based project across the country in the collaboration. One of the strong themes most importantly - trust. It's wonderful to mediums and commented that the estuarine landscapes of South Essex. This is evident in the feedback was the clear benefit have a group of artists appreciate your work, programme had made a significant impact a landscape of fine sands and soft clays, of the art and science collaboration for the and to present parts of it back to you in very on their practice. chalks, flints and gravel terraces laid down artists, scientists and audiences. Partners different and thought-provoking ways. What “My own professional development in or deposited by ancient seas and shifting thought that the programme had taken the we took away from this process was a sense working with someone with a very different glacial water-courses. It immediately has me area of art and science collaborative of pride in contributing to such interesting perspective and set of skills was very thinking about hard and soft geology and practices on a step. This helped people to work, a sense of learning a great deal from valuable.” (Scientist) hard and soft paintings to be made. understand and engage with the Jurassic each other, and an eagerness to work this Each of the artists were asked to comment Coast, and promoted real dialogue between way in the future whenever possible.” PROBOSCIS on how ExLab impacted on them and their artists and scientists. Some collaborations (Scientist) The success of a project like ExLab can be work - see below. It was felt that ExLab between artists and scientists went deeper Artists also commented that there had been measured in many different ways depending than others (for numerous reasons), some opened up new possibilities for work. The on who is measuring. Looking back on important benefits from collaborating with bursary artists also commented that were focused around technology, and others scientists - sharing knowledge and pooling Storyweir part of the success is the were more conceptual. inclusion in the programme had been highly relationships that developed which resources. The scientists consider that the valuable to them - see pages 34 to 36. “It [the project] was a professional obligation programme has been valuable to them in underpinned our entire project, some of What Big Picture has achieved through which continue into future projects. The but my collaboration with the artist was by reinterpreting scientific input through a ExLab is to have built a strong foundation on choice because our attitudes and aims were creative lens. This knowledge sharing has many conversations with the National Trust which to extend these working relationships staff who work on and know so much about similar. His objective was also helped both to understand and engage with for the future. The internal evaluation complimentary to my role in interpreting the Jurassic Coast in a new way, allowing the land and the people who visit it, helped highlighted that within the delivery team there us to create a project that, in the words of inland geology. This was an interesting the collaboration to promote real dialogue were high levels of trust, openness and project and perhaps the most valuable between artists and scientists. Rob Rhodes, Countryside Manager West commitment within the membership Dorset “has given us the confidence to work personally out of the various Jurassic Coast “I have been changed by it. It was important organisations. Ideally, future projects will with artists in the future and see the benefits arts projects I have been involved with.” to undertake a project with a commissioning have a longer research period and allow it can bring to a site and its people”. (Scientist) manager over the period of a year. The work more time to develop the working There were relationships with many people The participants felt they were able to was experimental and helped to move my relationships between artist and scientists. consider shared concerns about the work forwards.” (Artist) we met who live, work and play on the coast who generously let us into their lives to landscape, geology and the environment ExLab provided useful professional Feedback from Artists record their stories and memories and through various disciplinary processes. development opportunities for the SIMON CALLERY sometimes join in and film their activities and A good project changes you in some way. It skills. might not be immediately apparent but The meeting and collaboration with cultural evidence of what has been absorbed has geographers of the University of Exeter made its way to the surface in discussion opened many avenues of exploration and is and in my work. The Inland Sealand continuing long after the project. commission has allowed me to develop the Storyweir was a catalyst for us to take our idea of walking the landscape as source explorations with textiles further, developing material for non-image based paintings that new digital prints, working with laser cutting also reveal themselves through motion - that sailcloth and working with a sail maker, of the viewer. much of which is being taken forward into I have grown to understand the extent to other areas of research. This was not one of In this wordcloud the artists’ texts were combined, to evidence the most commonly used which geology impacts on the character of those huge budget, long term research words in their feedback: The words relationships, future, project, work, many, working, landscape and how we learn to work with it. projects but the support of the ExLab team opportunity and people leap out. This is new knowledge for me and having enabled us to take risks and experiment.

40 41 Because of their support for this way of Feedback from Volunteer new audiences for contemporary art in gallery context particularly with non-arts working those many interconnected Stewards Dorset and further afield. partners such as the National Trust with conversations are influencing the questions WALFORD MILL CRAFTS direct learning evolving from the Storyweir “I think it was a massive success! I only had we ask in our current and future work. Following the ExLab project Walford Mill commission now embedded within the one or two visitors who just didn't see the company’s portfolio. We anticipate working SIMON RYDER Crafts are currently in discussion with point but negativity aside, I think it was in 2013 to further develop additional Through the ExLab project I started working Zachary Eastwood-Bloom and the other visually beautiful and caused a lot of people initiatives within a vibrant partnership with narrative, documented in a blog which I members of his shared studio space in to talk to one another; community platform - the Big Picture network, enabling included as part of the exhibition. I realised London regarding the possibility of an engagement that would probably not have the strengthening of relationships with both that writing a blog is as much about what exhibition in 2014. This group of ex Royal happened otherwise.” arts and non arts organisations. Within the doesn’t go in to the final work as what does. College students includes artists and timeframe of ExLab the company, LabCulture I feel that my practice has shifted with “Local people were very interested. It made designers who are all moving in different Ltd, migrated from RFO status to a new blogging now an integral part of my people think about the less obvious things directions within sculpture, installation, digital business model and company name, approach. you would usually think about the location.” art, process-driven product design, drawing, DIVAcontemporary. The company will build On Portland, it felt that I realigned myself “It added relevant interest to an exceptional research, teaching, collaborative projects and on the ExLab legacy of activity, working in a with the isle for a short while, and I believe coastal setting. The art work celebrated and progressive approaches to age-old ways of site-responsive context, capitalising on the work shows this. I have gone on to do highlighted qualities of the coast.” making. existing partnerships and developing tangible two performance-talks based on my “I had a lot of positive feedback from BRIDPORT ARTS CENTRE collaborations as they arise. experiences there. The commission spectators. As I was at a National Trust Working on the ExLab project has given us a SHERBORNE HOUSE ARTS (SHA) opportunity brought many different strands of beach there were a lot of elements to much deeper understanding of how we can my practice into a coherent whole, balance as it’s a very public venue. The engage creatively with some of the themes Big Picture has acted as a creative forum for oach to something that I am grateful for and out of weather did affect this site very much but it and issues relevant to the Jurassic Coast the evolution of the collective appr curating public art/science in new non-arts which I aim to make future work. was successful in terms of public interaction and its communities. It was also a rare venues. For SHA, involvement in ExLab MAT CHIVERS and interest.” opportunity to commission, and be involved enabled us to take forward conversations The ExLab commission opportunity marks a “If the aim of the project was to foster in the development of, new work - which we around art, landscape, heritage and place, significant turning point for a new and on- dialogue in art, science and the coast then have an ambition to do more of. introduced in the earlier SHA ‘Earthscapes’ going process in my wider practice. It Mat Chivers’ ‘Overlay’ at Spyway Barn (on We have also developed what we are programme of exhibitions and seminars. As allowed me the opportunity to work with my watch) certainly did inspire a lot of confident will be lasting relationships with an inland, but currently non-venue, based moving image for the first time - a medium conversation and in depth discussion.” partners such as the National Trust. For organisation the project was a platform to that I am now exploring further - and pointed example we are relocating one of our “It added an extra dimension to the deliver visual arts without a gallery and to towards the possibility for a new way of experience of Portland for the visitor.” regular events to Hive Beach where we can connect with coastal Dorset, attracting thinking about relationships between ideas in work more closely with the Trust to deliver visitors inland at a time when all attention which I am now immersed. Feedback from Big Picture the project in 2013. was focused on Weymouth & Portland. The ZACHARY EASTWOOD-BLOOM Collaboration Members The experience of collaborative working will ExLab project and Big Picture collaboration ExLab gave me the opportunity to work with ARTSREACH continue to inform our work in many ways. provided an opportunity for partnership with As this model of delivery becomes more a great number of people from scientists, Artsreach is keen to develop partnership links a range of organisations and collectively common within the arts, we will build on the geologists, rangers to computer with other organisations in Dorset and developed the skills needed to co-present experience of ExLab ensuring the learning is programmers, composers and musicians. through ExLab co-commissioned work with visual art in challenging non-gallery contexts. carried forward. Seeing the many different ways people think Walford Mill Crafts, which was its first We extended our experience of managing about and view the landscape and the coast venture in collaborating with the County's DIVA CONTEMPORARY (formerly PVA residencies, commissioning site responsive was fascinating and had a great impact on contemporary craft gallery. MEDIALAB) work, and delivering engagement in public my work. The collaboration proved very successful, Developing and delivering commissioned places. SHA is currently using the experience In the autumn after ExLab I did a project with enabling the two organisations to tour a work for ExLab enabled the studio to to find further ways to support collaborative the National Trust property 2 Willow Road, contemporary art exhibition to venues that capitalise on long-standing ambitions, work between artists and scientists. Bexleyheath. I further developed some of the are both deeply rooted in cultural heritage. working collaboratively with Big Picture B-SIDE sound ideas from ExLab where I 3D scanned Durlston Castle attracts a large amount of partners, on a site-responsive, cross-county Working as partners with ExLab on Portland objects at the property and created another new visitors as tourists and regular visitors project. We were able to invest and share our opened our eyes as to how we might sound work exploring more domestic keen on walking who are not typically people interdisciplinary, art-form and commissioning develop projects that examine the natural landscapes. who would visit a contemporary art expertise in a broader context. We have landscape in a contemporary way. Since exhibition. ExLab at Durlston Castle has gained enhanced understanding of the then, we have entered into discussions with enabled Artsreach to broaden and develop intricacies and issues of working in a non- the AONB, The Ridgeway Project and the

42 43 Jurassic Coast Team about potential The project opened up a lot of partnerships and the delivery of future communication and interest from visitors and BIG PICTURE PARTNERS projects. Simon Ryder’s work on this in turn meant that we could Pseudomorphs was aesthetic, rigorous and communicate with people that we might not TIN G ESEN E-PR ARTS enquiring. The quality of his final pieces was have done previously. By talking about the R ISUAL G THE V evident for all to see and his enthusiasm for project we could also talk about the National BI E his subject was transmitted through it. This Trust and our story. All in all an excellent TUR helped engage the public in a thorough and project and we can't wait to do something PIC DORSET VISUAL ARTS is a large, open, thoughtful manner. else in the future. membership organisation designed to promote the work of artists, designers and makers. It DVA CREATIVE COAST manages exhibitions, events, websites and The bursaries were a great model for future Exploratory Laboratory was an ambitious projects. Its core activities are the huge, biennial development and good value for money. The and very exciting project for testing the role Dorset Art Weeks and Art Trails. DVA increasingly requirement to disseminate what has been of the arts sector in supporting the works through partnerships to increase the learned is taking longer to complete than management of the Jurassic Coast World effectiveness of the visual arts regionally. anticipated, but is happening. This is being Heritage Site. It has informed the Jurassic www.dorsetvisualarts.org.uk ARTSREACH organises a varied programme of conducted by open workshops, public Coast Partnership's thinking about our role in touring visual art exhibitions which circulate to display and our website. the development of arts projects and how village halls, rural galleries, and other venues The research methods adopted by ALL the best we can support future projects which throughout rural Dorset. These include DIVA CONTEMPORARY is an artist-led ExLab artists will be used to promote skill- focus on the science of the World Heritage contemporary craft shows and thematic organisation committed to creativity and sharing within the organisation. The Site. We’d like to thank all those who got exhibitions bringing together contemporary and experimentation in the arts and practice-based principles established through the bursaries, involved in this new way of working to traditional work and collaborations with national research, working internationally, nationally and as well as wider interaction with Big Picture engage, educate and inspire people to and regional artists. Artsreach also manages a locally. Formerly known as PVA MediaLab/ feeds our encouragement to artists to engage understand natural World Heritage better, range of visual arts projects and residencies LabCulture Ltd, the Dorset based studio provides working with community groups and artists workspace for creative businesses and develops in professional development. Each artist and hope that this is the beginning rather than the end. throughout rural Dorset. www.artsreach.co.uk projects that engage with place through audio, most benefited from not having to produce a visual, and performance media. product but to use their fund to develop new Daisy Sutcliffe http://divacontemporary.org.uk/ skills, insights and the means by which to Creative Coast 2012 Coordinator http://divacontemporary.wordpress.com/ move their work forward. Our involvement in ExLab has given us many Artist Websites ideas about the development of business Find out more about the artists and their B-SIDE is a partnership organisation established opportunities. Some of our learning through work: to develop new creative talent and commission the process will, no doubt, improve aspects Simon Callery new interdisciplinary, site-based work from artists SHERBORNE HOUSE ARTS (SHA) is a curatorial of future funding applications. simoncallery.wimbledon.ac.uk that animate public spaces in Weymouth and organisation that develops exhibitions and Portland. b-side aims to encourage audiences to Mat Chivers www.matchivers.com projects that reflect current visual art practice, Feedback from Partners 'encounter' contemporary art in unexpected and encourage dialogue and develop opportunities for Zachary Eastwood-Bloom innovative ways, ensuring that these 'encounters' the creation of new work. Formerly managing the NATIONAL TRUST - working on Storyweir at www.zacharyeastwood-bloom.co.uk are fruitful, engaging and sustainable for artists visual arts programme at Sherborne House in Hive Beach Proboscis www.proboscis.org.uk and audiences alike. www.b-side.org.uk Dorset, SHA is currently working in partnership to It was a very positive experience for all our Simon Ryder www.artnucleus.org develop visual art opportunities outside a gallery staff. From taking on board the initial idea Blog: simonhryder.wordpress.com context. www.sherbornehouse.org.uk right through to delivery they really benefited Sarah Gilpin www.portlandsculptures.com from working with a new team on a project Karen Hansen www.karenhansen.co.uk BRIDPORT ARTS CENTRE is a multi-arts that was very different to their day to day Frances Hatch www.franceshatch.co.uk organisation at the heart of the West Dorset role. The way you conducted the project and community. It delivers a diverse professional Blog: http://www.franceshatch.co.uk/ WALFORD MILL CRAFTS provides the focus for the interest it brought from the public has programme across visual and performing arts research-blog.html encouraging, promoting and maintaining the really encouraged us to get involved in and is the home of the Bridport Prize, highest standards of contemporary craft work in similar projects in the future. It has given us international creative writing competition. It also the region. It aims to encourage audience the confidence to work with artists in the runs an extensive programme of community awareness through its exhibitions and future and see the benefits it can bring to a NOTE: Some quotes are anonymous as they are activities with a particular emphasis on young participation for all ages in a complimentary drawn from our evaluation process which assured people. www.bridport-arts.com education programme. It also offers site and its people. participants of anonymity to allow them to speak contemporary craft works for sale in the craft freely. shop. www.walfordmillcrafts.co.uk

44 45 EXPLORATORY LABORATORY DOCUMENTATION PUBLICATION Mychalysin (stonemasons), Jack Lambert (CT (geomorphologist), Jonathan Kershaw (National Collated and produced by Amanda Wallwork animation), Philip Ball (author), James Feaver Trust), Alison Bell (research assistant), Mimi ExLab was conceived by Amanda Wallwork and Additional content written and edited by Carolyn (GIS), Larry Walker (lighthouse keeper), Lisa Rousell (National Trust), Matt Hayden (technical developed by Joanna Morland, Amanda Black Gravett (Portland Museum), Lyn Cooch manager), Mary Thornton and John Cresswell Wallwork, Jem Main and Julie Penfold as a Big Additional editing by Julie Penfold (countryside officer), Mark Godden & Tony Porter (Bournemouth Natural Science Society), Tom Picture project. Big Picture is a collaboration of Designed by Simon Barber (Albion Stone), Mark Mavrogordato (Ì-VIS), Martin Freshwater (Contemporary Arts Programmer, The Dorset based arts organisations working together Printed by FWB, Wincanton Cade (Bird Observatory), Nick Holden (LIDAR & National Trust), Trish Early (Spyway Barn tenant), to sustain and develop the visual arts in the DORIS data), Richard Boardman (meshlab), The Square & Compass for hosting ‘A Purbeck County. BIG PICTURE WOULD LIKE TO THANK THE Richard Dooler (3D printing), Richard Edmonds Jam’ in the research phase, the numerous FOLLOWING FOR MAKING EXLAB POSSIBLE: EXLAB 1 (Jurassic Coast geologist), Shaun Souster (boat Purbeck residents who attended that evening, EXLAB 1 captain), Su Illsley (Portland sheep farmer), Kevin Keates, Brian Bugler, Rose Ferraby. 2010 PRODUCTION TEAM Sam Scriven, Richard Edmonds, Daisy Sutcliffe, Alfred le Maitre (editor), Gavin McClafferty For their contribution to artist research: (artist/writer), Nancy Grace (archaeologist), and Production: Joanna Morland Henry Aron, Andy Elliott, Peter Tinsley, Andrew University of Exeter, University of Southampton, Oogoo Maia (composer). Curation: Amanda Wallwork, Bryony Bond, Jem Ford, Edward Alves, Mat Chivers, Michael Eden, Bournemouth University, Jurassic Coast World Main Ilana Halperin, Alex Hartley, Charlie Hooker, Zachary Eastwood-Bloom: Durlston Heritage Site Team, Denys Brunsden. commission Learning Programme: Jem Main Aaron Koblin (Flight Patterns supplied by Future The organisations and venues for providing Additional Activities: PVA MediaLab, Walford Mill Everything), Sarah O’Hana, Katy Woods and Andrew Ford (lecturer in Geoinformatics, great locations for the artworks: Crafts, Sherborne School Neal White with the Office of Experiments. Bournemouth University), Laurie Clark, The Wingfield Digby Estate, Hive Beach Café, Marketing: Ellie Mottram Rangers at Durlston Country Park, Ali Tuckey, EXLAB 2 Coastwatch, Durlston Country Park, Admin: Louise Dutton Hamish Murray and Katie Black, Andrew Dawood For their help and support for each artist Bournemouth Natural Science Society, The Rural tour managed by Artsreach & Jonathan Rowley at Digits2widgets commission: National Trust and AUCB. Handbook production: Amanda Wallwork (sponsorship for 3D printing), Neil Birch at Graphic Design: SteersMcGillanEves Simon Callery: Sherborne commission Champion Timber (sponsorship for timber), Will For funding the project: Print: FWB, Wincanton Sam Scriven (geomorphologist), Susan Ray, Robinson at Everythingisnumber (invaluable Arts Council England, Dorset County Council, Paola Piccato, Richard Breward (Dorset County assistance with computer programming) Sybil West Dorset District Council, Fine Family EXLAB 2 Museum), Fiona Robinson, Sue Green, John Fine (Fine Foundation Trust). Foundation and the National Trust, Trust New Art. 2012 PRODUCTION TEAM Sutherland-Smith, Sarah Whittick, Katherine Mat Chivers: Purbeck commission Thanks also to: Barker, Jeremy Barker, Macintosh Antiques, Andy Joe Stevens, Harriet Hawkins, Daisy Sutcliffe, Development / interim Producer (to October Ross Birkbeck (compositor), Anson Hartford Elliott and the Dorset County Council GIS Team. Elaine Arnold, Mike Hoskin, Cleo Evans, Andrew 2011): Joanna Morland (camera), Steve Blanchard (Poole Sea Safari), Proboscis: Burton Bradstock commission Proctor, and especially all the stewards. Producer: Carolyn Black Richard Edmonds (geologist), Denys Brunsden Commission Managers: Matthew Benjamin, cellist and composer for Simon Callery: Amanda Wallwork and Andrew Storyweir live film event. Our commissioners and Stooke (Sherborne House Arts) partners: Bridport Arts Centre, PVA MediaLab, The Proboscis: Polly Gifford (Bridport Arts Centre) and National Trust, Hive Beach Cafe. Our Julie Penfold (PVA MediaLab) collaborators from the Geographies of Creativity Simon Ryder: Amanda Wallwork (b-side) and Knowledge Research Group, University of Zachary Eastwood-Bloom: Yvonne Gallimore Exeter - Ian Cook, John Wylie, Nicola Thomas, (Artsreach) and Christine Fletcher-Jones (Walford Rose Ferraby. The National Trust rangers at Mill Crafts) Burton Bradstock Steve, Bob, Rob, Peter, Peter. Mat Chivers: Carolyn Black (Flow Projects) Participants: Karen, Liz, Mary, Greta, Janet, Research Bursary Manager: Jem Main (Dorset William, John, Steve, Nancy, Denys, Alan, David, Visual Arts) Sally, Matt, Steve, Megan, Hannah, Peter and Creative Coast Public engagement Coordinator: Diana Hatton everyone who joined in at Spring Tide Food ExLab is a partner of Creative Coast 2012, an Installation Manager: Matt Hayden Festival. People who helped with the production; 18 month project which aims to connect Project Assistants: Fran Norton and Rebecca Nicky at Doyle Sails, Sarah, Katrina, Sam, Daisy, people’s imaginations with the stories of the Strain Richard, Matt, Fel, Tim and Burton Bradstock Jurassic Coast World Heritage Site Bookkeeper: Mandy Rathbone website, Caroline and Graham of Hive Beach PR: Renegade Media and Tandem Marketing Cafe, the National Trust, Coastwatch, Norburton Additional marketing: Carolyn Black Hall, Real West Dorset and Leakers Bakery. Handbook production: Amanda Wallwork Simon Ryder: Portland commission Handbook editing: Carolyn Black Susann Palmer (Association of Portland Graphic Design: SteersMcGillanEves Archaeology), Barry Joplin (QinetiQ), Denys Maritme Mix and London 2012 Print: FWB, Wincanton Brunsden (geomorphologist), Gareth and Nicole ExLab formed part of the Cultural Olympiad Copies of Handbooks 1 and 2 available from Beale (computational archaeologists), Geoff providing high quality arts activity in Weymouth [email protected] Peters (Coastwatch), Ian Chalmers and Pascal and Dorset during 2012.

46 47 VISITOR COMMENTS “Definitely fell in love with Dorset coastline. Would go back again.” “The artwork at Portland was quite inspirational and has certainly stimulated my interest in finding out more about the area.” “Great to see art in rural context.”

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