Successful ACE bid to fund two new artist opportunities – coming up soon!

I’m delighted to say that Forest Economic Partnership (FEP) have succeeded in securing an Arts Council Project Grant towards a public engagement project, which sets out to inform local communities about the potential benefit of becoming an UNESCO Biosphere Reserve.


I shall be working with the team as the producer/curator, to commission two creative practitioners – one to make a film/video and the other a soundwork. Each commission will be a contract for £3000.

As soon as the brief is available it will be available for download. Subscribe to Flow to be alerted when the opportunity opens. It won’t be long!

I’m also supporting artists Denman & Gould with their public art commission, alongside Project Manager Rose Farrington, for Lydney Harbour – it is great to be part of the cultural development here in the Forest of Dean.

a myriad of opportunities for artists!

Just writing the title for this post warms my cockles! It’s been a while since I have been able to share opportunities – two very different ones – both a pleasure to be involved with. And what makes them special is they are both in the Forest of Dean!

  1. Destination Lydney Harbour – a public artwork contract – £70k budget – open to all

I am pleased to say I have been working as a consultant on this project. This is a substantial contract and requires experience of delivering permanent art in the public realm. You need to register with the procurement portal to get the brief and tender documents.

Publica – In-Tend Portal

The document downloadable below may be helpful in navigating the portal:

Publica Group partners_Supplier e-tendering guide

Artwork Commission_Flyer

2. canopy network micro-commissions and bursaries and gatherings too! – open to Forest of Dean Creatives from all sectors.

I’m the Project Manager for canopy in the Forest of Dean, (very part-time).

Thanks to an Arts Council England Emergency Grant, we recently contracted Rod Maclachlan as an Engagement Manager, to deliver engagement activities during lockdown

Visit website to see full details of the opportunities and subscribe to canopy mailing list.





chasing rainbows – found in my files, a year later and little change!

This was written just over a year ago on 24th January 2014…..just found it….it’s rather sweet – and still rings true!

chasing rainbows…

I am chasing rainbows every day, negotiating  the rough terrain of resilience, trying not to trip over my own criteria, catch my toe in the terminologies, tumble down a hill helplessly.  I am so busy keeping my eye on where I am going sometimes I don’t always notice the slippery slope.

When I do roll to the bottom and lie there, looking up, I wonder what it is like to hang out on a rainbow, stretch my body along its length, let the sun that created it warm my skin and the fine rain leave silky traces on my face.

Instead I shiver, alternately absorbing or deflecting the endless rain. I carry on pursuing the golden calf of funding, though all I seem to encounter are colleagues on the same journey, heads down in determination, sympathetic nods and smiles. We will get there.

Despite the puddles and potholes forming from neglected public services. The lack of silver lining.

Oscar Wilde, gutter and stars come to mind.

new project thanks to ACE G4A funding – connecting people, objects, memories, data

I am delighted to share with you the good news – I have been awarded an Arts council England Grant for the Arts to enable me to immerse myself for a while in deep research and development of an exciting new project. It’s a bit different to what I usually do – but it draws together my personal passion for objects, art, people and technology.

You can read  more about it here (apologies if you see a few ads – it’s a temporary site and a temporary name)

It is early days and I’ll be consulting with people from various sectors over the coming months – watch out for updates and please subscribe to my website if you don’t already – I’ll be letting you know how you can become involved in the near future.


The Story of Objects – new research, partners needed, contact me to discuss

For the last year or so I have been developing a framework for a very special project, The Story of Objects.

It’s about orphaned objects, curating and an online repository. It’s social and cultural geography, art and genealogy.

Do you work in any of these fields? I’m seeking partners to make this happen…….

Would you like to have a confidential conversation about joining me on this?

If so, get in touch – there is a funding deadline looming…..







response & rant to Axisweb article/report on Behind the Scenes of the Museum: Artists in Collections

I too attended this symposium and I can relate to much of what Gill Nicol reports online. It’s an excellent report of the day and I’m delighted that Axisweb commission such texts – so many journals no longer pay for articles.

I wrote a lot of notes myself but have not collated any of them yet – Gill’s article has prompted me to reflect a little more on it. In her report she refers to the lack of funding:

“What James [Putnam] did talk about in the Q&A was funding. Prompted by a question about how his projects happen, he painted a rather depressing picture of applying for Arts Council funding – a project with 28 artists costing £30k – and not getting it. And of asking big companies for sponsorship, without much success. He spoke of artists doing the exhibition for free – another zeitgeist moment, what with a-n’s big push around artists’ payment rights, and asking the public to help”. (Gill Nicol)

I have just flicked through my own notes, and the most dominant theme for me was that artists are often not paid at all, or are paid badly. My only bold note with exclamation marks relate to that too. One observation is:

“Status of the artist is way below the ‘serious’ issues relating to ‘collections’. Is this about social value or material value?”

In those notes, I also asked myself a question: “If every object is entitled to a decent life, surely every artist is too?”

The whole event made me feel that the objects are higher in value than the people that make them. It is depressing to feel like this – at a time when it is increasingly acknowledged across the sector that contemporary art can make a valuable contribution to how we understand collections. It also makes me very appreciative of the G4A grant I have received to work with 3 museums in Gloucestershire. Evidently this is not always the case.

Let’s not forget that the artists that made the items in historical collections were once ‘contemporary’ artists themselves. What is new today will be the auctioneers profitable business tomorrow. Living artists are as important to us as are those who died many years ago and whose work we all treasure.

I understand that every sector is being squeezed and struggling to survive – galleries, theatres and museums will close down, many people have been, and will be, made redundant. But please let’s not slip into colleague cannibalism – we may be forced to work long hours and for less money, but let’s not fight over scraps and expect to get others to work for nothing to protect our own position. We must stick up for each other’s right to be paid for the work we do. When I hear that paid gallery stewards have been made redundant and replaced by volunteers it not only makes me sad, it makes me very angry.

Would any other professional contribute their services for free because they understand that the ’employer’ is not making much profit at the moment? Would that be acceptable in law, medicine, teaching, a supermarket?