A trip to the Kathmandu Valley to photograph the human and animal workforce in brick kilns.
Mules are bred in India and purchased there to work in Nepal’s brick kilns. If they survive in reasonable condition they can be sold on as mountain pack animals at the end of the season. The mule owners bring with them boys to drive the mules back and forth, from the brick drying stacks to the kiln itself. Many of these children are classed as bonded labour. Their families are paid upfront for the child’s season of work. They can rapidly become trapped in a cycle of debt.
Conditions are even worse for adult workers. The safe working load for a mule is a third of its bodyweight. I saw adults carrying as many as 32 two-kilo bricks – effectively their entire bodyweight.
If you want to know more about this issue have a look at ‘Brick by Brick’. This excellent report links environment, human labour and animal welfare.
Bobby and Stillman, our collaboration with mathematicians from UCL’s Big Data Institute is getting a long run at the UCL Science Library.
UCL Science Library, Malet Place, London WC1E 6BT 020 7679 7795
Monday to Friday 09:30 – 20:45, Saturdays 11:00 – 17:45
July 27th. – September 22nd. 2017
Susi and/or Crispin will be in the gallery on July 28th August 1st&2nd, 9th&10th, 19th, 23rd, 30th September 4th, 22nd.
Digital recordings are data, as well as pictures & sounds… UCL Science Library is screening immersive art; the tides in central London as subject matter for a series of films playing with time, space, sampling and perception. A collaboration between a film-maker, a photographer, and mathematicians from UCL’s Big Data Institute, using Eulerian & Lagrangian approaches to fluid dynamics – and touching on the uncertainty principle.
A new tidal collaboration with Dr Susi Arnott. This time we’re working with Prof. Sofia Olhede as part of UCL’s Creative Reactions science-art project.
Two time-lapse cameras (Bobby and Stillman), each accompanied by a stereo sound recorder, eye each-other as the tide rises around them close to London Bridge. Together they create a dialogue between a fixed vantage point and an erratic floating viewpoint.
Each camera shot 18,843 images during a 12-hour tidal cycle. One photo was taken every two seconds. The two attached sound recorders produced a total of almost 20 hours of continuous audio. All this constituted our ‘data’.
Many art-science projects assume that the artists will produce a subjective ‘creative’ response to the scientists’ objective research. There is an assumption here that scientific work is not creative, or interpretative. We hope to upend this, or at least level the creative playing field. Both scientific statistician Prof. Olhede and ourselves will find ways to respond to our data and present it in different ways.
Currently we have edited two synchronised 37 minute time-lapse films: one looking at the water, the other immersed in the water, each camera looking at the other. But how do we reconcile the sampling of the visual scene every two seconds by the cameras, with the continuous audio? Future posts will explore this issue.
Prof. Olhede is a statistical scientist; amongst other sources, she’s worked with oceanographers on data from ocean research buoys. She and her colleagues are working on a creative response, as scientists; and this is to our raw data, rather than to our completed time-lapse films.
Sunday 23rd October was Open Day at the Crossness Pumping Station. The ‘Thames Tides’ installation, created by Susi Arnott and I, screened throughout the day alongside the mighty beam engines. You can still catch the show this Friday 28th Oct. Details and photos below.
Crossness Pumping Station. Friday 28th Oct. 2016
Where? Crossness Pumping Station
The Old Works, Thames Water S.T.W. Bazalgette Way, Abbey Wood, London SE2 9AQ
When? Friday 28th Oct. Public guided tour from 10am-1pm. Booking is required for this – through Eventbrite on the Crossness website. Cost is £12 and includes tea and biscuits.
Parking available outside site on Bazalgette Way. Walkers/cyclists gain access via the pedestrian access pathway – at end of Bazalgette Way on left BEFORE thames water security gate.
Twice a day, the Thames rises many metres to fill secret, enclosed spaces in central London.
Cameras and stereo microphones, held under wharves, jetties and office-blocks, recorded four distinct audio films. Starting slowly, the water rises inexorably to take and drown each camera in the confined space of its man-made, built environment; stereo sounds of traffic, birds, humans and boat-wash are replaced by burbling inundation and the buzz of propellers. The films are not ‘in synch’; the chaos of their rhythms means nobody walks into the same exhibition twice…
This mysterious photograph of the Calais ‘Jungle’ is the work of 18 year-old Esyas (his name has been changed), an artist from Eritrea. He is taking part in the Displaces photo project set up by Prof. Corinne Squire.
I’ve been working alongside Gideon Mendel, teaching photography and editing the results of a two day workshop. We’ve left cameras with refugees to document their lives in the camp. I’ll post more images as the project progresses.
Esyas’ photograph conveys the atmosphere of this place which is not a place. A landfill site full of people, now partially bulldozed back into the ground. There is a stark simplicity to the landscape which makes it feel like an allegory: the camp, the fence, the road, the police, and the bulldozers. Yet everywhere there is a flickering of different lives and cultures: the scraps of possessions burnt or ploughed into the earth, the Eritrean church, the mosque, the library, the cafes and the figures playing football or just staring at the horizon.