MAERL: experimenting with performance

After several months of studio-based research, examining, drawing and re-drawing washed up Maerl samples, and collecting and collating information from marine experts, divers, film makers, I began plotting out a simple dramatic story line of Maerl. This is an extraordinary coralline seaweed eco-habitat, which I have been dreaming of inhabiting and passionately want people to know and care about.  

By the beginning of May I was armed with  rough scripts, scene plans, painted Maerl back cloths, various sized cardboard and paper-mâché Maerl pieces, pink and blue sheets of material and a few props. I dived into the Surge Scotland rehearsal space in Glasgow to try out my perambulating installation performance idea with producer Mahri Reilly and enthusiastic, creative performers Lewis Sherlock and Sita Pieraccini  portraying a crab, octopus and sea-cucumber, with theatrical critique from Alan Richardson (SURGE director). An exciting full-on experience working out performance possibilities. 

An invited audience were enticed by the Crab tour leader, to enter and explore the Maerl eco-habitat, trying out constructing with pieces of Maerl and to meet the singing and dancing Sea-cucumber celebrity. Here, they experienced the loud threatening sound of the oncoming dreaded dredger and to find and meet the sheltering Octopus, a dredger veteran. They then entered and relaxed in the protected Maerl Bed sanctuary, watching projected underwater marine life footage. The performance closed with the audience returning to shore through the devastated dredged Maerl bed they had explored earlier.

The audience feedback was very positive and will be invaluable to enable me to develop MAERL.

Many thanks to:

The audience – who took part. Please follow, share, comment & keep in touch! Producer – Mahri Reilly;   Performers –  Lewis Sherlock and Sita Pieraccini    Physical Theatre Support – SURGE Scotland

          


Structure & Surface

Strong winds and high tides battering the shorelines of the North-West Highlands this October have washed up a host of small pebbles to ponder. Encrusted with the hard chalky forms of the shells of filter-feeding marine organisms the surfaces of these pebbles appear richly decorated.

Anchored shells, protective living spaces for small organisms with static lifestyles, are located predominantly in the turbulent littoral zones and are built by the larval stages of organisms to anchor themselves to rocks, concrete seawalls, boats, marine litter, and even seaweeds. 

Secreting calcium rich substances they model tiny, calcified homes, in conical, tube and spiral forms. Some, including barnacles, have ‘trap doors’ that close at low tide for protection against predation and water loss.  

Acorn barnacle colonies can cover and change the appearance and surface texture of hundreds and even thousands of square metres of the most exposed shoreline rocks.

For several days I have observed three annelid worms (RHS image) extending their fan-shaped arrangement of tentacles out of their tubes to filter the water to feed.

There are many variations of marine ‘calcified houses’. One of the annelid worms makes longitudinal structures with a top ridge; the shell is up to 20mm in length, roughly triangular in cross section and the segmented worm lives within the inner circular tube.

Magnifying collected seaweed samples on my observation table revealed the tiny calcified spiral shells of the filter feeder Spirorbis spirorbis. Each sinistrally coiled tube is only 2mm in diameter, appearing as tiny white specks on the fronds of wracks, which I have often missed. I now see them as perfect examples of calcified shelters, bespoke marine homes demanding closer inspection and study. Sculpturally inspiring.

#artistsobservations #marinearchitecture #calcifiedshelters #rockyshoreline #segmentedtubeworms #caciumcarbonate #seashores #shells #seashells #sealife #biodiversity #ecosystem #coastalwaters

Printmaking

Seaweed textile exploration

Inspired by coastal ecology and sustainability and lucky enough to live and work on Scotland’s NW Highland coast, most of the materials I work with are collected from the shores, between the low and high tide lines the ‘littoral zone’

Printmaking plays a central part in my visual art practice. It is integral and essential to my understanding of the materials I find and use, whether natural or man-made. 

My choice of printing techniques is inspired by the nature of the material and location I am working in. When on the road, sometimes simple ink pad pressings are useful to quickly record detailed plant forms and seaweed samples. I also employ a manual pasta roller machine, for its calibrated efficiency on tougher grasses and seed pods.

Sedge grass print

These more immediate printing methods often serve as a way to get to know my natural materials whether depicting plant forms or marine algae, but most of my detailed botanical printmaking takes place in my studio on my roller press.

Pelvetia canaliculata

In order to print from contrasting man-made materials such as marine plastic, for example in my LOST exhibition, repeated adjustments to the plates are required to achieve the desired detail. The type of polymer of each plastic item dictates whether I use a hydraulic press, or a roller press. For example creating prints from plastic drinks bottles required pre-cutting and flattening under my van wheels before printing.

LitterCUBE prints, LOST exhibition, Summerhall Gallery, Edinburgh Science Festival 2023

This summer I am experimenting printing from a series of seaweed weaving’s made with textile artist friends Marcia Weiss and Ed Thomas.

I will be teaching a botanical printmaking workshop in Dorset September 30 2023 and holding a studio event in November which will also be available to view online. A selection my prints will be on sale at both events.

Bookmark Nature

Saturday, 30 September 2023, 10:00 – 13:00

Studland Village Hall, Studland, Dorset, BH19 3AE UK

Further information and to book visit:

https://www.thespace-online.com/events-index/bookmark-nature

info@yogaatthespace

Please follow https://www.instagram.com/juliabartonartist/ 

Please feel free to contact me to find out more.

Oil: Making the Connection

Oil: Making the Connection

I want to produce a short film to show the connection between plastic waste and the loss of oil that it represents. During my #LitterCUBES events 2019, I found that hundreds of people were unaware that plastic is primarily made from oil

I plan to work again with Shetland film maker JJ Jamieson. I intend the film to be projected with the #LitterCUBES in the lead up to  Cop26 Climate Conference. I need £2,500 to cover the very basic costs of making and editing the film.

IMG_4373

You can make a donation by clicking on the orange DONATE button at the top of the page.  In return you will receive a limited edition print of my ‘2020 Message in a Bottle’ photograph.    Thank you!

Message in A Bottle (2)

Many thanks to all of the following for supporting the making of the #LitterCUBES: Ullapool Harbour Trust, Coigach & Assynt Living Landscape, the Heritage Lottery Fund and Scottish Natural Heritage, and for donations from: individuals, Eyemouth Marine Ltd, rag, Sheihallion, Ullapool Harbour Trust and support in kind from Eyemouth Harbour, Dunbar Harbour Trust  plus  North Light Arts and An Talla Solais  for their support with the #LitterCUBES events. Thanks also to  volunteers and all those who donated money to make these events possible.