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Musings

Quarter-Life Crisis: Where was Matt Baker at 25?

By Hayley Watson.

Feeling secure in your 20s is tricky at the best of times, and our generation are lucky to have a housing crisis, yet another recession and a global pandemic punctuating our continued ‘coming-of-age’ panic. Add a desire to pursue a creative career into the mix – if you’re reading this I don’t need to tell you how unstable this can feel because you likely already know – and you’ve got a recipe for a real headf…iasco. This interview is part of a series where I ask established creative professionals, people you and I might view as ‘real adults’, what they were doing at 25. I have my suspicions that they were probably as confused then as we are now and I’m determined to prove it.

To start this series off, I chatted with OG Stovie Matt Baker. Matt is a public artist, one of the Stove’s founding members and orchestrator within the Stove’s curatorial team. In this interview, he reflects on squatting in 90’s London, learning to trapeze, drinking expensive champagne for free alongside feral cats and (most importantly) finding value in your journey just as much as your destination.

Tell us a bit about yourself and where you’re at now..

I describe myself first and foremost as an artist – I have been on a long and varied journey in my practice but have made a living from my creativity since the mid 1990’s. I started out as a sculptor (having studied Architecture at uni and then getting an apprenticeship with a sculptor) and worked mostly on commissions. Gradually I became more and more interested in the way art projects involve people and how they can be a means for people to become more active and involved in their communities. I became more and more involved in what is often called ‘socially-engaged’ or ‘participatory’ art practice and eventually this led to me being one of the founders of The Stove Network in 2011. I am very proud to have been part of the Stove from the beginning and am constantly amazed by the way it continues to develop and support the growth of many creative people and play a part in the wider community of our region.

I live in the centre of Dumfries, by the river, and have a daughter called Marly who is at Duncan of Jordanstone in Dundee studying Fine Art. Talking to her about her artwork and developing practice is one of the greatest joys in my life.

You were 25 in 1990. There’s a lot going on in the world in 2020, but what was happening then? What’s the biggest news event you can remember from this time?

1990 was a year of great political instability – it felt like everything was falling apart. There were Poll Tax riots, prison riots, environmental protests, pitch battles at giant outdoor raves. Mrs Thatcher finally resigned….it felt like everything had to change. But somehow it didn’t and the Tories stayed in power for another 7 years!

Where were you living? Who with?

I was living in a squat in East London – it was an area of housing that was to be pulled down for a new motorway and full of creative people. It felt a very hopeful place until the police moved in to evict everyone – it was quite a battle. But there was no follow on plan and everyone dispersed 🙁

I was living with my girlfriend and other friends from uni – everyone had tried coming to London to get started in creative careers, but finding enough money to live was hard.

Did you have a job? What was it?

No, not really. I was doing odd jobs like deliveries, removals and short contracts with employment agencies to make a living. What was keeping me going creatively was volunteering as part of the team that was setting up Circus Space near Kings Cross. This was a training centre for aerial circus arts (trapeze etc). We converted an old bus garage into the centre. I learned rigging and trapeze and had a trapeze act with my girlfriend (we weren’t very good!).

Is there something you did when you were 25 that no one knows about?

The thing that really springs to mind was spending months with my girlfriend building a platform bed and decorating our room in the squat – we painted the whole floor with a perspective chequerboard pattern of red and green squares, it took forever and the house was demolished straight afterwards! But we kept the wood from the bed and built an outdoor toilet at the next place we lived – but that’s another story…

What was your dream job at the time?

What me and my girlfriend dreamed of was finding someone who wanted to buy and renovate a house in Spain. We figured that they could pay us to do the work for them and live in the house while the work was going on and I was going to make sculpture in between working on the house. Still sounds kinda nice!

If you had to choose one memory from your 25th year, what would it be?

We felt like we were a wee gang of eccentrics – an oasis of civilisation and creativity in a cruel and broken world. One of us worked in theatres in the West End and used to get given some of the props from shows – we had a beaded curtain that Vanessa Redgrave used to walk through every night. I had a job doing deliveries for a shop selling Champagne and the guy who ran it gave me bottles from time to time. That is what I remember: eating beans on toast, while drinking insanely expensive champagne, surrounded by theatre props and the feral cats that lived everywhere…whilst putting the world to rights and helping each other build our dreams for the future.

If you could tell your 25-year-old self one thing, what would you say? And what do you think your 25-year-old self would say to you?

I would tell my 25-year-old self to be braver about approaching people to help him realise his dreams – the world felt very scary and grown-up at that time.. what I didn’t realise is that ‘grown-ups’ remember being young and helping others is something that feeds their creativity too.

I suspect my 25-year-old self would have had a lot of questions about what I do now – I suspect I would have been concerned that I was compromising the purity of my art by being involved in so many other parts of the world other than just ‘true art’. I guess that is what I have found out is that art is everywhere, it is an attitude and set of values that can be brought to bear anywhere…there is no ‘true art’, just lots of different kinds of art and each has its value. But every creative person has to find their own journey and there are no right answers (I’d like to have told my 25-year-old self that too!).

Are you where your 25-year-old self thought you’d be now?

Absolutely not – my 25 year old self wanted to carve stone every minute of every day….even if he wasn’t actually doing that then!

We sometimes focus too much on success and forget how much our failures help us grow. What were your biggest failures from back then?

I utterly failed to move to Spain and build houses. I planned a massive theatre/circus/installation show with whoever would talk to me about it. It never happened. I won an architecture prize and at the presentation ceremony there were lots of famous architects who were looking for people to work with. I was so freaked out by the whole thing that I hid – I have often wondered how life could have been different had been brave enough to talk to some of those folk. But I have no regrets at all – I have been blessed to have a wonderful creative life and have met many amazing people on the way.

Finally, do you have any ‘words of wisdom’ for the 20-somethings reading this?

I think ‘keep going’ is the biggest thing. It is a cliché to say that this is a ‘marathon, not a sprint’…but it’s true. Also, don’t be too precious about every opportunity needing be 100% ‘right’. It is easy when you have a lot of time to think, to ‘overthink’ and talk yourself out of things because they might not feel perfect. You need to look at the wider impact of opportunities, not just what you personally will be doing, but who you might meet, the new skills you might learn. Think about yourself on a journey and you are collecting skills, tools and people on the way…then see any opportunity that comes along as part of that journey, rather than a destination. I still have absolutely no idea where I am going – but I’ve loved the journey so far and am committed to continuing to explore. A creative life is just one big experiment!

You can find out more about Matt’s past work on his website, https://mattbaker.org.uk

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Musings

Five Years of Bravery

It was 2015. A year in from the Scottish independence referendum, when stickers faded pale on lampposts and flags fluttered limply in the breeze, or un-tethered, clung to high fences like a loose pair of nickers. It was as though some basic law of thermodynamics failed to take place. As if that fiery energy ought to have moved on. Heated up some other vessel or agitated another movement. Instead, it lingered in the air, resigned itself to the bar stools and blogs for the time being. And most people just got on with their lives, some relieved, some numb and others, angry as ever.

Writers Sarah Indigo and Eryl Sheilds concocted Brave New Words as a space to confront some of that undirected energy left from the referendum. We worked with them on structuring the day, talking with schools, community groups and others to come along and work it all out through a series of writing workshops, discussions and debates. That evening, we hosted the first Brave New Words Slam, an evening of spoken word, performance and beat-style poetry, reminiscent of the back alley bars of Brooklyn circa 1960 lit up the High Street. Well, not maybe not quite like that. But in my head, everything feels a bit like that. The poets played a blinder. From the ages of 14 to 80, it felt like something pretty special had happened.

A year later, we lost Sarah too soon. A light went out in the spoken word community in Scotland, with tributes pouring in from the central belt to the Galloway coast. Her work broke stigmas, challenged the status quo and energized everyone she came into contact with. Each birthday since then is not only a celebration of words spoken, sung, shot, signed or silenced. It’s a tribute to our founder and visionary.

This year, as it stands, is so unlike all the others. We’re not able to meet. And whilst we’re all weary of the rolling lockdowns, the dead air of pubs without music, the face masks, the rumbling anxiety of purchasing a pint of milk from the supermarket. It seems that now it’s more important than ever to celebrate as we once did and to share our thoughts, feelings, creativity and power with each other is so vital in making sense of the world around us. Beyond the peeling vinyl stickers of the town centre and the tequila-scented hand gel.

Just as in 2015, there’s an energy now that lingers in the air. What it is we can’t be as certain of what it is as then, but it comes out in the quieter moments of our lives. That’s when stories are written, songs are sung and creativity thrives.

Brave New Words is not possible without people. Literally. I’ve tried. More than a couple of empty mic nights confirm this. It’s the space to take a chance, often when you never you thought you had it in you. And each month, it’s completely different from the last. From epic poems on elderly cats, to Kate Bush inspired fluorescent neon dancing, 10 minute silences and rabble rousing political speeches.

So join us as we celebrate everything Brave this September. I mean, what else is there to do?!

Be Brave.

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Musings News

Elsewhere, an introduction

‘The High Street is somewhere we thought we knew, and now it’s different, it’s elsewhere.’

When the lockdown struck, all activity at the Stove was put on hold and what quickly emerged was a project titled Homegrown, gathering and sharing the conversations, creativity and new narratives being drawn in real time during the Lockdown by Stove members and community.

Elsewhere is a research project that looks to locate creative practice in the High Street of Dumfries as means of exploring public space during a time when we as a community are responding to, and recovering from the effects of COVID on our sense of place.

We will be experimenting with new forms of communal experience, gathering and exchange – investigating the unfamiliar in the local, coming together whilst social distancing, and creating a space to share, reflect and create new ideas for public space going forward.

Messages. Helen Walsh 2020.

Elsewhere aims to be about low-key testing, pop up investigations for small, transient audiences. We want to explore pausing whilst out beyond the confines of our homes, and at all times of day, inviting audiences to make tentative steps back into their town centres and high streets.

As part of this project we have invited three of our homegrown artists Éoghann MacColl, Helen Walsh and Andy Brooke who initially took part in our micro-commission opportunity to further develop their proposals to appear in the town centre. Each of our three artists contributed to the homegrown project in a variety of ways, and inspired us to re-imagine our future public spaces. Each artist will be presenting their work over the course of the Autumn, from shop window exhibitions to large scale paste-ups, with initiations to respond from our wider community.

Roller print 1, Andy Brooke 2020 “The new normal is a flat plane of the regular warp and weft of life, with slight variations in pattern to accommodate what we know is not normal.”

We will also be looking to bring some of the other works developed during homegrown into the town centre, from both our members commissions, and wider community of artists who responded to the homegrown themes of open heartedness, solidarity, insight and perseverance.

The Dumfries Signwriting Squad are also working in partnership with the Midsteeple Quarter to develop a visual identity and signposting for elsewhere, keep your eyes peeled for some of this appearing in the High Street in the coming weeks!

Elsewhere will contribute towards Atlas Pandemica: Maps to a Kinder World, through the research and learning carried out throughout the project. Find out more about Atlas Pandemica here.

Template | COVID-19 | May 2020.
Template series created by Eoghann MacColl as part of homegrown.

Artist Description/Bio

Elsewhere is curated by Katie Anderson, and includes the work of artists and Stove members, Éoghann MacColl, Helen Walsh, Andy Brooke and the Dumfries Signwriting Squad. Each artist initially took part in the homegrown project during the lockdown and continue to develop these conversations as part of Elsewhere.

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Musings News

Response to the Culture, Tourism, Europe and External Affairs Committee on the current Covid-19 crisis on our sectors

This is The Stove’s response to the call-out from the Cross-party Committee on Culture, Tourism, Europe and External Affairs on the impact of covid-19 to Scotlands Culture and Tourism sectors and how our sector should be supported at this time.

We see it as part of our role in the region to advocate for those working in the creative sector in D+G but there is strength in numbers so we strongly encourage others to send in responses so that as many voices can be heard as possible – link here

photo credit Kirstin McEwan

Response submitted on the 17.8.2020

This response comes from our experience as a community focused organisation in the High Street of Dumfries, ongoing discussion with the freelance creative community of Dumfries and Galloway, the small groups and businesses we work with and as many of the national discussions and emerging reports we can sanely be part of.

Q – how best the industry can be supported during this unprecedented time.

We need urgent support for the freelance creative economy in Dumfries and Galloway in the form of a) paid work opportunities for freelancers, b) support for local arts infrastructure to effectively support freelancers and c) support for a network that can learn and share learning from this activity.

This paper develops a series of proposals for support and a long term vision through an understanding of the cultural sector that has been brought into sharp focus by COVID.

NEEDS

  • We need devolved local delivery of support that takes into account the monumental variety of work and structures that produce and deliver it within our sector at a grassroots level
  • We need a long-term VISION that embraces innovations in how we value cultural and creative work – wider social benefit, place-based initiatives and community wealth building, localised power and delivery
  • We need to talk about what we have missed, not just what we have done, and be clear on who has not been heard or supported
  • We need to be honest about the “real” long-term impact of support, who will not benefit and why. We need to share and recycle ALL support given – if we invest into spaces/buildings/large institutions for example, how can they then pay that forward to others in the sector and their surrounding community through resource, space, knowledge sharing, local expertise and procurement and be held accountable to that?
  • Fundamentally we need a grassroots and sector-led approach led by the people who make creative work and the local communities it should benefit and be a part of

OUR FOCUS IN DUMFRIES AND GALLOWAY

Our building and community is a non-residential and transient community. At the very start of lockdown it became clear that others were better placed than us to provide the type of community care roles that we have seen a lot of creative place-based groups and organisations take in the field creative community-led work we operate in.

Our focus became the immediate and devastating impact on our local community of creative freelancers who are the pillars that hold up the region’s creative sector – small creative businesses, local projects, independent festivals and events across SW Scotland. The freelancers in our community do not have a platform in national conversations on arts, culture and their economic impact and value, advocating for them as well as providing work opportunities and networking support became our way to act.

We have been approaching this twofold – by taking part in as many of those local, regional and national conversations as we have capacity for and actively working with our membership and creative community so that the grassroots of the sector can be as loud and visible as possible in shaping how we move forward.

For our small acts of solidarity and creativity see our Homegrown Blog

Atlas Pandemica is a new project, like Homegrown, specifically developed in response to COVID, it commissions artists to gather and react to stories of the pandemic’s impact on often unheard voices in our communities and develop creative visioning for going forward into a more socially inclusive future.

It is this grassroots workforce in creative and cultural activity alongside local groups and organisations that we have seen as key collaborators and indicators of the resilience and innovation by local folk and communities.

Our long-term, strategic aim here is to support a regional network of Creative Placemaking activity that helps build and sustain a robust creative workforce whilst responding to real need at local community level.

GRASSROOTS CULTURE

The creative and cultural sector that is embedded in communities is under-represented across our national agencies and as such also lacking in engagement and relative collection of data in terms of their wider economic impact for our places and communities.

The Stove’s recent Embers report, April 2020, highlighted the necessity of supporting community-led, localised action and the lack of understanding of the value of this work to healthy economies. The grants for self-employed creatives were welcome but they do little to consider and understand the expense needed to continue to work as a freelance worker in our industry (support for three months of living/work expenses in Scotland coming out lower than the UK average of £2900, under £1000 a month) SEISS Statistics.

” Performers and other creative practitioners like me earn on average £10k a year and do not fit within the Chancellor’s characterisation of those left out of the SEISS. It is claimed that those who are excluded represent just 5% of the self-employed workforce, earning on average £200k – this is very clearly not the experience of the more than 40% of Equity members who have not been able get support so far.” – Equity letter to Government

Excluded UK estimates that 3 million freelancers across sectors have been excluded from any support.

This needs to be courageously recognised so that it can be addressed in the plans we now take forward. Through our experience this includes, but is not limited to, the following groups and activities in cultural and creative industries:

  • Voluntary
  • Community-led
  • Freelancers
  • Young emerging and those not registered as self-employed
  • Vulnerable groups and minorities
  • Informal learning programmes and groups
  • Independent festivals and events

“Creative workers–one of the more vulnerable sectors of the workforce–are already seeing devastating impacts on their income, not only in turnover terms, but also in their charitable contributions and sponsorships. Leaving behind the more fragile part of the sector could cause irreparable socio-economic damage.” – p5 Oxford Economics Report – The projected economic impact of cvoid-19 on the UK Creative Industries 15.6.2020

Our ideas around this add to the pool of information, research and experience coming from creative freelancers across the globe, community groups and workers, academics, think tanks etc. to justify a more holistic and creative approach to economic recovery that makes use of our community groups and organisations (Community Wealth Building, Carnegie Trust on Wellbeing, Wellbeing Economy, Anchor Organisations). We need the investment to start making it happen and the courage to do it in a localised, place-based way.

Through our work at The Stove we have seen the impact that can be had when the ground is made fertile and people are given the agency to develop and grow things locally.

A CULTURE COLLECTIVE

We see an opportunity to devolve resource and power to local people by supporting creative freelancers and groups and organisations that are already working as part of their communities to develop locally responsive projects that can also take advantage of cross sector opportunity for long-term benefit.

“What if we were to pay out of work people in the Creative and Community sectors a fair wage to work in their local communities to start new projects (or build on things started in lockdown) – these could be cultural projects like choirs, writer’s groups etc. but they could also be environmental projects or new social enterprises. Our skill set is to ‘make shit happen’, we are producers, innovators and entrepreneurs! If this National Task Force was to get things started then the national agencies and funders could come in behind and help take things to the next level and, before you know it you have communities making their places, economies and health better.“

“The premise is simple – our Embers report has clearly shown the pivotal role played by creative practitioners and small creative organisations to initiate and maintain momentum in placemaking projects. These may start with cultural projects, but quickly develop into new social enterprises, asset-based and environmental initiatives. In short – do some cultural pump-priming in a community setting and the payback in terms of community resilience, economic development and people’s wellbeing is incredible.“

This idea is based on power of community and cross-sector collaboration and respondent to the Guiding Principles from the Report by the Advisory Group on Economic Recovery – p12. More on the development of this can be found on The Stove Blog here

A LONG TERM VISION

We believe support needs to align towards a clear VISION that can be shaped by the changing needs of the sector and is representative of the wide variety of work this includes – notably the less heard voices of creative freelancers, voluntary and community-led groups and organisations. It needs to be local, be a collaboration between the sector and our communities and feed the local innovation that is already there.

Carnegie Trust UK’s recently published (1st July 2020) “Conversations with Communities” initial findings state it brilliantly

“The COVID-19 emergency has let us see what only the state can do – set up hospitals; fund research into a vaccine; shift resources to the front line – and what only communities can do – mobilise and respond quickly by building on existing relationships; pool collective resources; think creatively about what assets are available.”

“While the Government is able to float ideas for action, these can only become a reality through collaboration with the arts and creative sector. For example, the idea of a National Arts Force needs all of us in culture to come together and work with other bodies to shape a plan that can make this happen…only we the creative practitioners on the ground know how this could work…we must take our place at the discussion table for the sake of everyone who works in our sector and for society at large.” – https://thestove.org/creativity-and-community-as-part-of-the-national-recovery/

We have the knowledge, we have the tools, we have the live projects that are working and the historical examples of what activities and investments are impactful in a deeper, wider sense of economic resilience and wellbeing, now is the time to stop pitching our systems to big business and outdated ideas of ‘growth’ as a measure of societal success.

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Musings Project Updates

Trying to keep to ‘creativity as usual’ during lockdown

Guest Post by community artist & Blueprint100 Member, Kirsty Turpie

I was invited by the Blueprint100 team at the beginning of the year to run the Tuesday night Open Studio sessions. Blueprint has always been supportive of new ideas and giving young artists opportunities to try things out so they were happy for me to bring something new to the table. This was a series of talks about ‘Buildings that housed vibrant artist communities’. Of course The Stove is a building that houses a vibrant artist community but I wanted to explore with the Blueprint100 members, similar vibrant communities from history and from around the world, to see what we could learn from them and be inspired by. So we did just that.

Open Studio Model Making Workshop with Thomas Logan

However in March just as I was about to hold the third talk and Open Studio, dun dun dun…we all know what happened next, Scotland went into lockdown and it was no longer possible to continue the sessions. So being creative and innovative folk, we decided to continue online (after all it was the new craze to go online!). Along with Katharine Wheeler of The Stove Curatorial Team and Stove IT and website whiz, Robbie Henderson, we created Online Rooms on the Blueprint100 website to offer members a place to go to stay involved, inspired and entertained.

I came up with four different rooms: talks, opportunities, creative pastimes and a members’ gallery. It felt really exciting to be able to continue what I’d started for Open Studio, but in a new format. It also provided an opportunity to add new sections to the website that would be really beneficial to members on top of doing the talks. I contacted the Blueprint members and asked them if they would like to exhibit their work in the members’ gallery and had a great response. It has always excited me how much young creative talent there is in Dumfries and Galloway, so to be able to help them to promote their work and show others a taste of the wonderful folk that come along to Blueprint felt great.

Online Rooms Promotional Graphic
A Promotional Graphic for Online Rooms which illustrates the layout of the main page

At the start of lockdown when I was setting up Online Rooms, I also found a lot of great resources on the creative websites that I follow on how to survive as an artist during lockdown. These resources included lists of remote job opportunities, funding options and general ways of keeping inspired and entertained. This was something that I thought would be really helpful for Blueprint Members so included it on Online Rooms.

For the talks on Online Rooms I shied away from doing live videos and went for pre-recorded. This not only took off the pressure for myself but gave everyone at home the option to pop on to the website and watch it whenever they liked. The talks that I did were about the Chelsea Hotel in New York, Outsider Artists, Artist Collectives and a Viewers Choice talk. So they were similarly about vibrant artist communities. I’m a big fan of watching documentaries so I tend to delve in to art interests in that way in my spare time, but doing these talks made me watch more of them, more often and do more reading too which was really enjoyable. I get so inspired and motivated by hearing about other artists and creative communities and I hope Blueprint100 members do too.

I’d definitely recommend making time every so often to look for some YouTube videos about your favourite creative interests, as it can lead you down new paths and find out new things about the art world that you never knew. I always felt motivated and inspired after doing the research, so I would suggest it as a great remedy to fixing creative blocks!

Overall I hope that the talks and resources on Online Rooms have helped Blueprint100 members to stay motivated, inspired and enthusiastic about creativity during lockdown.

This post was written by Community Artist & Blueprint100 Member, Kirsty Turpie

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Musings Project Updates

homegrown – a conclusion and a new beginning


Homegrown was an immediate response to the Coronavirus outbreak and subsequent lockdown that saw the world close it’s doors and retreat into our homes. The Stove’s doors too were closed and months of programming, preparations for upcoming events and projects were put on hold.
In the final few days before the government enforced the lockdown, we looked for four themes to guide our direction and settled on solidarity, open heartedness, insight and perseverance1. The title for the project looked to create a platform to share the creativity grown from homes across the region, and further afield – and to help create a space to allow these creative reflections to flourish.

We re-grouped, via the now all-too-familiar ZOOM for our first meeting online, and started to investigate how The Stove could respond. The Stove has always been a future-facing and responsive organisation, but we made the decision to be watchful and listen to those around us, supporting the efforts of the council and other agencies, who took the lead on the immediate challenges facing many of our communities.
As the rug was pulled from under our feet, it quickly showed that the rug was all that was holding some of us up; the floor’s foundations were not equally distributed. Of our 600+ members at the Stove, we estimated that as many as half will be self-employed or freelancers, and the COVID-19 shutdown in March saw many people’s incomes wiped out overnight as events and regular contracts were cancelled. The homegrown project initially looked to draw on our resources to share a series of micro-commissions to support Stove members facing financial difficulties. This theme further developed into Atlas Pandemica – for (more detail about this project visit here).

Hope for Food Origin Awareness. For Helen Walsh’s Feathers of Hope series as part of her micro commission

Each week, we invited a creative response from one of our members (growing to two per week as interest developed) to one of our four key themes, and over the weeks we were able to share the work of 14 different artists from a variety of backgrounds and creative approaches. The aim of these micro-commissions was light touch; the proposals were focused on sharing perspectives and experiences of the sudden changes to our world, and giving each artist the time and support to develop something creative where many were finding the daily routine too overwhelming to allow for any reflection or creative focus. Each commission also gave us the opportunity to meet and find out more about our membership, some of whom were new to our team, or familiar faces that we were able to build new relationships with, and to share this with our audiences and wider network digitally.
Homegrown also developed a series of ‘creative challenges’ that were open to anyone to take part in, and responses were received from a wide collection of participants. We set out not to provide distraction, or to add to the noise as organisations scrabbled to move their content online, but to create a space for reflective creative process – opening up space for ideas sharing, playful interaction and exchange. Some of our challenges were focused around key questions – What memories come in times of silence? Where are the secret spaces in your life now? Others invited an exploration of a particular technique or process – photography, writing or printmaking. All of the responses were then added to our online gallery and shared digitally as part of our homegrown conversation.

Memory Jar created by Andy Brooke

Homegrown was conceived of as a starting point, not to provide answers but to open the door to include as many voices in our conversations – towards a new folklore that documented the response from Dumfries and our wider Stove membership in a time of social isolation. Each conversation, collaboration that we hosted opened for us new ways of understanding and interpreting the world around us. As we were each confined to our personal spaces we were able to reach out and make the connections with other people, who helped to drive and direct the project’s course.
Everything is significant, and we have learned a lot over the past three months. As the lockdown moves into a new phase and the town gradually begins to re-open it’s doors, homegrown comes to a close – but we hope to take forward many of the conversations, ideas and approaches that we have learned during this time through listening and being open to the directions of others. As we look forward, we bring the influences of homegrown with us: our new project Atlas Pandemica looks to draw together a team of artists in response to the changes we’ve been facing in Dumfries and Galloway, and Elsewhere a town centre project will look to draw on and further develop some of the responses shared during the homegrown micro commissions. We hope to bring much of the homegrown content from the realm of the digital, back into the public sphere, the physical and the personal, and will be looking at ways to safely do this as restrictions continue to ease.

Doorways. A collective artwork by The Lockdown Collective, JoAnne, John and Luke McKay

The homegrown webpages will continue to live on the Stove website as a record of all of the work that we have shared and grown in our homes, together. To help you navigate the content, you can find:

  • Creative Challenges and responses
  • Artist Talks given by each of the homegrown micro-commissions

Special thanks to everyone that contributed to homegrown.
1Three of these themes, Insight, Open heartedness and perseverance, were originally part of Matt Baker’s three virtues artwork for Inverness.

Poetry by Daniel Gillespie as part of his micro commission
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