Well, this blog has changed already. I started some scribblings a couple of weeks ago and at that time I was still a member of the Board of Trustees at The Stove Network (TSN). Now I’m not. For me, that’s quite a big change!
At the AGM in February this year I bade farewell as Chair of TSN, a role I’d been in for almost nine years. As part of reporting what the board had been doing and how it had been changing over the year, I said I’d be stepping down, firstly as chair, then as a board member once we had a new chair in place. We were ready for change but wanted managed change, a transition. Sensible.
In a subsequent email to Lynsey Smith (now our wonderful new chair) I wrote that my experience on the board had been probably one of the most “fabulous, enticing, disruptive and creative experiences of my life,” In short, it had changed me. What I’d also seen was that The Stove too was changing and enriching the lived experience of even more people in and now beyond Dumfries.
I knew when I signed up for the board that it would be about organisational change and professional development and that the board had to stay alert, keep up, be water-tight in governance terms but also, importantly, not get in the way of the dynamics coming from our creative community and the people of the town.
I had a clear sense that what was happening in and from The Stove building was different. There was a palpable sense of energy and some urgency that I didn’t quite understand but soon realised it was being driven by the desire and need for change. It was coming from the people of the town, those involved in the many fresh and new projects and businesses in the town centre. It was also coming from a growing band of creative and energetic young people, many of whom were coming to or returning to the area after periods of work, study and travel elsewhere.
In industry they have ‘accelerator projects’ to nurture and bring to life innovative practices and ideas. I saw The Stove as Dumfries’s accelerator project for the creative industries and indeed for the town. I also saw The Stove equally as a creatively driven community development project which was increasingly supporting wider economic development aims in a very tangible way. There were risks too and that was a great thing.
In my previous life, I had been involved in some amazing creatively driven change programmes and projects, but they were often scattered in the towns and villages across the region and not happening to any lasting extent in Dumfries. There were of course a growing number of exceptions like Big Burns Supper, The Usual Place, the revamped Theatre Royal, the Dumfries end of Spring Fling and the D&G Arts Festival. But there was clearly much more creative potential to be unlocked in our regional capital.
I don’t intend to list the programmes, events and happenings that have come from TSN over those years, but for anyone who has spent any curious time in The Stove Cafe, you’ll have spotted that there’s more than great coffee and food happening.
There’s a real vibe and sense of creative energy in the place. I can always spot a ‘newie’ in The Cafe. Their coffee often gets cool as they chat, look around curiously, wonder what those people are doing going up and down those stairs, take in the latest exhibits or eavesdrop at that wee buzz of a meeting going on in the corner.
An hour in The Cafe is like a wee bit of performance art in itself. But there’s a warmth to it all. A welcoming. And a kind of urban-cool. It also feels different. As that 70’s anthem went “…something’s happening here; what it is ain’t exactly clear…”
All of this is the very stuff of change. Any given hour in the daily life of that Cafe and building generates and emits change. Look into what happens in the evenings, in those upstairs rooms and in the creative productions that come out of the place, and you begin to understand what The Stove is, what it does and how it changes things.
The team have had now thousands of young people, businesses, creative and community practitioners, academics and folk from and beyond the town and region and country through those doors. Any trail through the published programmes of the last decade will be testimony to that. I urge you to have a look at the incredible and growing archives on the TSN website. If you caught Heather Taylor’s blog piece last month, you would have some feel for the next network driver: the “What We Do Now” creative placemaking network. An initiative that has all the makings of a paradigm shift.
So, what happens when an organisation that is driven by creative change and innovation faces a very real existential threat? Well, every such organisation, community and individual faced just such a challenge that lasted almost two years. That pandemic thing.
Almost overnight we all experienced enforced change. The personal, community and organisational turmoil and fear was very real. Some coped better than others. At our AGM this year and last, I found myself repeating that I still don’t think we have truly understood the implications of ‘what just happened’. I’m sure we all still are seeing ways in which social, personal and organisational norms and behaviours have changed, even through those pressures to ‘get back to normal’. But strike up any random discussion about COVID and you’ll find things are far from forgotten or back to normal.
I was truly in awe of what the team and membership of TSN achieved during and following those lost years. Rather than lock-down and close the curtains, The Stove adapted, accelerated its innovative capacity, went online, on to social media, big-time, and into print and set up a small but very significant virtual community experience that proved a real lifeline, not just for the creative sector, but for many in the community in general. Have a look at the Atlas Pandemica pages on the Stove website. As relevant now as ‘back then’!
As this piece goes out, we find ourselves again in one of those periods when political leaders predictably thrust upon us the word “change” as a wedge issue. “What we need now is change” vs “The last thing we need now is that kind of change”. Corny though it was, I rather liked Barack Obama’s take on the change thing:
We are the ones we’ve been waiting for: we are the change that we seek
Barack Obama
It’s something like that which drew me to The Stove Network. Now that I’ve gone, wrench that it was, I’m now a small part of that change. That’s what it’s all about! See?
A note from Lynsey Smith – Chair
‘Tony has played an instrumental part in the development of The Stove over the past eight years and has passed on a very steady ship to me. He has been of great support to me as I transitioned into the role of Chair and will remain a close friend to us all. He has taught us many things on his journey, most significantly his ability to make everyone feel part of something, his flat hierarchical approach and gentle nature. Thank you, Tony, from the bottom of our hearts.’
We asked our Creative Spaces 23/24 Alumni to reflect on their experience completing the programme. Lastly we have Sahar El-Hady, read about her experiences as a spacer below.
Sahar speaking at the 2024 Creative Spaces Showcase
Having made my home in Dumfries in 2021, just as in-person events were beginning to bounce back after the pandemic, I was very quickly introduced to The Stove Network by my new friends and became a keen supporter of their activities. It was a pleasant surprise to find young people and vibrant community events in such a rurally dispersed region, and the connections I made through this engagement made me feel immediately at home in what was then a very new environment for me. I began to see a future for myself here and am lucky enough to have found the means and networks to be able to stay.
Sahar at Creative Spaces Event – Draw Me Like One of your Dumfries Girls
After attending last year’s Creative Spaces Showcase, a friend encouraged me to apply for the Associates programme. I was inspired by Jodie Barnacle-Best’s talk about her “wiggly life path” and saw in it similarities to my own trajectory, having graduated with a master’s in Science to then start work in the creative industries. I thought, why not do this for 10 months while I’m working part-time, put these questions about my career direction to rest once and for all, and then get a proper full-time job which uses my degree after it’s done?
Looking back now, I can only laugh at the thought of me being happy in a 9-5, five day week job without creativity or change for the rest of my life. In fact, I now relish the openness of my freelance days more than I could have imagined when I started Creative Spaces. Not only has repeated exposure to a large number of full-time artists across the region dispelled the stigma around “unreliable income” and the myth of “the struggling artist”, I’ve also made leaps and bounds in accepting my own creative ambitions and surrounding myself with the people and support who will help me to pursue my dreams – who I’ll surely need to lean on all the more now that I’ve hit the ground running.
As well as providing a great group of new friends, and multiple paid opportunities to use your creativity, the structure and support of Creative Spaces was just what I needed at this point in my life. Monthly mentoring meetings with the experienced and kind-hearted DJ McDowell, absorption into the non-hierarchical and multi-talented Stove Team, and dedicating two days a week to freelance creative projects until it becomes habit, all have nurtured my creative practice from a tiny seedling hiding under a rock to a sunflower in bloom.
I’ve always been someone who doesn’t know what they want but has a growing list of things they don’t want to be or do. Now, thanks to Creative Spaces, I am (at the advanced age of 26) firmly on the path towards what I want to do, due to the simple yet priceless resource of being given the time and encouragement to think about it. For this, I will always have the amazing Stove Team to thank, so huge love and gratitude to each and every one of you – I promise you’ll not be getting rid of me or my Pam au Latte café order anytime soon!
Written by Sahar El-Hady
Situated in the heart of Dumfries, Creative Spaces collaborates with young creatives from across the region, providing young people with opportunities to engage in the arts. Whether it’s through events, workshops, mentorships, or our annual Associates Programme, we aim to enhance Dumfries and Galloway’s creative scene by offering free access to opportunities and paid commissions.
Korey Patterson, presenting at the Creative Spaces Showcase
We asked our Creative Spaces 23/24 Alumni to reflect on their experience completing the programme. Next up is Korey Patterson, read about his experiences as a spacer below.
Creative Spaces Showcase 2024 – Image by Owen Davies
The Creative Spaces Programme is responsible for igniting my Illustration career. I wouldn’t have otherwise had the time, resources or support network to initiate the beginning steps of becoming a professional freelance Illustrator. It wasn’t my original plan for the outcome of the programme, but it became a necessity for me after realising that illustration was something I could develop into a feasible career path.
My time at The Stove filled me with confidence in my unique abilities and prepared me for working in the Creative freelance world as well as the general business world. I’ve gained necessary experience in fields I didn’t consider relevant before, and I’m very grateful for those opportunities.
Korey drawing a goose for Laurieknowe Primary Pupils
Having the time and funding specifically was one of the most useful elements of the Programme as I am much more considerate to the dedication of personal development and training/practice in Illustration. I have also been given lucrative opportunities for me to utilise my illustration during (and now after Creative Spaces) which has been a direct consequence of being an associate. Without this opportunity, I would have never deemed my skills worthy enough to start a career in Illustration, but now I have solid confidence that I am deserving of a chance to prove I’m the best person for the job.
I heard about the role through word of mouth and I was encouraged to apply from friends and family, the job sounded class and I would have been dispirited if I didn’t get it. But I got selected for an interview which was a fun and great experience. If I was nervous for anything, it was how I was going to get along with my potential colleagues. But that was quickly dispelled during my interview and within the first few weeks working with Sahar, Mia and Martha. It might sound cliche but I genuinely feel like I have made friends out of my colleagues within the Creative Spaces team. From being anxious to know if we’d all click, to having dinner at each others houses, was a natural development that I’m really glad happened but not entirely unexpected giving just how well we worked as a team and the warm and pleasant nature of each of them.
The role is a lot of fun, because of the people you work with but also the type of jobs you’re responsible for whilst working as an associate. Programming events is an electric atmosphere as it starts with just throwing fun and interesting ideas around and trying to not get too excited and ahead of yourself over. Then when you have more serious responsibilities, you have a plethora of people there to guide you through what is expected of you. I felt like, the Creative Spaces team were so keen to all be on the same page all of the time, there were no moments when I felt behind on any projects or that I wasn’t up to speed on anything Mia, Martha and Sahar knew.
Korey sketching Devine Tension for Creative Spaces event – Draw Me Like One of our Dumfries Girls
Surplus to the fixed duties of the Creative Spaces programme, I was frequently giving side tasks and projects to help with from other members of the Stove team. For me, this was a form of encouragement and chance to hone my creative practice within a professional environment. This I feel was a direct response to identifying my personal ambition of developing my Illustration – which was a consequence of being in the Creative Spaces programme and Stove environment. There was a period where I was struggling to overcome the feeling of imposter syndrome which seems natural whilst being amongst so many artists and creatives. However, my mentoring sessions with DJ McDowall gave me the confidence in my abilities and reminded me that my practice is unique to other illustrators. The mentoring sessions are such a valuable asset to the programme and we all benefited from them immensely whilst working at the Stove.
Korey’s Personal Project
My goal before applying was to become a competent freelancer by the end of the programme. Since the position has ended I’ve been commissioned to do live illustration for multiple organisations around the local area. This is something I would have never had the confidence to do before applying to Creative Spaces. I will state that the programme is responsible for these work opportunities which all count toward building Korey Patterson Freelance Illustrator.
Written by Korey Patterson
Situated in the heart of Dumfries, Creative Spacescollaborates with young creatives from across the region, providing young people with opportunities to engage in the arts. Whether it’s through events, workshops, mentorships, or our annual Associates Programme, we aim to enhance Dumfries and Galloway’s creative scene by offering free access to opportunities and paid commissions.
We asked our Creative Spaces 23/24 Alumni to reflect on their experience completing the programme. First up is Martha Ferguson, read about her experiences as a spacer below.
Creative Spaces Showcase 2024 – Image by Owen Davies
Last May, I joined the Creative Spaces programme with Sahar, Korey and Mia; excited yet nervous to throw myself into something completely new. Having appreciated the work of The Stove from afar, I wasn’t sure if I had anything meaningful to offer as someone without a creative practice and with very little knowledge about community arts.
However, during the recruitment process and our induction week, I was reassured that I wasn’t expected in my role to spend 14 hours a week coming up with groundbreaking ideas through blue sky thinking. To my pleasant surprise, I learned that the reality of creative work is that a significant proportion of it is logistics – something that was much more my comfort zone as an ex-paralegal.
What came as the biggest surprise to me, and perhaps the greatest gift I have taken away from my 10 months, is how much I actually enjoyed the parts of the role that initially terrified me. It is precious proof that I can actually be a creator myself and be part of a community that I have deeply admired as a bystander my whole life.
At such an early stage of my creative career in set design, I know how difficult it is to explore your interests and create a practice on your own. On this point, I feel extremely lucky to have been given the opportunity to experiment with and learn from other creatives within the safe realm of community arts. Getting the chance to engage with different parts of the community and through a variety of mediums opened my eyes to types of creative work that I didn’t realise existed and helped me understand what I am passionate about.
I’m glad that we decided from the outset to develop our programme based upon our areas of passion – a decision which felt like a bit of a risk in terms of being as inclusive as possible and catering to the wide range of interests of our target audience. However, it was a risk that ultimately paid off because who wants to attend an event that feels detached from the team that produced it and inauthentic? This lifted what felt like a huge responsibility to engage with and change the lives of every single young person in D&G. I learned after ten months that simply providing a space and time for like-minded people to meet and talk reaped huge benefits in and of itself.
Martha’s Personal Project
Completing a personal project was the part of the Creative Spaces programme that terrified me the most. I remember early last year discussing with my parents the conclusions I had drawn from obsessive online research on the best way to get into art departments within film and TV if you have no production experience – to produce a self-led fictional design project. It acts as a well-rounded portfolio piece that showcases various skills attractive to hiring managers, and skills I unfortunately did not have. I remember how defeated I felt after that conversation knowing that completing a project like that felt so out of reach.
The fact that one year later I can proudly say my personal project achieved this goal of mine is testament to how much my confidence in my own capabilities has grown with the support of Creative Spaces. But also the importance of organisations like The Stove who lend the necessary expertise, funding, time and space to create – a privilege that most aspiring creatives do not have. I often wonder what stage I would be at now if I hadn’t collected these valuable experiences through Creative Spaces or, even scarier, if I would have given up on my dream completely. If I had the power, I would make Creative Spaces a compulsory rite of passage for every young person in D&G as it gives you the freedom to explore different ideas with the necessary support and a level of independence needed to survive in the scary world of work.
Written by Martha Ferguson
Situated in the heart of Dumfries, Creative Spaces collaborates with young creatives from across the region, providing young people with opportunities to engage in the arts. Whether it’s through events, workshops, mentorships, or our annual Associates Programme, we aim to enhance Dumfries and Galloway’s creative scene by offering free access to opportunities and paid commissions.
Heather Taylor is a writer, storyteller and creative practitioner specialising in multi-sensory creative and performance practice, inclusion and accessibility, and is a member of The Stove’s board of Trustees. She recently attended the launch of WWDN, a creative placemaking network, and shares her thoughts and hopes for its future success. Read her blog below:
Image credit – Kirstin McEwan Photography
WWDN – A place for everyone
By Heather Taylor
Hey All!
I hope you’re all doing well and enjoying the sunshine we have started to get – let’s hope that’s not the start and end of it!
I just had to share my excitement about a fantastic event I attended recently.
On the 9th of May, The Stove Network launched something truly special at the Catstrand in New Galloway. It was the kick-off for the ‘What We Do Now’ (WWDN) network, and let me tell you, the energy in the room was wonderful!
As a member of the Board of Trustees, with a deep passion for accessibility and inclusion in community development and the creative arts, this initiative holds a special place in my heart.
The WWDN network has been in the works for the past couple of years, and seeing it now, and anticipating its future, is beyond thrilling.
Image credit – Kirstin McEwan Photography
The journey began with a highly successful pilot program where creatives collaborated with six hub organisations across the region.
The results were inspiring, showcasing the transformative power of creative placemaking in our communities.
Now comes the next phase of this incredible journey. The launch event was a testament to the dedication and hard work of everyone involved.
It was heartening to witness so many people from diverse backgrounds coming together to explore creative placemaking and envision the future of this network.
What truly warmed my heart was the level of thought and consideration that went into ensuring the event was inclusive and that everyone felt comfortable in the space and most importantly – valued.
Image credit – Kirstin McEwan Photography
On a more personal note, I must admit that there are times when I question my place in both the trustee board and the creative community.
Like many others, I often grapple with imposter syndrome, wondering if I truly belong in these spaces. However, what truly struck me during the WWDN launch event was the undeniable sense of inclusivity and openness.
It became clear to me that there is indeed a place for everyone within this network. What’s even more remarkable is the opportunity it presents to dive in and make it your own.
Unlike many other initiatives, WWDN doesn’t require you to have all the answers or a predetermined end outcome. Instead, it welcomes you to come with ideas and offers support in realising them. This, my friends, is a game changer!
I have mentioned already in this post my appreciation of those involved, however, I would like again to take a moment to express my heartfelt gratitude to everyone who has been involved in bringing the WWDN network to life.
From the dedicated individuals behind the scenes to the creative practitioners who lend their talents, each and every one of you has played a vital role in shaping this initiative into what it is today.
A special shoutout goes to the incredible Stove team, whose unwavering dedication and boundless enthusiasm serve as a constant inspiration to me and countless others. Your passion for community development and the arts is truly infectious, and I feel privileged to be a part of this journey alongside you all.
Thank you for everything you do!
The launch of the WWDN network marks the beginning of an exciting new chapter in our journey towards a more inclusive and vibrant creative landscape. I can’t wait to see what we’ll achieve together!
If you are interested in find out more about WWDN and how you can get involved in the creative placemaking network, head on over to the WWDN website here.
The Stove recently played host to a visiting artist, Peery Sloan, a multi-disciplinary artist who actively seeks out opportunities to collaborate with other creatives. Reflecting on the practical application of The Stove’s values, finding inspiration in the commitment to continuous learning, growth, and the pursuit of positive change, Peery documented her visit and experience of working with The Stove team. You can read all about it here:
A Month at The Stove: Lessons in Collaboration, Empowerment, and Capacity
By Peery Sloan
Upon my arrival at The Stove, my curiosity spanned across various facets of the organisation, ranging from structural organisation and team management to the creative processes at the workplace and community impact. I was eager to delve into every aspect. What immediately caught my attention was the remarkable level of attention and dedication exhibited by the team towards their work.
Contrary to my initial assumption that the focus would primarily be on managerial and organisational aspects, I soon realised that the heart of The Stove lay in the individuals comprising the team. The organisation’s tireless functioning, output, and successes relied on the specific roles, unique talents, and unwavering dedication of each team member. This revelation pleasantly surprised me, highlighting the depth of commitment embedded within the team.
This notion particularly resonated with my initial fascination with The Stove, specifically the prospect of reproducibility. The question arose:
In my own small community in dire need of empowerment, could the ethos and methodology of The Stove be reproduced?
The potential for the creative sector to serve as a catalyst for positive change intrigued me, and Kat Wheeler played a pivotal role in elucidating this possibility through her profound belief in creative placemaking. As evident through her massive initiative, What We Do Now, she is devoted to connecting a variety of partners, artists, and organisations to weave themselves into a supportive network.
Creative placemaking, as I came to understand through Kat’s teachings, involves harnessing the power of the creative sector to shape and rejuvenate communities. It goes beyond traditional urban planning, emphasising the role of arts and culture in fostering a sense of place, community identity, and empowerment. The Stove, with its commitment, epitomises creative placemaking in action, demonstrating how artistic endeavours and community engagement can cultivate hope and instigate positive transformations.
Creative placemaking, epitomised by The Stove’s initiatives, emerges as a beacon of hope for communities aspiring to empower themselves. The organisation’s commitment to generating hope, adapting to change, maintaining a routine output, and offering a replicable model showcases its dedication to this transformative approach.
My journey with The Stove not only prompted a personal exploration into applying its principles to my own community but also highlighted the broader significance of creative placemaking as a potent tool for positive social change.
The impact of these efforts is meticulously tracked, documented, and disseminated by the dynamic communications team, led by the adept Kevin Stewart. Kevin, with his sharp wit and lightning-fast mental processing speed, buttresses the entire team in managing the website, shaping the brand, orchestrating social media activities, and ensuring visibility across all channels. His background in corporate marketing enriches the Stove’s approach by providing a big-picture perspective, seamlessly integrating strategic vision with the practical aspects required to convey a clear and accessible message. He has developed an incredible team consisting of resident tech guru Robbie Henderson, Web & Data Manager, Erin Aitchison, social media wiz and Marketing Officer, and Wren Winters, the personable Venue and Digital Coordinator; their lively office reflects the engaging and communicative spirit of the team.
From artist and Chief Executive Officer, Matt Baker, I learned of the journey from art collective to organisation. Initiated by a small artist collective, the expedition commenced when they recognised a prevailing disempowered attitude within the community, characterised by a lack of belief in their ability to make a meaningful impact or claim ownership. In response, the collective devised a straightforward yet impactful solution: reclaiming public spaces. This manifested through events such as bonfires in the square and boat races in the River Nith, serving as visible demonstrations that change and action were not only possible but also attainable. Over the course of a decade, the collective underwent a transformative evolution, solidifying its position as the indispensable community hub, now known as The Stove Cafe, while simultaneously expanding its influence through diverse programming, partnerships, and projects.
Matt’s profound wisdom, derived from his extensive experience as both an artist and the CEO of The Stove, stands as an indispensable pillar supporting the ongoing evolution of the organisation. His influence extends beyond geographical confines, seamlessly traversing regional boundaries and establishing meaningful connections within the realms of both the arts and civic engagement in Scotland. In meetings, Matt assumes a contemplative and non-dogmatic presence, choosing to speak only when the discourse requires the illumination of a critical question that has yet to be addressed. His judicious approach not only reflects a discerning insight but also underscores the strategic importance of his contributions in shaping the organisation’s trajectory.
Examining the organisational systems in place at The Stove Network, it became evident that flexibility was integral to their operations. Graham Rooney, Operations Director, designs and implements systems to make the workflow smoother and more efficient. He recently unveiled a new two-calendar system with a rotating two-week cycle; the approach remained dynamic. Despite the visual complexity of the Google Calendar resembling a pile of oriental carpets, the team actively utilised and reviewed it on a weekly basis, incorporating changes as needed. Graham gathers the feedback, shifts, and changes the structure as necessary. This adaptability was crucial in navigating the evolving landscape of The Stove Network.
One pivotal insight into the organisation’s ethos emerged during a meeting with the What We Do Now team, where “reflection” was identified as a core value. Subsequently, I witnessed this commitment in action when concerns arose about some individuals being overworked. The ensuing discussion transcended the immediate issue, delving into the team’s overall capacity and the organisation’s well-being. The prevailing high-achieving culture, driven by passion, had set demanding standards, resulting in a substantial output that now necessitated a careful evaluation. The discourse was marked by genuine interpersonal concern rather than the resentment and frustration often observed in other grassroots spaces.
The central inquiry revolved around the imperative for immediate changes to foster mutual support and prevent burnout. This contemplation brought forth reflections on the sustainability of maintaining elevated standards, the feasibility of augmenting the team through new hires, and the unavoidable necessity for an upsurge in funding. This, in turn, ignited deliberations on who would shoulder the formidable responsibility of securing such resources.
In the midst of this complex financial landscape, Lindsey Smith, the Finance Director, emerges with a daunting but vital role. She skilfully navigates the intricacies of funding, adeptly managing and tracking finances, and delving into the intricate details associated with budgets and funds. Amidst the genuine concerns surrounding financial matters, Lindsey maintains a surprising calm demeanour. Instead of merely emphasising constraints dictated by the budget, she tirelessly seeks innovative solutions, striving to find a pathway that enables the team to achieve their objectives within the financial parameters. Her approach reflects not only financial acumen but a profound commitment to ensuring that financial considerations do not hinder the team’s pursuit of its goals.
This ongoing dialogue at The Stove Network centers around the concept of capacity, exploring the boundaries of individual endurance and contemplating its application across the entire organisation. This introspection underscores the organisation’s commitment to maintaining a healthy equilibrium between passion-fuelled excellence and pragmatic goal-setting, ensuring sustainable growth and well-being within The Stove community.
Under the guidance of Mia Osborne, the Creative Spaces project nurtures the artistic endeavours of three young talents (Korey Patterson, Martha Ferguson, and Sahar El Hady) over a span of ten months, allowing them to manifest a project of their own choosing. This particular facet of the Stove captivated my admiration, evoking a sense of nostalgia wishing I had been involved in such a dedicated incubation mentorship a decade earlier. Graciously, Mia extended an invitation for me to impart my insights through a workshop.
I settled upon the topic of “How to Write an Artist Statement,” a choice stemming from the perpetual challenge it has posed throughout my artistic journey. Crafting an artist statement is an unavoidable task for a practicing artist, essential for seeking opportunities and advocating for one’s creative identity. The enthusiasm and active participation within the Creative Spaces group proved to be nothing short of infectious. Together, we engaged in dynamic brainstorming sessions, meticulous editing processes, and collaborative workshopping, navigating the intricacies of crafting distinct and compelling artist statements. Through this immersive experience, I bore witness to the core essence of the program – a collaborative space designed to inspire, provoke thought, and actively engage with young artists, all while presenting them with valuable opportunities and enriching experiences.
Another compelling exploration was the first event I attended at The Stove Network, the Gaither Inn.
Designed as a community dinner to foster engaging discussions and craft a manifesto of hope, the evening was skilfully guided by Martin O’Neill. He prompted reflections on the elements instilling hope, the qualities inherent in spaces generating hope, and how to manifest it in the present.
This inquiry led me to the concept of “Homemade Mutant Hope Machines,” introduced by Martin through his association with the revolutionary London queer organisation, Duckie.
These machines, as defined by Duckie, are “emergent, autonomous, and adaptive forms and processes that routinely generate hope in the possibility of better worlds for people on the margins.” Strikingly, it became apparent that The Stove’s programming aligns with the characteristics of a Homemade Mutant Hope Machine – an autonomous creation, adapting when necessary, consistently producing outcomes, and being replicable all while capable of encouraging civic change.
Operating at the intersection of arts and community engagement, The Stove Cafe resides in the heart of Dumfries High Street. Deirdre Rooney and Pam Mackay, Cafe Co-Managers, create an atmosphere of connection through the friendly service and delicious food. It’s common to find the same people day-after-day, a true sign of an inviting and warm space: regulars. However, it’s not just a cafe, a meeting place, or an events venue; it’s a dynamic hub with full and diverse programming.
The team’s commitment to using arts and creativity to revitalise the town center is palpable and extends to a broad audience.
Sal Cuddihy, Production Lead, works tirelessly flipping the space from cafe to bread-making venue, to drag show stage, to movie theatre, to art studio and back again. Under her leadership she mentors and empowers a small team of production workers in gathering the skills to propose, plan, and implement an event of any scale.
What struck me most was the team’s exceptional cooperative spirit. With a core team overseeing specific projects, accountability is woven into the fabric of daily operations. However, what sets The Stove apart is the fluidity of partnership among co-workers and partners. It was a revelation to witness familiar faces in a myriad of meetings throughout the week, highlighting a level of involvement in each other’s projects that goes beyond mere professional courtesy. Often out of necessity, each team member wears many hats and they do it well.
Decisions at The Stove are not made in isolation; they are the result of open discussions and feedback from the staff. Through my interviews, I gathered that the associative decision-making process fosters an environment where each person’s work is valued. In each one-on-one interview, there was an emphasis on the appreciation for co-workers. What’s more surprising is the genuine advisory role that team members play in each other’s projects, even if not directly involved. The willingness to share insights and offer support speaks volumes about the cooperative culture that defines The Stove. More than once, I heard an employee ask for direction on “what to do next,” which in itself reflects a space that values learning, growth, and trust. Not knowing is welcome as it makes space for creative solutions, in which The Stove is well-versed.
Integrated within the weekly workflow is a system of tracking casual moments and highlights. This mechanism not only serves as a celebration of successes but also acts as a collective reminder of the positive impact they’ve had each week. It emphasises the importance of recognising and appreciating the team’s achievements, big and small, contributing to a culture of continuous evolution.
I see this also reflected in the public art showcased in the Cafe. Katie Anderson, Public Art Lead, hung two beautiful shows during my time. The first, a participatory installation that encouraged visitors to drop a token to vote for what they want Dumfries to invest in: outdoor spaces, heritage, the arts, etc… Then it rotated to a round-up of The Stove’s year in preparation for the Annual General Meeting demonstrated in photos, signage, and items made and utilised the year before. It illustrated the dynamic projects The Stove supports from Reel to Reel to the Wild Goose Festival.
The Stove’s dedication to core values such as risk-taking, collaboration, empowerment, positive disruptive change, innovation, and inclusion goes beyond mere articulation; it permeates the organisation’s culture and daily operations. This commitment to fostering a dynamic and inclusive environment serves as a catalyst for creative placemaking, a concept that recognises the transformative power of the arts and culture in shaping and revitalising spaces. The seamless collaboration and empowerment of every team member contribute to a harmonious synergy that propels The Stove towards its visionary goal of a revitalised High Street, region, and nation.
I was truly grateful for the opportunity the team gave me to observe their daily operations. It not only allowed me to develop an inside view of the inner workings, but also left me impressed by the enduring energy each team member brought to their work. However, as much as I relished being a shadow and absorbing insights, I felt a growing desire to contribute actively. It became clear that the daily shadowing was becoming more of a personal benefit than a reciprocal arrangement. In an effort to give back, I conceived a project that symbolises the interwoven essence of The Stove.
My initiative takes shape as a collaborative weaving project, an outdoor endeavour set up outside the Cafe on High Street with the entire team participating. In an effort to mirror the cooperative nature of The Stove we will make a “Stove Tartan” together. The four roles for the weaving symbolise different facets of the organisation. Stabilisers, holding the loom steady, represent the steadfast support and stability provided by teammates at The Stove. Mechanics, responsible for daily operations, embody those who maintain systems and troubleshoot with expertise. Weavers, using creativity to interconnect people, projects, and ideas, reflect an inquisitive and connective nature. Movers, characterised as action-oriented individuals, embody those driving progress and making things happen.
This weaving project not only expresses gratitude but also showcases the diverse and collaborative structure of The Stove. The final result, a large-scale weaving, will be left with The Stove to use as they see fit. This hands-on experience serves as a meaningful contribution and a demonstration of appreciation for the invaluable lessons learned during my time with the team.
Upon contemplation of this enriching experience, I find myself not only appreciative of the chance to observe the intricate operations of The Stove but also inspired to imbibe the invaluable lessons acquired into the fabric of my own community. The Stove’s unwavering commitment to introspection, adaptability, and maintaining a harmonious equilibrium between passion and pragmatism establishes a commendable standard for sustainable growth and overall well-being, both within the organisation and the encompassing community it serves.
Yet, amidst these insights, the paramount revelation lies in the pivotal role of the assembled team in fostering success. As evidenced during my time at The Stove, it becomes evident that a fervent work culture is a product of the collective efforts of dedicated individuals.
