Yearly Archives: 2017

Solar Totems and Wave Walls

This post comes from the Artists and Climate Change Blog

Wind-activated undulating walls and solar-activated etchings carved onto reclaimed redwood: the San Francisco-based artist Charles Sowers makes my heart sing!

Wave Wall from Charles Sowers on Vimeo.

I have always been inspired by artists working at the intersection of art and science. Sowers seems to do this seamlessly:  weaving his love of science, architecture, meteorology and technology into mesmerizing installations that stop us in our tracks, drawing us in seductively to better understand our natural surroundings. He helps us to slow down, to notice natural phenomena that otherwise would have gone unnoticed.

As he explains on his Vimeo homepage: “I frequently collaborate with scientists to create works based on lab experiments. Through these collaborations, I have discovered a strong correlation between my process and that of the scientific experimentalist. We both build apparatuses –scientists to probe the limits of their collective understanding and I to probe the boundaries of beauty, delight, and wonder.”

Of course, it is his renewable energy artworks that fascinate me the most.

Sowers’ most recent renewable energy installation – Solar Totems in the Glen Park Canyon Recreation Center commissioned by the San Francisco Arts Commission – uses a spherical glass lens (inspired by 19th-century meteorological instruments) to “write with sunshine.”  The glass sphere focuses the sun’s rays onto three southern-facing 12-foot-tall reclaimed redwood logs. As the sun moves across the sky, heat generated by the sphere’s magnified light burns a line from left to right across the log. Each line represents a distinct day with a unique weather pattern (sunny, partly cloudy, overcast, etc.)

Charles Sowers, Sowers, solar, redwood, California, installation, renewable

Photo downloaded from

Each day, the spherical lens is moved upward slightly by a solar-powered mechanism to create a new daily line. At the end of one year, the 365 solar etchings on the redwood log become a sculptural archive of the interaction of sun and weather patterns unique to this site. When the yearly record is complete, the heliograph mechanism is transferred to a second redwood log for the second year of etchings, and so on.

According to Sowers’ blog, at the end of three years “the three transformed logs turn the plaza [in front of the Glen Park Canyon Recreation Center] into a kind of civic solar and atmospheric observatory, artistically expanding our understanding of place and connecting us to our environment through that understanding.”

This is a profound statement, especially in the context of climate change. Let me highlight it below:

“… artistically expanding our understanding of place and connecting us to our environment through that understanding.”

This is what climate change artists do best: using metaphor to build awareness, a sense of connection and familiarity to overcome anxiety, fear and resistance. This, in my opinion, is the missing ingredient in the global climate change conversation. To help shift this conversation, we must find seductive ways — like Sowers — to draw our audiences’ attention beyond a collective sense of fear, apathy and hopelessness, to focus instead on the magical, wondrous world that sustains and inspires us. It must be protected, not only for ourselves, but for future generations.

Windswept is another renewable energy artwork by Sowers that I love: a wind-driven kinetic façade commissioned by the San Francisco Arts Commission for permanent installation at the Randal Museum. I admit to having watched this meditative video more than a dozen times:

Windswept consists of 612 freely rotating wind direction indicators mounted parallel to the wall creating an architectural scale instrument for observing the complex interaction between wind and the building. Wind gusts, rippling and swirling through the sculpture, visually reveal the complex and ever-changing ways that wind interacts directly with the built environment.

In his artist statement, Sowers explains “I seek to … reward extended observation. Sometimes this involves developing an apparatus to recreate and highlight some natural phenomenon observed in the world – the swirl of fog blowing over a hill, the formation of ice on a puddle, or flow of water and foam on the beach as a wave drains away. These things can fascinate yet often go unnoticed until pointed out. Other times I try to create instrumentation that allows us insight into normally invisible or unnoticed phenomena (emphasis added). The behavior of these interactions can be affectively or visually delightful and balance on the fascinating boundary between predictability and un-predictability.”

I am looking forward to photographing both Windswept and Solar Totems next month during a trip to California to speak about my renewable energy photography at Women in Cleantech and Sustainability’s annual TED-style event hosted by Google. I hope to update this post with new images of Sowers’ beautiful installations upon my return. Stay tuned!

(Top image: Windswept by Charles Sowers, 2011.)

Follow Joan on Twitter: @CleanNergyPhoto

About Artists for Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

How National Chamber Music Day 2017 went green

This post comes from Creative Carbon Scotland

Danielle Price from Enterprise Music Scotland shares some of the highlights, and a couple of challenges, they encountered in creating a National Chamber Music Day 2017 that ‘Goes Green’

We are Enterprise Music Scotland, the national body for chamber music who support, develop and connect the chamber music sector in Scotland.

As a Green Arts Initiative member, we have spent the past year or so looking at ways in which we can reduce our carbon footprint. While we are only a small team of three part-time staff, we work with a wide range of stakeholders including a network of chamber music promoters and professional musicians. As well as aiming to create a more environmentally friendly office space and monitoring the carbon footprint of our touring network, we have been working with Creative Carbon Scotland to facilitate conversations about the green arts with our partners and audiences.

National Chamber Music Day Goes Green

On the 16th of September, we hosted National Chamber Music Day, an annual event which celebrates classical chamber music with free performances in public places across the country. Previous years have seen chamber music ensembles play everywhere from supermarkets to cafés and castles.

This year, National Chamber Music Day went green to explore the themes of environment, sustainability and conservation. We decided that ensembles would travel to concerts via environmentally friendly modes of transport, performances would take place in venues linking to the green theme, we would work with likeminded partner organisations who support environmental sustainability and would also aim to use best practice of minimising waste for the event. We worked with 34 musicians and 34 partner organisations to put on 27 performances across the length and breadth of Scotland.

Performing in unusual places

The Monzani Trio aboard the Edinburgh Tram

Performances took place in community gardens across the country from Peebles to Ninewells Hospital garden in Dundee. It was lovely to see concerts happening against a back drop of plants and flowers and great to learn of the sustainable food projects taking place in local towns and cities.

Our aim of highlighting sustainable transport led to partnership with several Scottish transport organisations; The Monzani Trio performed onboard Edinburgh Trams while the McOpera Oboe Duo played on the Borders Rail train between Edinburgh and Galashiels and for passengers awaiting their buses at Galashiels Transport Interchange. Trio Vocali3e gave a concert at Linlithgow Canal Centre and The Highland Collective played for passengers at Inverurie Train Station.

An unexpected benefit of ‘running’ it

This year’s green theme also provided the opportunity for NCMD to expand into a multiday event. Endurance runner/violinist Elspeth Luke along with cyclist/violinist Emily Carr-Martin undertook a four-day tour of Mull. They helped to reduce the carbon emissions of NCMD even further by running and cycling to their concert venues in Craignure, Ulva, and Salen.

Elspeth Luke and Emily Carr-Martin on their tour of Mull

New partnerships

We formed new partnerships with organisations who work to support environmental sustainability, conservation and heritage. NCMD sponsors, Mackie’s of Scotland, known for their commitment to good environmental stewardship invited the locals to their farm in Aberdeenshire for their Chamber Music and Chocolate event. Audiences sampled the recently launched Mackie’s chocolate range whilst enjoying music performed by the Highland Collective.

We worked with Plantlife Scotland who hosted guided walks culminating with chamber music concerts in Glen Tanar and Barnluasgan.  In Glasgow, a partnership was made between EMS, Glasgow Doors Open Days, RSPB Wildfest and The Hidden Gardens to organise daytime performances by the Maxwell Quartet at St Andrews in the Square and Kelvingrove Park Bandstand as well as our NCMD finale which took place at the Hidden Gardens.

Audiences were invited to bring a picnic along to The Hidden Gardens and participate in various outdoor nature activities led by Wildfest followed by a concert from the Agnew McAllister Duo and The Matilda Brown Ensemble on the lawn. The concert also featured the first ever NCMD commission for which Matilda Brown composed the piece “His Wings” linking to the birdsong that can be heard in the gardens.

Enthusing audiences

We had a fantastic response from partners, performers and from members of the public

“What a fantastic day we had today! Even the drizzle didn’t put us off…”

“The music sounded fantastic as it drifted across the wider landscape…When can we do it again!”

“An inspired concept, and an amazing event – we are absolutely delighted to have been a part of it!”

I would just like to send my thanks for what was an absolutely fantastic concert at Inverurie Railway Station on Saturday 16th September. The music was stunning and it was a real treat to attend a concert in a local and unusual venue! If possible please pass on my thanks to the musicians – their playing was beautiful and their selection of music very engaging. Thank you Enterprise Music Scotland!”

A few hurdles

But we did come across some unexpected hurdles along the way…

We had planned for performances to take place outdoors but could not really rely on the good old Scottish weather meaning we had to think ahead and commit a bit more time to creating a backup option for each one.

With ensembles visiting two venues in one day, the logistics of planning travel using public transport proved challenging. In some cases, it was not possible due to lack of access at rural venues, heavy instruments, health issues and infrequent timetables. This proved to be an interesting exercise in looking at the challenges facing freelance musicians who wish to become more environmentally responsible.

While we wanted to embrace the green theme, we felt it was also important that the original NCMD mission statement continued to be represented which included performances taking place across the length and breadth of the country. With public transport, this was not always straight forward to organise. However, it did provide the opportunity for creative solutions such as Elspeth and Emily’s tour of Mull which in the end, expanded the event significantly.

Creating positive results

Matilda Brown at The Hidden Garden C Louise Mather

Despite a few challenges, we do feel that the benefits greatly outweighed the negatives. Our Green theme provided a strong stimulus during the creative process and influenced the way in which we planned the event. Collaborating with new partners who are not directly connected to the chamber music sector was a great asset in helping to advertise National Chamber Music Day to a wider audience. Venues all worked hard to spread the word about their NCMD performance in their local communities and it was great to see extras such as BBQ’s and picnics being added to performances.

We were also excited to find that we were successful in reducing carbon emissions for National Chamber Music Day. By encouraging ensembles to travel via public transport and car share, a 15% saving on carbon dioxide emissions per mile travelled was achieved meaning a saving of 63kg of Co2. The equivalent to leaving a TV on for more than 2 weeks!

Following National Chamber Music Day, we hope to continue to help raise awareness of environmental sustainability within our chamber music promoter and partner networks, providing practical advice as well as open discussion.  We’re also looking forward to exchanging ideas with other arts organisations at Creative Carbon Scotland’s Green Arts Conference on 1st November in Glasgow.


The post Guest Blog: How National Chamber Music Day 2017 went green appeared first on Creative Carbon Scotland.

About Creative Carbon Scotland:

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

The Big Invisible

This post comes from the Artists and Climate Change Blog

“One of the greatest legacies of the 20th century is not just population explosion or better living standards, but vastly raised carbon dioxide levels in the atmosphere. A new flag attempts to give this invisible gas, this international risk, an image, a way to represent itself. I like to think of it as a flag for a new kind of world order.” —John Gerrard, Artist

A hidden treasure, like many great treasures, is to be found on an unassuming, charming, and quiet square in Vienna’s 6th district. Peeking through the large windows on Loquaiplatz might reveal a beautiful minimalist studio where a flat screen shows a frog floating through space or a digital simulation of a flag of never-ending smoke – a haunting image that was presented earlier this year as a public art project in London, but developed here in the production space of media artist John Gerrard. While (still) hidden in Vienna, Gerrard’s work found international acclaim, securing the artist’s position as pioneer of new computer technologies and bringing urgent issues about nature, consumer culture, and power systems to art audiences. The flag of perpetual smoke depicts a dystopian and barren landscape – a simulation of the real site of the world’s first major oil find in Spindletop, Texas in 1901. Gerrard reimagines it as an unrelenting menace. It was presented in early 2017 as a multi-disciplinary public art intervention – online (YouTube), on TV (Channel Four) and at the heart of the European art establishment (Somerset House, London).

Gerrard is part of an international group of artists using their creativity to address the need for new structures in society. It has become clear that climate change is, at least in large part, a cultural problem – a direct consequence of our lifestyle and consumer behavior. But if we want to influence human behavior, we have to go beyond communicating the science of climate change, and this is exactly where the work of artists like Gerrard comes into play. Creative approaches to climate change speak to people on an engaging, emotional, human, and accessible level. Art and culture can be effective tools with which to advance new ideas, explore alternatives, and influence social norms.

To understand the framework of artists, curators, architects, designers, policymakers, and other arts professionals in Austria who engage with these issues, we established the Kunst Haus Wien’s inaugural Curator-in-Residence program. In early 2017, we conducted close to 50 interviews with key protagonists in Vienna, Graz, and Salzburg, and ran a weekly reading group with co-hosts and members of the public. Our research confirmed that the City of Vienna is acutely aware of, and making efforts to, engage with the international discourse on climate change. The Viennese art world, however, is only slowly waking up to the problem’s relevance and immediacy. Though we learned about many individual and institutional initiatives, we found there was limited knowledge exchange, interdisciplinary collaboration, and organizational partnership on the subject.

Interdisciplinary collaboration is known to spark innovation, but a big obstacle to art/science collaborations is language. The professional language of both the artist and the scientist has become so specialized that it requires an open mind and much patience on both sides to understand each other. One of our interviewees, Markus Schmidt, co-founder and director of Biofaction, a research and science communication company based in Vienna, put it this way:

“Artists and scientists speak in different languages. I work with artists because I’m interested in new perspectives that go beyond scientific insight. Science is a great tool to better understand the world, but the scientific method can also be limiting. Artists bring in different arguments, additional layers of meaning and help us to explore complimentary futures.”


Biofaction. Prototype Nature exhibition in Essen.

Another point that struck us was how people – even in the cultural and academic sectors – find it hard to relate to something that is not visible or immediately obvious in their own lives. As long as flooding and scarcity of resources (energy, food, water) are not part of the daily struggle, climate change remains an “alternative reality.” While this attitude is not unique to Austria, it is accentuated by the country’s protected and regulated position: it is land-locked, benefits from a stable social welfare system and access to alternative sources of energy, and still enjoys localized agricultural practices. The challenge of how to relate to latent natural forces led to our concept for The Big Invisible, an exhibition and public program we are presenting at the Kunst Haus Wien, October 19, 2017 – January 14, 2018.

The Big Invisible addresses five invisible forces that interact with us in subtle but powerful ways, and influence our potential for life and longevity on the planet. Though this may sound like a superhero story, the reality is less fantastical and cli-fi-esque: the exhibition confronts real-life issues such as viruses, air pollution, heat, nuclear radiation and an imaginary oil spill. The main question that is posed is: How do we relate to nature’s drastic changes if we cannot see, feel or hear the causes and directly experience the effects? The selected artworks offer a renewed understanding of the wonders of the natural world by using publicly accessible data and tools so that we may see, hear, touch and smell our environment in ways that go beyond what initially meets the eye. This sense of heightened awareness is crucial in times of environmental degradation, with artists playing an important role in making the issues visible.

Markus Hoffmann_Bikini Atoll Containment 02_2015_Artist

Markus Hoffmann. Bikini Atoll Containment 2015.

Artists probe and contextualize the status of current and potential environmental situations in different parts of the world, bringing new questions and knowledge into the conversation and opening up the imagination by engaging with the realm of the invisible. From the effects of radiation on coconuts on the Bikini Atoll to the Pepino Mosaic Virus on European tomatoes, the exhibition provides new insights into the invisible world around us, bridging art and citizen science.

(Top image: John Gerrard, Western Flag (Spindletop, Texas) 2017. Installation view, Somerset House, London. Photo: Damian Griffiths. Image courtesy the artist and Thomas Dane Gallery, London and Simon Preston Gallery, New York.)

About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Launching into Climate Action

This post comes from the Artists and Climate Change Blog

Climate Change Theatre Action 2017 is officially LAUNCHED! As of last Sunday, October 1st, communities and individuals around the world have started hosting events and conversations on climate, using this year’s curated collection of 50 short plays. The energy from these events is contagious – even though we can’t be at all 250 events, each one is sending a pulse into the world to persist in the face of corruption and apathy. That is inspiring.

On Sunday, we – Chantal Bilodeau and I – presented The New York Launch at The Artist Co-op, to kick-off this year’s global action and to celebrate local artists working on climate. The evening was full of quirky performances, and mingling between new faces and old friends. It was fascinating to see people of varying ages, from all over the city, come together, to support climate, performance, and community – and to raise funds for hurricane relief efforts in Houston. It definitely set the tone for what will be an energizing seven weeks!

As part of the Launch, I directed a few CCTA plays, and invited local artists to share some of their work on climate. We had a variety of performance genres, from artists of various backgrounds. It was serendipitous to see and hear how, through the performances, there was something for each and every audience member to connect to.


Brackendale by Elaine Ávila, with Megan Oots & Atiya Taylor. Credit: Yadin Photography.

The evening started off with comedy from Willie Zabar, who brought his character Heimi Wilhelm, the famous German musician and thinker. Using prompts from the audience, Heimi explained his positions on topics of nature using words and music. It was a fun, light, interactive way to start the evening, and directly engage everyone in the room. Upstream Artists’ Collective also engaged audiences directly, breaking down our broken socio-political systems, by inviting an audience member to literally break a chair. After a collective brainstorm on how to best break the wooden chair, a gray-haired woman in the front row jumped up to make it happen: she smashed that IKEA chair until it was in building-block form. It was goofy and experimental, with immediate implications: the audience member sitting in the wooden chair lost her seat, the chair was rendered un-sit-able, the audience rallied behind the woman pulling apart the chair.


Upstream Artists’ Collective. Credit: Yadin Photography.

I’ve felt this kind of energy before, the energy of individuals rallying together, overtly or subconsciously, for a singular purpose. It was similar to the energy I’ve felt during marches and while watching some of my favorite shows. This energy continued throughout the night, as The Anthropologists and Lynn Neuman of Artichoke Dance Company performed. The Anthropologists presented an excerpt from their upcoming This Sinking Island, which features text, movement, and music performed by a small ensemble. With their blue fabrics and plastics, the ensemble transported us to a place surrounded by water. Lynn also transported us, juxtaposing rustling plastic bags and recorded instrumentals by Mike Sayre. Her piece Precipice evoked at once the experience of plastics, and of organisms and places implicated in the consumption of plastics. So, even though our evening took place in one room, the performances transported us, collectively, to alternate times and places.


Lynn Neuman in Precipice. Credit: Yadin Photography.

Threaded through the entire evening were the CCTA plays: Brackendale by Elaine Ávila, Rube Goldberg Device for the Generation of Hope by Jordan Hall, Single Use by Marcia Johnson, Kleenex by David Paquet, and Magical Vagina by Catherine Léger. What I found in delving into these short plays is depth. It is amazing how many layers can be packed into a five-minute play or monologue. My collaborators and I delighted in the playwrights’ varying perspectives on human-induced climate change. In duologues like Brackendale, Rube Goldberg…, and Magical Vagina, we found examples of dichotomous ways of dealing with climate realities: unshakeable hope, or dire pessimism. These two approaches manifest through the varying circumstances of each play, leaving room for audiences to place themselves on the spectrum: with enough pessimism to feel the urgency, and enough hope to do something about it.

Through Rube Goldberg… in particular, audiences were required to do something. Nearing the end of the Launch, two performers, Atiya Taylor and Megan Oots, set up a Rube Goldberg Device with the audience, passing out instructions on slips of paper. Each instruction was contingent on something happening before, prompted by a different instruction given to another audience member. Ultimately, the whole sequence should lead to a dance party. Atiya, Megan, and I had rehearsed the play, and I could see and feel how the Rube Goldberg Device could work, but the circumstances of the evening led the Device down an unexpected path. Some audiences were so eager to follow their instruction that they couldn’t wait until the required prompt. Many audience members were confused, but by the time the dancing started, they were good sports and joined in. From this experiment, I learned how to set up circumstances as clearly and simply as possible to then allow for the audience to build the Device, to contribute to chaos. Nonetheless, it was wonderful to see the audience shamelessly participate in breaking the traditions of what a play is or should be.


Rube Goldberg Device for the Generation of Hope by Jordan Hall. Credit: Yadin Photography.

The evening culminated in a Skype call to Toronto, who was starting their Launch event as ours was winding down. We introduced the New York and Toronto playwrights present at each event, and virtually passed on the baton. It was brief, but effectively broke the New York bubble, and placed our Launch more tangibly within the context of something way larger. Before we parted, Ryan Little Eagle Pierce, who performed “Eagle Warrior,” a piece of poetry set to movement describing one American’s transition into his Lenape roots, brought a vital context to our event, acknowledging the traditional caretakers of the land that Manhattan is now on, the Lenape people. Ryan helped us to connect our care for our environment to our care for one another, effectively tapping into everyone’s compassion for the new and old friends we all shared the evening with.


“Eagle Warrior,” written and performed by Ryan Little Eagle Pierce. Credit: Yadin Photography.

Take Action
It’s not too late to join CCTA. Check out our Call for Collaborators and host a gathering in your own community, NOW through November 18!
New York City: It’s the fifth anniversary of Hurricane Sandy. March to remember, rise, and resist at the Climate March on October 28.

More CCTA!
I was recently on the Let’s Talk About the Weather podcast, with Ashley Mazanec of EcoArts Foundation. Listen here, for more about CCTA!  Visit for all the upcoming events this season, and to learn how to host your own.

(Top image: The Anthropologists. Credit: Yadin Photography.)


About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Fermynwoods Contemporary Art Launches Art Work Placement

Fermynwoods Contemporary Art launches Art Work Placement –
Art and Creativity driving innovation and change in Northamptonshire businesses

Northamptonshire organisation Fermynwoods Contemporary Art has launched Art Work Placement, a pioneering initiative in collaboration with a group of key businesses in the County. For the first time, 5 professional artists will be placed in 5 of Northamptonshire’s key businesses to help employees develop creative solutions to today’s business challenges. Funded by Arts Council England, Art Work Placement is an innovative, new idea involving artists working with the businesses to explore how integrating art into daily working life can not only enrich the workplace, but create change.

During each Art Work Placement residency the artists will be meeting staff and making art work and, as a result, understand how creativity makes a difference in finding new ways of thinking about the workplace and company culture. The programme is inspired by Fermynwoods’ aim to ensure that art infiltrates every day life and by the belief, shared by their business partners, that the arts and culture an essential part of making Northamptonshire a great place to live, work, play and learn.

The artists are all Associates Artists with Fermynwoods and the four residencies confirmed to date are:

Art Work Placement is being delivered by Fermynwoods with Culture Consultant, Morag Ballantyne, and Organisational Psychologist, Kirstin Irving.

Director of Fermynwoods Contemporary Art, Yasmin Canvin, said, “We are delighted to have had such a positive and enthusiastic reaction to Art Work Placement from businesses across the County. Artists are specialists in helping us to see the world differently and looking between the lines, so the expectation is that artists working in these organisation can help unlock further innovation and creativity”.

Nick Greenway, Director of Marketing for the iconic Northamptonshire motorsport and engineering company, Cosworth, added: “As a business we know that in order to succeed we need imagination, innovation and creativity, but we also need to retain the very best talent, that’s a source of business advantage – and, of course, we want our staff to be happy and motivated. I’m excited at seeing how having Virginie working with us challenges us to capture what we’re about and to see it more clearly”.

Fermynwoods and the participating businesses expect to see a range of benefits to communication and productivity as well as contributing to quality of life at work and the wellbeing of staff.

About Fermynwoods Contemporary Art:

Fermynwoods Contemporary Art commissions innovative and meaningful ways for
visual artists to engage with audiences, in public spaces across Northamptonshire and
online. Recent projects have included: The Twelfth Player, a collaboration
with Northampton Town Football Club and Royal&Dernagte, which blended film and live
performance to take audiences on an immersive tour of Sixfields Stadium; and Space
Programme, when young people worked with artists to launch thermochromatic
sculptures 20,000km into space and document the journey.