PROPOSAL ACCEPTED: Wells Art Contemporary 2025
Established in 2012, Wells Art Contemporary (WAC) is a volunteer-led art exhibition that provides artists worldwide with the opportunity to showcase their work in the breathtaking setting of Wells Cathedral.
On the 1st August 2025, I was pleased to have been chosen by a panel of selectors for the Wells Art Contemporary (site-specific installation). The previous blog post highlights my proposal. With less than a week till my installation date (6th October), I would like to write about the journey since being selected and the process of making that I have undertaken to honour my proposal.
June 2014
Wound (2014), acrylic on linen
Wellington Hangar, Brooklands Museum
It began by revisiting a past work called ‘Wound’ (2014) which was created for a site-responsive exhibition in the Wellington Hangar, at Brooklands Museum. This work repurposed remnants of canvas and linen leftover in the studio. Cutting strips like bandages, they were then wound around my little finger in a spiral formation. After being white-washed, form emerged and an object arose. At this stage the work was directly connected to a triptych of paintings called ‘Elevate’ and were the remnants of fabric leftover after stretching these canvases. (See Wellington Hangar exhibition in Projects).
May 2025 (11 years later)
Recently, I had started to paint again and as a consequence, an accumulation of leftover remnants of canvas and linen became components of making once more. The renewed version of wound objects began as a slow build. It happened when I had a lull in the studio and my mind happened to direct itself in that direction. There was no particular objective, no end result and no thoughts of whether this was to become a work of worth. It was only when I took what I had at the time to a critique session, with a box lying around in the studio, that I began to believe it could be taken seriously as a piece of work. The inclination from the group was it was complete as it was shown, contained within the lip of the upturned box. The box was a contingent component to the reading of the work and if it continued beyond the perimeter it would read as something else. And I agree… but then an opportunity to apply to the Wells Art Contemporary took the work on a journey beyond the box.
I was interested in the Site-specific installation opportunity at the Wells Art Contemporary rather than the gallery. In my artist bio, I wrote “My work aims to learn in a site-responsive manner and focuses on relationships with buildings, landscape and/or ceremonial activities. Research into history, present use and ritual activity look to unearth a narrative which seeks to manifest in the work.” Presented with 26 potential site opportunities, I focused on 2 sites of interest, one which presented possibilities for an inquiry in the nature of ‘steps’ and the other towards concepts of the ‘corner’. The potential for learning, to look closely at architecture and history, was very compelling and I thought the work, still known as ‘Wound’ at this stage, could develop within the confines of both these spaces.
The previous blog titled ‘Installation Proposal: Wells Art Contemporary 2025’ is my proposal for the Chapter House Steps and describes my intentions towards it’s characteristics. The proposal for the North Quire aisle corner (not published) inquires into how the work might respond to a corner. I wrote, “the nature of a corner has associations with hidden spaces. Being in one’s corner suggests a place to take oneself into, to withdraw. But the North Quire aisle corner is the other side of the angle, the outside space of the corner. This suggests a position of exposure and offers an opportunity for the work to respond to concepts of being present if somewhat uncomfortable and laid open. The North Quire aisle corner lends itself to concepts of the work well, in that it cannot hide or retreat. Coming out into the open, the fabric of the objects, once forgotten, will be made known and transpire in full view.”
Plan for Chapter House Steps (left hand side)
July 2025
A mock up illustrating my intentions for site 16, the Chapter House Steps (left hand side), Wells Art Contemporary Site-specific Installation
Making Sense … of the title
At this stage I began using the title ‘Making Sense’. This was a conscious move away from previous work under the title ‘Wound’ and a means to differentiate the new body of work as current. I came across Giles Deleuze’s writings on the subject matter of ‘common sense’ and ‘good sense’. I understood his interpretation of ‘common’ as understanding due to previous experience. ‘Good’ implied a perceived future knowledge or event and ‘sense’ addressed notions of recognition, an awareness of familiar characteristics which inform categorisation.
‘Making Sense’ as a title not only references distinct concepts of making but alludes to sense, in particular common, in that it has the capacity to perceive knowledge as seen or experienced before. Each roll follows the same repetitive process, domesticating differences by dismissing as inconsequential most of the detail. But, although the method of making and the material follow the same process, differences, however subtle, emerge. As repeated making increases, space for differences broaden, but in turn, familiarity absorbs the diversity presented. Attention and close observation is required for variations to be discernible. ‘Making Sense’ emphasises that even within the realms of common sense, there is potential for discrepancy.
August 2025
My submission for the Chapter House Steps (left hand side) was accepted and this is the direction the work continued to develop. I had proposed 600 wounds, 50 for each of the 12 steps. I had 100 already completed but this was was an ambitious workload and I had to be very disciplined with my time. I allocated a steady proportion to complete each week leading up to installation day on the 6th October.
There was one alteration though, requested by the Cathedral … that I consider the right hand side of the Chapter House Steps!! This site was much larger. Would 600 wounds be enough? It also shared the space with the public as they climbed up or down the steps. Would this compromise the work, leaving it vulnerable to damage or being knocked? These are questions I still have as I approach the 6th October. But, the right hand side has a more organic, less regimented shape, therefore I believe that filling the space is less necessary. Plus it has a wonderful light coming from the window in the direction of the right hand side (the left is in the shadow).
Site Visit
The work grows and grows
The development of ‘Making Sense’ has been slow and methodical. It became an exercise in relentless making. Of repetitive cutting, rolling and painting. Over and over again, each week, adding a small number, but somehow always falling slightly short of my desired target. Ironically, I developed repetitive strain injury from the persistent rolling around my finger. Emphasising repetition on another level, my body began to break down and I became exhausted. I gratefully accepted some help with painting from an artist friend to ease some of the pain and time pressure. In the end I was only 12 under the proposed quantity of 600. And in the end, there was a deadline, a time restraint, I could make no more and ‘Making Sense’ was complete.
6th October 2025 - Deadline