An exhibition exploring construction and destruction. See Hollow for more details.
“Completed by human interaction, shoes-off, climbing and crawling, Hollow requires a wholly physical encounter. Only then can you experience its claustrophobia, its mystery, its magic, its majesty.”Ellen Bell, a-n reviews
“Through the imaginative playfulness of Hall’s installation, through its use of light and mirroring…The functionality of a brown box is transformed into something engaging…We are encouraged to impose our own meanings on the piece, just as we are encouraged to refashion its form.”Claire Pickard New Welsh Reader
“Crafted Space brought us an experimental idea, to expand our performance programme into the landscape of the estuary itself.
It was a pleasure to create a performance which responded to
Festival No.6’s unusual location.”Sophie Meadley, Commissioner
‘Urchins’ – A journey over land and water, a tribe of primordial life rafts drift, collect, connect, seek sanctuary to survive…
‘Urchins’ is a proposal that grows from an experimental seed project developed in collaboration with a collective of skilled artists, sailors, and makers based in the Dyfi Valley in Mid Wales. Each have been drawn on their own personal pilgrimages to the region, renowned for its future thinking and practical work at the Centre for Alternative Technology, and the transformative landscape of the valley’s river and estuary.
Initially conceived at ‘Estuary Lab’ in 2012, informal exploration of the Urchins took place in the estuary at Festival No.6 at Portmeirion in September. The landscape and architecture were a sublime context for exploring the ‘beyond now’ time of a pure liminal state of being that the Urchins engender. Selected as 1 of 3 new commissions for the Environmental Arts Festival Scotland 2015 we look forward to the evolving journey.
Photos by Giles W. Bennett
Woodland Pavilion – Pafiliwn y Coed
“I love how it feels enough like a stage to perform, but not too much like a theatre space, so we can still ride bikes across it and get a big group of strangers to have a spontaneous dance off.”Mark Olver, Curator and Comedian
Photo 1 & 3 by Edward Moore, 2 by Jon Starbuck and 4, 5, 6 by Jenny Hall
“At night these mesmerising meeting places of well-ness reflect another world, an underworld, a world above of poetic loveliness.”Jane Lloyd-Francis, director and performer
Sited along the Woodland Way between two prestigious historic buildings in Machynlleth, the piece seeks to amplify what already exists in this beautiful natural corridor.
At a distance the arrangement of salvaged tables and chairs is familiar: an intimate setting around which families and friends gather to relax, to share food, to see one another more clearly.
Poetic and playful, the public also made the tables their own: one was filled with flowers to create
an exquisite mandala and others hosted at times, tiny swimmers and boats as well as bottles of
Photos 1, 3, 5 & 7 by Giles W. Bennett and Photos 2, 4 & 6 by Keith Morris
“Playful and innovative, The House was perfectly in keeping with Shambala’s atmosphere and theme of unexpected surprises! Professionally and imaginatively delivered from concept to build.”Chris Johnson, Director Shambala Festival
A commission of new original work designed and installed for Shambala Festival, a highly successful and established arts event, renowned for its creative, unique programming.
With a history of investigation into crafted spaces that play with inside and out, we made a pot, sat round the table, took a house and considered, “If a house no longer serves as shelter, what does it become?”
The result was a piece that turned a house into a multi-layered storytelling device, the doors and fixtures providing anchor points for people’s own narrative.
Running for the duration of the festival, the piece became a stage set, meeting place and a games board, where imaginations ran riot and dynamics changed from daylight family games to intrigue and mystery through shadows and spotlights under cover of darkness…
Photo 1 by Mark Welby, Photo 4 by Terry Rook – Glance Image
used with permission by Shambala Festival and Photo 5 by
The Junk Boat
“The Junk Boat combined sculptural and technical artistry to create a thought provoking space that generated a real sense of belonging and celebration” Emily Eavis, Co-organiser Glastonbury Festival
Powered by the sun and wind, The Junk Boat departed on a voyage mission to do just that, pulling up to port at high profile arts festivals across the country including Glastonbury, the Big Green Gathering and Shambala hosting workshops, talks, music, story telling and cinema.
A meeting of creative, playful and environmentally conscious minds, The Junk Boat was designed, built and toured by Craftedspace in collaboration with Recycled Venues.
A space for everyone, it was a resounding success – a highly imaginative playful arena that encouraged both children and adults to be truly present, a platform for connection, communication, sharing and most of all celebration!
“Jenny and Mehdi design and build simple, expressive and playful structures, fit for purpose and aesthetically right on.” Bob Wilson Special Events Co-ordinator Greenpeace UK
A central feature of Greenpeace’s field at Glastonbury, the Turf Works concept evolved over a period of 6 years from a grassy mound, with comfortable seats cut out and upholstered in turf, into a landscape of amphitheatre proportions.
To date the installations have been temporary, created from spoil that has been removed elsewhere onsite, with a view to creating a permanent turf landscape in the future. We advise that all that is required for maintenance is an army of guinea pigs…or possibly a strimmer.
Photos 2 & 3 by Will Rose for Greenpeace UK
Their platform is our investigational outdoor studio keeping our creative practice fresh and informing our more permanent architectural designs.
Using woven willow, bamboo, thatch and hazel in conjunction with wooden shingles, cordwood and clay, we aspire to create low impact temporary structures, sculptural forms that allow the play of light and texture to define beautiful soulful spaces.
These projects have allowed us to observe how hundreds and thousands of people negotiate playful environments. How they can flow like liquid, how they respond to invitation. We have observed the tension between stimulation and stillness, learning how to avoid creating dead spaces or ones that are frenetic: exploring how to soothe people’s souls through changing their physical environment.