Monday, 20 February 2017

commitment and conversation

More sifting, more photos… Here are some taken when Eva Sajovic and Corinne Silva paid me a visit in my old studio in New Cross, wanting help with casting Jaffa oranges for a project they are working on in Jordan. While the moulds were setting, Eva and I joined and cupped our hands for Corinne to pour plaster in. 

The plaster started to set and heat up while we stood still and faced each other. When it started cooling was an indicator it was set and we released our hands.

During the time it took for this to happen, roughly 15minutes, we discussed the possibility doing this as an activity for the pilot event at Tate Exchange of Unearthing, a collaborative project between The People’s Bureau and me. Strangers would commit to holding hands while waiting for the mould to set. The process would prompt conversations that would be recorded. Off now to find the images of the actual event and some of the participants’ words...

Wednesday, 15 February 2017

hands on and back again...

While sifting through photos, full of renewed commitment to post most regularly on this blog, I’ve come across these images. They were taken at Raversijde in Oostende, with the participants with who helped me create the performative installation Score for the Atlantic Wall, part of the exhibition Private Tag.

We spent the morning taking the piece down, and in the afternoon rehearsed ways of working the material, exploring ideas for producing a new piece with it.

As usual, things happened real fast and by surprise. Yours truly luckily managed to record some of the action with these few shots. The aim is now to find means of exploring this further, possibly at the same site. Read about it here a few posts from now… 

Tuesday, 15 November 2016

Score for Sittard / Cultuur maak(t) je

Score for Sittard, a piece commissioned by Joanna van der Zanden and artist Jeanne Van Heeswijk for Cultuur maak(t) je at Sittard’s new museum De Domijnen, in Dutch Limburg.

The piece started with a local group of ramblers collecting materials for make cords with which are pictured here installed in the museum. The making of these was done in formation leading to the cords being used as props to dance with and being tied into knots and plaited braids (the dance scores), before being untied again.

More info on the project is included in the following link.  


Thursday, 22 September 2016


strung - A collaborative film and performanc by Jane Fradgley & Shane Waltener for 
Reclaiming Asylum, an exhibition at the Bethlem Gallery

Below are extracts from the exhibition catalogue. All images are film still shot by Antonia Attwood

Whilst exploring ideas of being grounded (or not), facing anxiety, risk taking, embracing the unknown and the journeys taken as a consequence of all of this. A young woman weaves and moves through an insecure structure, feet off the ground, attached to the tree itself, which while defying gravity gives her support, safety and freedom to climb.

Based around a majestic Lebanese cedar tree next to the Bethlem Gallery, Fradgley and Waltener have come together employing stitch, movement, sound and visuals to create new performance and moving-image based work with Laura Glaser (dance artist), Zoë Gilmour (sound artist) and Antonia Attwood (videographer). Inspired by Fradgley’s project held and Waltener’s woven installation and performance work, strung, is an enquiry into notions of personal boundaries, freedom and restraint.

seeking movement for blessing

barefoot dancing

cutting shapes


yearning and stitching

blissfully climbing



darkness looming

unnatural holding

strung out


melting gently cleaving

soul transcending

end of the


A poem by Jane Fradgley

Note to myself: Find out what a work might be about. Let everyone get on with what they do best. As soon as we all know, the work will be done.- Shane Waltener

Monday, 19 September 2016

Score for the Atlantic Wall

Score for the Atlantic Wall is a performative installation created with a group of participants at the Atlantikwall Museum, a WW2 site at Raversijde near Oostende. The piece was commissioned by Vrijstaat 0 for the exhibition Private Tag, curated by Isabelle De Baets.

The piece, developed over a couple of weeks, was made by walking through the site following existing animal tracks, desire lines and boundaries marked by trenches and openings to tunnels.

These paths, made physical through stitch, brought into view and into mind the superimposed networks of lines dissecting the site, topographical, man-made and imagined.

The group of participants completed the work in a durational performance at the opening of the exhibition. A film documenting the making and rehearsal of this piece was also shown.

For more information on the exhibition, click on this link.

Monday, 14 September 2015

An Abecedary for Oya / Manufactum at CC de Ververij

Below is some copy which I wrote last month to accompany ‘An abecedary for Oya’, a series of works included in the current exhibition Manufactum at CC de Ververij in Ronse, curated by Jan Leconte and Chris Rotsaert.

For more info on the work and exhibition, see the links above or previous posts, or better still, go see the exhibition before the end of the month.

A for Anticipation and Artisanal

B for Baskets and Bonanzas

C for Cording and Coiling

An Abecedary for Oya

Earlier this year, artist Shane Waltener worked on Land of Plenty, a project commissioned by Rocsa. The collaborative project with the Oya group led to a number of objects being made, using locally sourced plant materials and yarns. They were exhibited at the end of the project at De Site in Ghent, where the plant materials were originally collected from.

The 26 composite pieces on display here include these original objects combined with others that inspired them or that were made in response to them. Also included with these are a number of Dailymades, selected from an ongoing series of works started by the artist in 2011.

By collaging and juxtaposing objects drawing on traditional crafts from all around the world and including techniques such as weaving, basketry and Oya crochet work, 'An Abedecary for Oya' questions where inspiration comes from and what objects communicate to us; can they contribute even to our sense of place and shift our understanding of our own social or cultural identity?

D for Darning and Dance

E for Exploring and Expanding

F for Feral and Foraging

G for Generous and Generative

H for Harvest and Hardiness