Marden Residency – 2016/17

Artist Residency at the UoR Field School 2016

In the summer of 2016 I undertook an artist residency on a Neolithic Henge, in the Vale of Pewsey, excavated by the University of Reading. I collaborated with ArtLab to extend the possibilities that 3D scanning and printing offers my practice through investigating dialogues between the rural and the urban. I proposed to find out how our perception of a landscape changes when digital technologies are introduced and what engagement I had whilst using these technologies. What is gained and lost from using digital image-based recording and re-production technology?

This research is presently ongoing in preparation for exhibition at the Wiltshire Museum in summer 2017.

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Dig Diary

The open day, at the top of the page, was a chance to showcase our research and individual artistic responses. To display some of the work produced by residents on the dig and to support ArtLab at the Field School, myself and Wendy McLean applied for funding from ‘The Friends of The University of Reading’ to make a set of collapsable display system. This collapsable display system is know as ‘Pop-Up’ and enabled us to demonstrate 3D scanning and printing for the site visitors on the open day.

Below is a visual record of my time spent at the University of Reading’s Archaeological Field School in July 2016 at Marden Henge, Wiltshire. Over the course of the residency I learnt several different techniques used for recording archaeological trenches, excavated details and finds. This included not only traditional manual archaeological practices such as mattocking and troweling but new digital technologies such as geophysical scanning. Throughout the residency on the dig my aim was to explore the poteintial that 3D scanning and printing offered me as an artist on the dig to interpret and produce art work using these processes. With the support of the Art Departments ArtLab, I was able to push the bounds of the technology in the challenging outdoor environment of the trenches.


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Day 2 – Trench I @uorfieldschool #mardenhenge #uor #archaeology #artistinresidence

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3D Printing

After completing the residency at the Archaeological Field School I have since started collaborating with artist Dominique Green for our upcoming exhibition at the Wiltshire Museum in response to work started on the residency. We are developing methods in which to re-model, re-map and re-imagine the neolithic henge at Marden using the digital scans we have both collected. We are working with ArtLab using their 3D scanning and printing technology from 3D systems to achieve this.

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Hold. Test. Empty. Remove. Repeat.

‘Hold. Test. Empty. Remove. Repeat’ is a short film produced by Ciara Healy in collaboration with visual artist Adam Stead, University of Reading. The film looks at our relationship with agriculture and place and is the result of a 2-year correspondence between Ciara Healy & Adam Stead. Adam Stead’s letters are concerned with the socio-political and socio-ecological impacts of increased industrialisation and consumerism on agriculture within rural communities in Britain and Ireland. He reflects upon his relationship with the farm he grew up on and its future. Ciara Healy’s letters draw attention to the mythologies, histories and ecologies of Place and the impact they have on our sense of belonging. Their visual dialogue documents how they attend to these diverse ecological, agricultural and environmental ways of knowing.

Wuhan Exchange – May to October 2016

British Council China Funded project collaboration with Wuhan University architecture students

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The ‘Bodies’ group: Sarah Coe / Adam Stead / Che Xin / Liu Yuqiu

We were initially interested in how the human body fits into spaces and how these spaces are designed around the body. Our cultural exchange highlighted both differences and similarities; a common interest became the virtually edited body. Our project explores a post humanist way of existence, directly seen through Trans-humanism. The Trans-Human is seen through the projection, which combines digital technology with the body, to create enhancing modifications. Viewers are forced to manoeuvre their bodies under the screen and so participate with the artwork.