The Weather Report

Screen shot from The Weather Report film 2021

In this project artist Jill Impey curated a creative space (online or live) in which people from coastal and immigrant communities (in England in 2021 and New Zealand in 2018) reflected on relationships with heritage. They explored feelings about the weather, the sea, immigration, colonisation and notions of connection and took part in recording sessions that contributed to a film. The project was funded by Arts Council England in 2020 . In post Brexit, mid-pandemic England, the host was Lucida Impey, a mental health nurse just returned in 1948, from New Zealand. She provided resource packs and led creative activities. By setting the scene post-war, participants were released from their day to day lives to converse and connect with their creativity. Before and after the workshops, they gave their own ‘internal weather reports’ The full film is 14 mins duration, with subtitled spoken reflections.

Art History and Contemporary Art

We can learn a lot about our world through art history and contemporary art by putting things into context.

I’m looking forward to running these 4 Art History and Contemporary Art sessions at Shrewsbury Museum and Art Gallery starting with 
SAT 1 OCT, 2022
Portraits Art History Workshop with Jill Impey
Shrewsbury Museum & Art Gallery
2:00 PM – 4:00 PM Cost: £20/ session
booking at https://www.shropshiremuseums.org.uk/…/portraits-art…/

A portrait of a white woman in Tudor costume and text that says 'SM&AG SAT 1 OCT 2022 ART HISTORY With Jillmpey Portraits Courses 合 Shropshire Council'

The Weather Report : Inclusion, Collaboration, Connection Post 2

This week I have been reflecting on accessibility and inclusion.

In July for The Weather Report programme I took part in Accessible Marketing training by Paula Dower from DASH. I have started to implement some of the really important changes that I need to make in my communications.

I have also started to recognise some of my own accessibility needs as a neurodiverse artist.

I have always struggled with giving talks and decided to use visual notes with drawings and annotations. This enabled me to remember key points when I gave a talk to fellow artists: Andrew Howe, Jean Atkin, Emma Plover and Jamila Walker Thomas; Olivia Hames from the Hive and Kate Green from Meadow Arts.

A crumpled piece of paper with drawings and written notes on it. There is a lighthouse drawn on the left with the Dates 1620 and 2020 written on it. Some railings and the letters T-A-P and the name Kim Wide. On the right there is a drawing of New Zealand flax some wavy lines to represent the sea, 2019 NZ and the name Jasmine Teei are written. In the centre ACE is circled and underneath it SSR with a picture of clasped hands beneath. At the bottom the word PLYM-SEPT , T Severn + Hive Shrewsbury; Dragon Barmouth, Old Art School Raglan NZ. ( BSL) Wolverhampton Arena Theatre. Meadow : Share
My visual notes for a talk about The Weather Report. They include important dates, images and tour venues.

In other news:

I attended The Body as Vessel: Priya Mistry AKA What’s the Big Mistery, provoking, evoking and amplifying. (Axis Web)

I Visited British Columbia and was inspired by indigenous knowledge. I found affinity with Raven who teaches us to be creative, playful and curious.

A black stone carving of a dancing raven figure with human legs and feet mounted on a cedar tree trunk base.
Raven Dancer- Contemporary Blackstone Carving. Koskas ( Billy Dan ) Lilwat Nation, 2004

I’ve just booked a course in Mental Health First Aid with St John’s Ambulance. This will help deal with any issues that come up during workshops. It will help create a safer space.

This new knowledge will be embraced and disseminated in The Weather Report Inclusion Tool- Kit.

The Weather Report : Inclusion, Collaboration, Connection Post 1

My gratitude to Art’s Council England for funding the second part of The Weather Report

The first exhibition and workshop has come and gone at the Hive, in Shrewsbury. Warmly received.

The central image shows a black woman's hands hold a large white conch shell. The background is a green translucent sea. A turquoise blue box surrounds the image. Bold black and white text at the top says The Weather Report. At the bottom it says Exhibition by Jill Impey.
Poster for The Weather Report Exhibition at The Hive, Shrewsbury
A 5 X 4 grid of Post cards  overpainted with oil sketches of skies. Photographs of young peoples' faces as well as bridges and rivers are obscured by painted clouds and sky scapes.
Installation View
3 large TV screens, set out in a row, are showing different films , a White building against a blue sky, a white woman's bent hands hold a large white conch shell, a turquoise blue sea from the side of a boat with a rusty chain. They appear to be connected by black wires to a large white conch shell on a white box. Two large sofas are positioned in front of the television screens.
Installation View

Jill Impey’s practice combines artefacts, found objects, curation, sound and video. Her focus is on communication and connectedness. Exhibited as audiovisual installations on themes of heritage and nature, Impey as artist and Reiki practitioner, seeks to engage observers in discussions and workshops.

The combination of installation and focus upon the response of the observer is at the heart of my practice, which is committed to opening up vitally needed channels of communication to heal the fractures in our modern society. The Weather Report seeks to  engage a broader national and international audience in discussions around heritage, migration and interconnectedness….. sometimes its easier to talk about the weather.

Jill Impey

This Primeval Infant Earth/ Liminal, audio visual collaboration, Jill Impey and Ted Eames, filmed in NewZealand (Aotearoa)
Objects from the sea, Iceland 2016
Objects from the sea, New Zealand 2019

re:collect

Contemporary artists working in a heritage context https://recollectartists.wordpress.com

Jack-the-lad, audiovisual installation, Jill Impey, from re:collect’s An Undertaking, St. Chads Church, Shrewsbury
Anthem, war no more, audiovisual installation, Jill Impey, from The First Casualty of War is Truth, a re:collect touring exhibition.

Jill Impey’s installation stands in contradiction to The Old Lie – the propaganda, call to arms “Sweet and fitting it is to die for one’s country.” referenced in Wilfred Owen’s poem Dulce et decorum est, Pro patria mori. The waste of young lives in WW1, is represented using the metaphor of trees as both witnesses and participants; witnesses that can out live humans by hundreds of years; and that have been present through all the squabbles over land and shifts of power engendering wars before and since 1914-18; whose limbs, have historically been put to service made into ships for trade and war. Cut sections of various trees are exhibited to show a timeline of 100 years of British engagement in conflict since WW1, the war to end all… a Heart of Oak, references ideas of heritage, reverence and longevity. Bringing the piece into the present, voices of contemporary youth deliver the message of loss in a specially commissioned arrangement of Anthem for Doomed Youth by Wilfred Owen; devised and performed by Mollie Grant and Jack Clorey, Music students from Shrewsbury College, sung to film of a lone oak in an empty wood, while webcam footage of Galipoli, and other ‘surveillance’ views draw attention to the notion of bearing witness, being conscious, singing out; the truth about war is that one begets another.