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.

The Weather Report: Post 10

This week I have been :

  • making connections for my 22/23 tour of The Weather Report
  • reading Pamela Petro’s The Long Field
  • attending Eternal Forest Conversation on zoom with Mileece
  • watching BBC’s This is Going to Hurt
  • Thinking about: the kindness of strangers after being stranded in Llandinem in Wales by floods; taking responsibility; hope

aKIN Exhibition Workshop

“This is a time to take a lesson from mosses” Robin Wall Kimmerer, renound writer and botanist

Mosses have survived 350 million years of catastrophe. They are ecologically important, absorbing huge quantities of water, helping to soak up rainfall and create humidity, offering a home for creatures, like woodlice and nematodes.

There are around 1,000 bryophyte species of mosses and liverworts in the UK. Many require microscopes to distinguish between closely-related species, how can we get to know and learn from them?

For this workshop during Participate’s exhibition a-kin, Jill Impey will take you on a brief artist’s guide to learning from mosses. No experience necessary, there will be some fun drawing and mark making and a gathering of words to make poetry snippets you will need pencil / pen and A4 paper. 

Suitable for Adults & Children Age 8 upwards ( no unaccompanied children)

Session lasts 1 hour, Sunday 13th of February at 1 pm

Face to face: at the Unitarian Church Shrewsbury ( max 6 including carers – please note there are stairs up to the workshop room ) booking via : shrewsburyunitarians@gmail.com

Online via zoom: booking through Eventbrite:

https://www.eventbrite.co.uk/e/akin-exhibition-workshop-tickets-251946377397

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.