Trudi Entwistle

My garden design and conceptual artwork were reviewed within this article about Jan Erik Andersson’s Spruce House.

An exhibition and mini arts festival celebrating diverse communities and collaborations hosted by 'Quarry Lab'. The exhibition 'SEE HERE' presents the work of local, national and international artists who are engaging in with the ideas, challenges and process of changing communities, collaboration and place making and offering creativity as a positive way forward. Sponsored by Art Council, Experian, Mojatu Foundation,Trinity Church Nottingham, Eranda Rothchild Foundation, Kenya Airways, The Bakehouse. I was part of an exhibition and mini arts festival celebrating diverse communities and collaborations hosted by Quarry Lab. The exhibition SEE HERE presents the work of local, national and international artists who are engaging in with the ideas, challenges and process of changing communities, collaboration and place making and offering creativity as a positive way forward.

Invited artist for panel discussion

I was appointed artist in residence for the Calderdale ‘Art as Natural Flood Management’ project. This is a project to create a series of artworks within the Upper Calder Valley, not only raising awareness of the damage caused by climate change, but also helping to reduce its impact. Other appointed artists on project Andy Goldsworthy and David Nash.

Open Space 70 talks, Hebden Bridge Arts. Hebden Bridge Town Hall. Talk about our changing rural landscape and approach as artist. The talk will placed Entwistles work within the context of the land art movement, and how, through the decades, approach to this practice has changed, particularly with growing awareness of climate change and other environmental concerns. There was a focus on the South Pennines, flooding issues and the natural beauty of the landscape. The talk was followed by a discussion to voice local thought on how art within our landscapes can play a role in raising awareness, or potentially offer creative approaches to environmental solutions.

How can artistic intervention address problems of fluvial damage to landscape while emphasising its natural beauty? Focusing on the South Pennines, Watershed occupies an area where ecology and aesthetics meet, its understanding of landscape drawn from interdisciplinary approaches.   Facilitated by a £12,000 Leverhulme residency, Watershed was a culmination of site-specific fieldwork whose outputs – Upstream (2014), Ripple (2014), and Hebden Water (2016) – entailed working with professionals from various sectors: scientists from water@Leeds, University of Leeds (UK’s largest centre for water research); engineers from Yorkshire Water; and local farmers. A meditation on surface and reflection, Ripple employed fertiliser to etch geometric undulations into vegetation, producing different rates of growth; Hebden Water (produced with sound artist Paul Ratcliff) was an audio-visual depiction of how water shapes landscape and culture; while the exhibition Upstream assembled several works exploring the impact of human activity on water as it issues from its moorland source.   Ripple and Hebden Water were showcased in two further exhibitions at the National Trust’s Gibson Mill (2014, 2017), and presented at the conferences ‘Places for Art and Art for Places’ (Hebden Bridge, 2014); and ‘Arts, Farmers and Philosophers’ (Bowes Museum, Teesdale, 2017). Ripple was commissioned by Yorkshire Water and Pennine Prospects for the Tour De France’s Grand depart, viewed by 3.5 million spectators. Ripple featured in The Times (‘Follow the scenic route at this year’s Tour de France’, 10 June) and The Yorkshire Evening Post (‘Artists helping to transform fields into living canvas’, 10 May).   Watershed’s contribution to discourses on land use, water quality and flooding comes from direct hydrographic experience. By blurring distinctions between the landscape’s aesthetic and ecological character, it inculcates the mindset required to address a situation in which ‘Climate change projections suggest the frequency and severity of flooding is likely to increase over the next century’ (IPCC, 2014).

A Domicile has been a place to accommodate expression for the arts and contemporary dance within a local community of Guisseny, Brittany France. In 2006, the National Choreographic Center of Rennes and Brittany (Museum of Dance) in collaboration with the Office of Tourism of Guisseny initiated a residency programme for artists. 2016 was the 10th Anniversary and 20 artists were invited back to make workshops with local people which culminated in a weekend event of performance, installation and exhibition.

Professional exchange programme, BEAM, Wakefield. http://wpa-pinfold.co.uk/dev/beam_clone/news/arts_across_borders_creative_commissions

I was invited to give a lecture to professional landscape architects about the content and process of my co authored publication ‘Visualisation in Landscape Architecture’, Bloomsbury publishers, (2013)

A day of talks by artists and designers whose practice focuses around place-orientated art. From public art and social engagement, to painting, poetry, projection and sound, a diversity of art projects will be presented which explore the spirit of place through either physically working in the landscape or taking inspiration from it. Whatever the media, whether directed by a cultural, historical, physical or ecological context, the emphasis of discussion will focus on the artists unique approach and interpretation of place.

Seoksu is a traditional Korean market that is being over-shadowed by modern development. SAP is the 'Seoksu Art Residency' program. The program brings artists to the market place for a few months of the year. The artists use vacant plots as studios and exhibition space, developing relationships with the community, bringing new life and positive change to the market. Entwistle used temporary installation as a platform to orientate and resonate with the place. Reviewed in the catalogue Art in the Market.

This was the culmination of a Leverhulme Residency Grant awarded in 2013. This residency allowed me to work alongside scientists within water@Leeds research unit at the University of Leeds, to initiate creative exploration into the unique character of the upland landscape of South Pennines.

The intention of this residency was to work alongside scientists and engineers within water@leeds (at the University of Leeds) to initiate creative exploration into the unique character of the upland landscape of the West Yorkshire uplands/South Pennine area. The residency sought to sculpturally respond to place and the influence of water, through temporary installation, with the intention at the end of the residency to propose a permanent site-specific piece of land art in this upland landscape. The aim of such artwork was to visually celebrate and educate the importance water has on this landscape and our lives. Water@leeds is a University of Leeds’ flagship research centre that operates across all University Schools and Faculties. Additional research: The work from this residency has been embedded in an APP for smartphones. This collaboration was with Aberdeen University to highlight the issues of upland management affecting water quality downstream, using art as an educational material for interpreting environmental issues.

A large scale land art proposal as part of a plan by Swindon Borough Council, funded by a 106 grant to install several pieces of public art along the town’s eastern junctions as part of the New Eastern Villages expansion project.

As part of my 2005-08 involvement in the ‘Life on a Leaf’ house project, the project now belongs to the Krone Art foundation. Over the last decade the house has become an international tourist attraction and now houses an artist in residency programme. For Andersson’s post-doctoral degree from Academy of Fine Arts, University of the Arts Helsinki, he conceived and built another smaller house on the grounds, the ‘Spruce House’. The concept and research behind the Spruce House project, Andersson investigates how a small house made on a low budget, whose basic “essence” and structure can be repeated. He invited sculptors to adorn the façade of the house. I was invited again to contribute to work with Andersson on his new architectural project ‘Spruce House’. It enabled me to continue my first earthwork around the Leaf house, by connecting the two residences together and completing my wild design for the whole garden. ‘Jetty’ was a new conceptual installation as a provocation protesting about sea level rising. The planning of the house and the participation of the other artists were financed with a grant from the Kone Foundation. The process and build of the Spruce house has been documented and filmed for Grand Designs Finland on MTV3. https://www.anderssonart.com/the-spruce-house-kuusi-o-talo/ https://www.instagram.com/kuusiooo/?hl=en

This was a collaboration between artist Trudi Entwistle and sound recordist Paul Ratcliff. Both work within the natural environment and aim to capture the essence of place within their own media. The aim of the collaboration was to creatively explore the fusion of the audio and visual aesthetic and to capture the essence of a landscape and culture shaped by water. The installation consists of a sound and projected photographic narrative that combine to lead us along a watercourse from the valley bottom in Hebden Bridge to a point high in the surrounding moors.

Visual Communication for Landscape Architecture demonstrates not only how and where a range of visual communication skills are needed to inform a design process, but also why they are essential in order to make presentations both informative and memorable. It illustrates how representational techniques can be sensitively applied in different contexts appropriate to a diverse range of design challenges, and encourages experimentation with contemporary techniques, both 2D and 3D. Developing a professional but creative design portfolio is explored in relation to creating e-portfolios and websites. A total of 12 contemporary case studies enable readers to contextualize the methods and techniques explored in each chapter through exploring real-life examples of winning projects by successful landscape architecture practices, making this title an inspirational resource for both budding – and practising – landscape architects.

My artwork from ‘Life on a Leaf’ has been reviewed in this publication. Chapter 6. The Place for Art, p.73. http://www.veryshortintroductions.com/view/10.1093/actrade/9780199681204.001.0001/actrade-9780199681204

My artwork has been reviewed in this publication. My research from 2005-8 (REF) was involved in working with this artist to realise artworks in the grounds of the Life on a Leaf house. MER PUBLISHERS http://shop.merpaperkunsthalle.org/life-on-a-leaf-jan-erik-andersson.html Timeline of House https://www.facebook.com/Life-on-a-Leaf-114479835243938/timeline/