Untitled

Digital print on paper and board, 20 x 25.4cm (each)

This series of photographs explores in macro the cost to marine life as it attempts to escape waste products often dumped at sea. A kaleidoscope of colour invites the viewer to reflect on the beauty of the natural world and the challenges it faces, often in the face of gaudy detritus purchased for our entertainment.

Flora Spectrum Orford Ness

Digital print on wood, 54 x 14 x 205cm

For over 30 years, data has been collected about the common and rare fauna on Orford Ness. Jane Watt has started to devise a spectrum that charts the colours of plants found on the Ness throughout the seasons. This will be used in ongoing works that record the colours of this particular landscape and references early camouflage research that took place here in the early 20th century.

How I See the Ness

Ink and charcoal on the paper of a repurposed library book, 13 x 20cm

Diane Legg's sketchbook is repurposed from a second­hand disused library book The Ness by Robert MacFarlane. It offers a personal reflection on the Ness. Through the images and language, it offers a glimpse into its diverse landscape, where nature has been allowed to readjust the balance of nature and human impact.

Untitled

Plaster, glue, photo image transfer, ink on canvas

Carl Khan's work aims to capture his experience of being on Orford Ness, its many textures and visual imagery, alongside hidden narratives and layers of time that are forgotten and kept secret. In this work he blends natural elements with human traces to evoke a sense of intrigue and discovery.

1,2,3,4,5,6,7,8

cyanotype prints on paper, 14 x21cm each

These prints have emerged from a multi-layer process. They started as rubbings taken from the floor in the Power House, they then became ink drawings, the ink drawings then became a digital file, the digital file then became a negative and positive set of acetate sheets, the acetate sheets then became the cyanotype print.

Negative/Mirorred

Plaster, silver leaf, found object (mirror) 50 x 50 x 11cm

Belinda Downing’s sculpture tests the boundaries of space around an object, whether negative or positive, or in an illusory manner, and to alter the way a viewer might see and perceive space and architecture.

Curated Decay

Digital text on paper, dimensions variable

Curated Decay is, at present, a two-part text written as a speculative response to Orford Ness and intended for display in the space of-and perhaps as-art.

Power House Landscape

Black & white kodak print, 240 x 50cm

SE Barnet worked with Jane Watt and Lawrence Woolston to turn the Power House into a pinhole camera. They documented this fleeting moment of light passing through the pinhole as a negative image of the horizon line looking east.

Among the Shingle

Oil on paper, 27.9 x 21cm

This painting is based on one of the many photographs the artist took while in residence on Orford Ness. The work captures the now everyday sight of plastic mixed in with shingle which is so prevalent with our reliance on plastic use.

Grounds of the Ness

Drypoint etching on paper, 14.8 x 21cm (each)

Inspired by the mark making on the original maps of the Ness, each line etched into the plate tells the story of windswept landscapes, abandoned military structures and delicate ecosystems all inhabiting this coastal environment. Through fine detail and careful shading, she invites the viewer to immerse themselves in the mysterious allure of Orford Ness, where history and nature intertwine in a mesmerising dance.

Flora Perspectives

Collage on acrylic panel. 56 x 40 cm each

Orford Ness, a witness to groundbreaking scientific research in a bid to defeat an enemy is now being reclaimed by nature, a force that is both friend and foe. Viewing two different perspectives simultaneously creates a sense of disorientation and unease, which resonates with the dystopian surroundings of this unique place.

Hare of the Ness

Packing tape, expandable foam, 85 x 70 x 100cm

During the Orford Ness residency, Matthew saw many hares running around on the shingle. He started to capture their form whilst on the Ness using his preferred medium of packing tape. The shingle texture contrasts the smooth artificiality of the packing tape suggesting the context of this hare's natural habitat.

Shingle Wonder

Perspex acrylic, wood, stone, and moss 42 x 59cm

Mel Palmer was inspired by what seemed like endless shingle and areas of concrete intrusions that are now dotted with moss which suggest that the land is healing.

Inside Nature

Digital print on acrylic, 29.7 x 42cm

Inside Nature is a series of X-ray scans of small pieces of nature found washed up on Orford Ness. On an island with such a painful history, nature is still at the heart of everything. Though shells and sea weeds are things we see very often, we never think about them much, but we can always push deeper. What is inside them? What does the structure truly look like?

Martello Tower

Oil can, acrylic paint 35 x 20 cm

Kayleigh Brooks explores the idea of the past and present. Inspired by corrosion and military history, her collection of readymade sculptures are an unrestrained projection of the events that happened on site. By constructing eerie work, she manifests a chaotic relationship between nature and man.