How does your garden grow? Common Ground’s Claire Tindale in Victoria Square Gardens



As part of this year’s Northern Art Carbooty programme, we have commissioned a number of local artists to deliver a series of workshops with and for the residents of Ancoats Conservation Area – the home of the Northern Art Carbooty events!

Residents from Northward’s Housing Victoria Square and regular user groups of local Charity organisation Mustard Tree have been invited to explore the Ancoats Community gardens to develop a growing based board game! The structure will exist as a sculpture in its own right but also a social tool for groups in Ancoats to use in the communal garden spaces.

You will be able to have a go at the Garden based game yourselves, live on the Northern Art Carbooty event day and meet some of the local residents who have worked to create this new interactive work!

Common Ground Collective’s Claire Tindale has been leading on the sessions each Monday, supported by Common Ground and Northern Art Carbooty’s Liz Wewiora.

A massive thank you to all of those who have taken part so far and we look forward to having a go at that game!

These workshops have kindly been supported by the Ancoats Community First grant scheme – Community Development Foundation


Beth Collar in-residence: exploring all things female narrative at Glasgow Women’s Library


Wewioraprojects are delighted to confirm London based artist Beth Collar as artist-in-residence at Glasgow Women’s Library commencing her 3 week research and development time on 5th August.

Beth will be exploring the vast and uniquely diverse archives at GWL with everything from the suffragettes and GBLT groups to female badge collections and witchcraft!

Regular posts about her time will be viewable via our blog site so do keep an eye out to see how Beth responds to the Collection and indeed the venue itself during this time.

Working across video, sound, drawing and performance, Beth’s practice raises questions about the construction of a collective historical consciousness and the desire to commune with pasts both real and imagined. Using her body as cipher for narrative, she engages improvised performative languages, favouring subjective interpretation over the universal, to interrogate archetypal themes such as manhood and war.
What better female artist then to respond to Wewioraprojects current developing project ‘Tall Tales’ within such a perfect context of Glasgow Women’s Library.
Beth will be in-residence from 5th August – 27th August 2014 with open door days for the public to see her on-site during the last few days. More details to follow soon!
This residency has kindly been supported by Grants for the Arts, Arts Council England

Tall Tales at Tavistock and Portman



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 Both myself and Helen Wewiora were delighted to go on the first site visit of the Tavistock and Portman Centre in London last weekend. The Tavistock and Portman Centre will be the main site for Glasgow based artist Ruth Barker to take up a Summer residency exploring the centre’s services, own art collection and library archive.

The Tavistock and Portman Centre is an innovate research centre into mental health, education and social care. Much of its work reflects its focus on the use of systemic/family therapy and psychodynamic/ analytical therapy. We were lucky enough to have a tour from the Centre’s collections Curator Karma Percy who works on both the Library and Art Collections archives and programming.

As part of the research and development of our proposed forthcoming Tall Tales project, we hope for the Tavistock and Portman Centre to become our main London base venue for a group exhibition of female narrative practice in 2015/2016.

Artist Ruth Barker will be spending time at the centre this Summer to create initial ideas in response to Tall Tales and the centre itself, connecting with the locally relevant venues such as the Freud Museum and the Royal Central School of Speech and Drama. 

Ruth’s practice Ruth Barker is predominately performance based. In Barker’s work the re-telling of ancient myths through original poetic composition becomes a gesture towards the ritual understanding of self, gender, and mortality. Re-composing ancient stories through the lens of her own unconscious associations, personal autobiography, and mythological research, Barker’s performance poems are hypnotic, ritualised, events. Her words are recited from memory with a concentrated focus that becomes by turns magical, claustrophobic, and cathartic.

With this in mind Ruth will also look into potential ways that through her own recent vocal training for developing her performances can transform into a participant workshops with service users of the centre as part of her residency programme.

It is also with great pleasure to announce that the residency is kindly supported by Grants for the Arts, Arts Council England