Middlehill Meals at Three Cups Inn
Jane Charlton, April 2014
Jane Charlton is a practicing artist and recently returned to live in Middlehill after 30 years.
She was a full time lecturer in Fine Arts in Higher Education, including Bath Academy of Arts, Corsham; Westminster College, Oxford; Monash University, Victoria, Australia; De Montfort University, Leicester; and York St John University, York.
Jane Charlton, April 2014
Jane Charlton is a practicing artist and recently returned to live in Middlehill after 30 years.
She was a full time lecturer in Fine Arts in Higher Education, including Bath Academy of Arts, Corsham; Westminster College, Oxford; Monash University, Victoria, Australia; De Montfort University, Leicester; and York St John University, York.
Location of shard pottery finds
Squatters Cottage at Middlehill
The cottage I live in at Middlehill dates from about 1760. It began life as a squatters cottage (allegedly if walls were constructed within 24 hours the property could be kept). It was subsequently part of The Three Cups coaching Inn on the Bath-Shockerwick-London Coach Road (now largely overgrown).
When we moved back to the village recently, the cottage was in need of considerable repair and refurbishment and during this work we discovered substantial quantities of pottery shards (pieces) in the garden.
One aspect of improving the space was to clear earth from the rear of the cottage to create as much light as possible. In digging out the earth I discovered hundreds of broken shards of china – buried as a means of discarding broken pots or as some form of old midden (lavatory or domestic rubbish pit).
The cottage I live in at Middlehill dates from about 1760. It began life as a squatters cottage (allegedly if walls were constructed within 24 hours the property could be kept). It was subsequently part of The Three Cups coaching Inn on the Bath-Shockerwick-London Coach Road (now largely overgrown).
When we moved back to the village recently, the cottage was in need of considerable repair and refurbishment and during this work we discovered substantial quantities of pottery shards (pieces) in the garden.
One aspect of improving the space was to clear earth from the rear of the cottage to create as much light as possible. In digging out the earth I discovered hundreds of broken shards of china – buried as a means of discarding broken pots or as some form of old midden (lavatory or domestic rubbish pit).
Middlehill Meals Mosaic
Designing the Mosaic
In looking carefully at the shards I recalled the modernist architect Antoni Gaudi’s trencardis (broken tile mosaic) at Parc Guëll in Barcelona, which influenced the sculptures I created for an exhibition called Site in 2011 which was disseminated at a conference at Yorkshire Sculpture Park.
The exhibition challenged archaeological conventions. This is one of 2 x 38cm circular forms initially called Shard Meals signifying convivial meals and sharing food throughout time and geographical space.
In looking carefully at the shards I recalled the modernist architect Antoni Gaudi’s trencardis (broken tile mosaic) at Parc Guëll in Barcelona, which influenced the sculptures I created for an exhibition called Site in 2011 which was disseminated at a conference at Yorkshire Sculpture Park.
The exhibition challenged archaeological conventions. This is one of 2 x 38cm circular forms initially called Shard Meals signifying convivial meals and sharing food throughout time and geographical space.
Shard Meals is a circular sculptural work which employs Gaudi’s trencardis. I decided to rename my work Middlehill Meals to reference its context.
It challenges interpretation in the sense that all the shards are from different historical periods and contexts including Victorian imported china and locally fired pieces.
In reorganising the shards anyone unearthing the work in a future scenario may make several assumptions about its meaning and location.
It challenges interpretation in the sense that all the shards are from different historical periods and contexts including Victorian imported china and locally fired pieces.
In reorganising the shards anyone unearthing the work in a future scenario may make several assumptions about its meaning and location.
Recording Archaeological Finds
I trained at Bristol Museum as an archaeological finds illustrator as a means of securing a post in Ankara, Turkey for a year. The year in Turkey had a significant impact on my opinions and observations about archaeological interpretation.
Archaeologists increasingly use art to help explore alternative material qualities, to think about how material culture changes in time and space and to find new ways of presenting their findings as a means to investigate the connections and contradictions between archaeological and art practice
My recent work is embraced in notions of artist as archaeologist – using local finds to signify the lives and histories of communities. For example, after the tsunami in Sri Lanka, I witnessed artefacts that were to inform a video installation made using underwater footage which re-lived some potent memories of the tsunami.
I trained at Bristol Museum as an archaeological finds illustrator as a means of securing a post in Ankara, Turkey for a year. The year in Turkey had a significant impact on my opinions and observations about archaeological interpretation.
Archaeologists increasingly use art to help explore alternative material qualities, to think about how material culture changes in time and space and to find new ways of presenting their findings as a means to investigate the connections and contradictions between archaeological and art practice
My recent work is embraced in notions of artist as archaeologist – using local finds to signify the lives and histories of communities. For example, after the tsunami in Sri Lanka, I witnessed artefacts that were to inform a video installation made using underwater footage which re-lived some potent memories of the tsunami.
Assembling the Shards
If You Wish to Make Something Similar
Use marine plywood as a base as it is water-resistant and the work will not warp. Use water-proof tile cement to attach pieces.
Sort all of your shards carefully, wash and bleach to sterilise the pottery. You will need many more shards than you think. One circle required 12 carrier-bags full of pieces.
Use marine plywood as a base as it is water-resistant and the work will not warp. Use water-proof tile cement to attach pieces.
Sort all of your shards carefully, wash and bleach to sterilise the pottery. You will need many more shards than you think. One circle required 12 carrier-bags full of pieces.
Carefully arrange the designs you wish to have; arrange and re-arrange until you are satisfied with the arrangement. Spread tile cement to small sections at a time (it helps to use old leather gloves throughout to avoid cuts) stick the pieces down firmly to each section and clean off carefully.
When complete and set, clean each shard further and tidy the whole. To finish mix coloured tiling grout and carefully pipe into all the gaps and wipe it down thoroughly (this is really messy and you will feel it will never become clean but it eventually will - you will require lots of rags).
(Left: pieces arranged before cementing)
When complete and set, clean each shard further and tidy the whole. To finish mix coloured tiling grout and carefully pipe into all the gaps and wipe it down thoroughly (this is really messy and you will feel it will never become clean but it eventually will - you will require lots of rags).
(Left: pieces arranged before cementing)
Want to See More?
From September 2nd to 8th 2014 Jane will be showcasing her work in the Walcot Chapel Gallery, Bath, in a show (provisionally titled Excavational Art. It is a solo show of paintings, drawings, assemblages and sculpture which explore the relationships between art and archaeology.
She will be showing a wide variety of her work including her world-wide work. In Cyprus she worked closely with the community in referencing the relatively recent historical events around the political division of the island. These upheavals are still within living memory of most of the population & continue to colour relationships in raw and passionate ways. She has also worked in response to museum collections and acted as Arts adviser/coordinator for schools and community projects in Europe (Italy, Spain, Cyprus) and World-wide (Sri Lanka, Australia and Japan).
References
[1] The Three Cups is the insignia of the Worshipful Company of Salters and is perhaps indicative that this little used trackway was part of a salt trail. The same idea is also reflected in the name Saltbox Farm in Box. See http://en.wikipedia.org/wiki/Pub_names
From September 2nd to 8th 2014 Jane will be showcasing her work in the Walcot Chapel Gallery, Bath, in a show (provisionally titled Excavational Art. It is a solo show of paintings, drawings, assemblages and sculpture which explore the relationships between art and archaeology.
She will be showing a wide variety of her work including her world-wide work. In Cyprus she worked closely with the community in referencing the relatively recent historical events around the political division of the island. These upheavals are still within living memory of most of the population & continue to colour relationships in raw and passionate ways. She has also worked in response to museum collections and acted as Arts adviser/coordinator for schools and community projects in Europe (Italy, Spain, Cyprus) and World-wide (Sri Lanka, Australia and Japan).
References
[1] The Three Cups is the insignia of the Worshipful Company of Salters and is perhaps indicative that this little used trackway was part of a salt trail. The same idea is also reflected in the name Saltbox Farm in Box. See http://en.wikipedia.org/wiki/Pub_names