Jedburgh Abbey Artist-in-Residency lead artist

Lead Artist for Jedburgh Abbey Artist-in-Residency, pilot scheme set up by Culture Matters, in collaboration with Historic Scotland and Education Scotland

Reflections: glass: water: art:science

REFLECTIONS : glass : water : art : science showcases contemporary artwork by a variety of artists inspired by the creative interaction of reflective material within the designed landscape of the Haining House and loch. The residency programme, coordinated by Inge Panneels, local artist and senior lecturer from the Department of Glass & Ceramics, University of Sunderland, was led by 3 artist agent provocateurs, and brought together creative practitioners from a variety of backgrounds including sculpture, photography, sound and dance.as well as glass and architecture students from Sunderland and Edinburgh University respectively. Inge Panneels explained “….” The Residency was a short creative lab where creative people, who each work with different materials, at different stages of their career and with different working practices, were sharing three days of experimentation reflecting on both the surroundings of the Haining and the Loch. This resulted in collaborative working, sharing skills, ideas and working methods. It was wonderful to see this burst of creativity in such a short space of time and with limited materials. The material of glass was a focus but found and recycled materials also played a big role in the creation of these experimental works, most of which were sited in or around the Loch. The exhibition will bring together a selection of the works produced as part of the residency as well as some developed pieces such as the collaborative sound and visual experience by Mark Timmins and James Wyness; the choreographed kinetic film by Helen Douglas, Jenna Agate and Claire Pencak; and the reflective installation by Felicity Bristow and Graham Patterson. A series of related events will also take place throughout the exhibition period including on glass blowing by Lindean Mill lampworking Zoe Garner and engraving by Heather Gillespie supported by Craft Scotland ; presentations on contemporary glass art by eminent Borders artist Douglas Hogg and the history of Scottish window glass; talks by leading academics Inge Panneels, Dr Cate Watkinson, and Dorian Wiszniewski on their research into glass : water : art : science; as well as the entertaining children’s performance ‘the Medieval Construction Science show’. All of the events are FREE to atten

Programme of the Environmental Arts Festival Scotland (EAFS)

Details of 'Mercator Magic Earth' events taking place at EAFS taking place on 29 and 30th of August 2015. This is the second series of 'Magic Earth' events taking place

Map-i: Blue Marble

Exhibition at the National Glass Centre The Map-i: Blue Marble project is developed from the solo exhibition Map-i: Mercator Revisited exhibition at the Mercator Museum in Sint-Niklaas, Belgium in 2013. Mercator Revisited was the first project to be developed as part of Map-i and explores mapping in glass in the context of the 500th anniversary of the eponymous cartographer’s birth. The investigation of Mercator’s life and work has allowed not only a reflection on the legacy of five hundred years of cartography, but also on an incredible period of human endeavour; the choice of glass was an apt metaphor as a window on the world. A notion of wonder which underpinned Mercator’s ambition for his Cosmographia: the ethos of Map-i is based on this premise of interconnectedness: how the observable universe can be broken down into infinitesimally small particles, applicable at both the micro and the macro level, always of course observed from a human point of view

Mapping The Borders (talk)

This talk will present the Mapping the Borders project which brought together artists and academics to present diverse interpretations of the Scottish Borders which was presented during the Being Human Festival in November 2017

Trace: an exhibition exploring the language of mapping

Exhibition by three artists, Clare Money, Mary Morrison and Inge Panneels, who all share the language of mapping. Part of the YES Festival 9-15th September 2015 Selkirk, Scottish Border

Reflections: glass: water: art: science

Reflections: glass: water: art: science The Reflections programme was an extensive schedule of events, which can be divided into two core parts; an artist-in-residency scheme, which took place in March 2016 and an exhibition, supported by a series of public events in May, which coincided with the broader Festival of Architecture taking place throughout Scotland during the Year of Innovation, Design and Architecture (YIAD 2016), a Scottish Government initiative. 'Reflections: glass: water: art: science' was developed from an original idea by Inge Panneels from the University of Sunderland, in collaboration with several partners. The Artist-in-Residency was supported by Selkirk Conservation and Regeneration Scheme (CARS), CABN (Creative Arts Business Network), the University of Sunderland Glass and Ceramics Department, Edinburgh University Architecture School and the Haining Charitable Trust. During the Residency, the thirty-three participants were able to explore the site of the Haining through the experimental use of glass, allowing artists from diverse working practices access to a material perhaps not accessible or available to them. The Exhibition and the supporting programme of events was supported by Creative Scotland, the Borders Science Festival, the RIAS Festival of Architecture, the Edinburgh Architects Association (EAA) and Selkirk CARS. The exhibition showcased the works of twenty artists, using glass, film, photography, sound, sculpture and found objects to create works. Over 530 people attended this short exhibition, and the series of events taking place during the exhibition period. The events which took place under the banner of Reflections: glass: water: art: science in Spring 2016 as part of the Festival of Architecture, can be dissected through both the lens of creativity as a process and making art as a philosophical and political proposition. The two essays contributed by Dorian Wiszniewski and Inge Panneels respectively explore this is more depth. This e-book is record and consideration of the processes, works and discussion which took place during Reflections: glass: water: art: science. I

Mapping the Sea on Scotland’s Peripheries

This paper examines the use of mapping methodologies in some recent examples of contemporary art that chart the layered seascapes of the remote coastlines on North West Scotland as seen through the lens of visual culture in the Anthropocene. The art projects interrogate conflicting perspectives on landscape and nature in the North. The case studies demonstrate, both directly and indirectly, the political and cultural tensions made evident by the mapping of the micro and macro undercurrents at work in the region, and examine how mapping has been used as a methodology to visualise those intractable material relationships, often using the map as a trope to do so. These mappings make visible the enmeshments of these remote locations into a global ecosystem. The concept of the Anthropocene provides a useful framework to describe the contemporary context of climate change, ecological decline, biodiversity loss and recent discourses on land use within which the artworks by two artists, Julia Barton and Stephen Hurrel, will be discussed. The significance of Kester’s concept of Littoral Art were explored through the eponymous art project by Barton, which maps the human debris brought by the northern sea currents to the shores of the Western and Northern coasts, and Stephen Hurrel’s cultural mapping of the island of Barra on the West Coast. These projects were further considered in the context of Timothy Morton and Tim Ingold’s meshwork theory and the concept of the 19th century Scottish town planner and environmentalist Patrick Geddes, whose urging to ‘think global, act local’ is implicit in the multi-layered understanding of the Anthropocene

Mapping the Anthropocene: Atelier NL, a Case Study of Place-Based Material Craft Practices

This paper argues that mapping as a methodology can support localised production, as exemplified in the case study of the design studio Atelier NL which marries contemporary design sensibilities with traditional glass and ceramics craft-making techniques. The paper puts forward the argument that by paying attention to local ecosystem services through mapping, place-based design solutions can be developed. Furthermore, the paper argues that the methodologies deployed by Atelier NL borrow from contemporary art creative mapping practices. This case study uses the framework of the Anthropocene to situate these mapping practices identified within the case study and contextualises these within 20th-century environmental arts practices, and those of the environmental art pioneers the Harrisons in particular. Finally, the paper argues that these mapping practices are responding to the conditions of the Anthropocene which increasingly makes clear that culture and nature are enmeshed, an insight that 19th-century town planner Patrick Geddes argued for more than a century ago

British Glass Biennale 2015, exhibition

Inge Panneels was a finalist with 'Terra Mundi' (2013) for the British Glass Biennale 2015, part of the International Festival of Glass for which 76 artists were selected for this prestigious award from more than 200 applications, through the rigorous selection process which was overseen by the Biennale panel made up of curator Janice Blackburn, writer Graham Fisher, glass collector Mark Holford, glass artist David Reekie and Ikon gallery director Jonathan Watkins. The 122 pieces selected pieces were exhibited at the British Glass Biennale which ran from 28 May – 28 June 2015 in Stourbridge, West Midlands. The British Glas Bienale is recognised as a prestigious glass exhibition for glass internationally and British glass in particular