Fantastic project, full of colour, great to see in a natural landscape. I can't wait to see how the project changes and develops over time.

Well done

Thanks, sheep are now green and purple as well as the primary colours where they have been rained on and huddled together, and the pink will be moving and fading according to rain and shine... I am photographing the changes.

Ambitious in scale, and execution, ‘Quarry 2 ‘has continued to develop well established themes, whilst maintaining a keen sense of spontaneity with its diverse contributors, and a flexibility of intent.
Equally grounded in both the social and environmental, the project worked on a variety levels, which, when combined with its inherently playful quality made the work accessible to a wide audience

The work appeared more confrontational than previous installations. Rather than creating a personal space and inviting an audience to engage, the artist has adopted a more pro-active stance. Despite the transient nature of the work, Quarry 2 risks being interpreted as an invasive or aggressive statement.
However, considering the sensitive nature of the site, initial feedback was overwhelmingly positive, with a wide cross section of visitors, and high degree of engagement.

A huge diversity of influences were in evidence, and all freely acknowledged. Whilst strong editorial control maintained a genuine sense of cohesion, I feel individual themes within the work were sufficiently strong to stand alone. Sometimes more ‘is’ more, but it can also be interpreted as a lack of self- belief.

The ‘processional’ approach to the site, with its pilgrimage like quality, provided an interesting sense of transition that I would like to have seen developed further. Whilst the ‘quarry painting’ element was visually stunning I felt the intimacy of previous projects was somehow missing. Presented with the sheer scale of the spectacle it was perhaps to easy for visitors to remain detached and anonymous.

The sheep will always be the stars of the show, and will be my enduring memory of the event. Regardless of any artistic intent, the child like glee they evoked in even the most cynical spectator was reason enough.

For me the choice of pink for the quarry face carried too many prior associations, not all of which appeared strictly relevant or helpful, however pink firemen were a bizarre side effect, and epitomise the quality that makes Lee’s work so extraordinary.

The community aspect could be viewed as both a strength and a weakness.
With work of this nature you are always treading a fine line between inclusion and exploitation, and I was slightly uncomfortable with the obvious parallels between the Lockwood service users and their ‘reincarnation’ as sheep. Whilst by no means central to the work this still needs to be addressed.

On a more practical note, the logistics of staging the event presented the usual last minute hurdles and inevitable compromises, but none of which detracted from the success of the project as a whole. The unique mixture of charm and bullying somehow managing to bring out the best in the diverse group of individuals. Bystanders were not tolerated and soon found themselves assimilated.
At no point did I find myself doubting the integrity of Lee’s work, and her practice of honest simplicity saw none of the ‘set dressing,’ which often pads out weaker, less sincere events.

Quarry 2 was unquestionably worthwhile, with the full subtlety of the work only becoming evident on later reflection.

Peter Ockenden

This is a very helpful observational whilst relatively subjective response to the project and is much appreciated.
The point about the service users and the sheep is very sensitive, in this work and the lockwood project www.lockwoodartists.org.uk the service users have a lot of input to the projects and the hierarchy that is often evident when artists are working with disabled groups is minimal (as you know). The artists and groups worked with are seemingly empowered by incorporating their ideas and actualising them, seeing them happen on a large scale, and to be presented with high quality materials and professionals (documentation etc.).
Unfortunately it is often that projects incorporating minority groups do use them as instruments to achieve funding and keep projects going, and that work with people with disabilities and young people often utilises cheap and cheerful methods to show the work (usually due to lack of resources), the work is not often shown in art spaces and is limited to community centres etc. (nothing wrong with community spaces: fantastic way to present the work to varied audiences, and I hope this project will too, but also that it will be shown in gallery spaces to help bridge these gaps between community and contemporary / 'professional' practices).
The firemen were also used as instruments if you look at it in that way, so your comment about the bullying is interesting: maybe there is always a slightly darker way to interpret an activity whether it was the intention of the work or not.
I will have a read of your 'review / report..?!' again soon and respond in more depth.
Thanks and best wishes,
Lee

When a fellow artist told me about this landscape art and its aims I was very excited by the concept.

However, having seen the cliff and sheep and more importantly the reaction on this website and in the local papers I am hugely disappointed by its failure to meet its published aims. Whilst I applaud Lee's intentions in promoting debate about land use, unfortunately the artist has fallen into a common trap whereby the concept and practice has swamped the purpose of the art. In other words there is more interest, if that's the right word, in the physical aspects of the art than in the underlying message or spirit.

In the past most artists learnt this lesson in the privacy of their own studios. Unfortunately when "art" such as this is perpetrated on such a large and public canvas, particularly at public expense, it tends to do a dis-service to those that truly understand the power of their art yet struggle to contain it within the confines of mere mortal dimensions.

Can I suggest, Lee, that you and your colleagues might really study a tree or large rock non-stop for 48 hours, almost without blinking, as I did when a young artist, and I'm sure you will come out of this experience with a stronger understanding if the true sprit of art which will serve you all in good stead for future life.

God bless,

CJD

Dear CJD,
Thanks for your comment, I am interested to see what anyone else thinks of this.
The work is continueing to highlight issues of land use, legislation control and abstract senses of ownership which are the aims of the work and more so.
I am glad that you have noticed the importance put on process / practice and concept being that if calling my own practice anything it would be conceptual and process based, so that's great, the process is always considered as important as the result and this work, including your mail and my reply is all part of that process.
I will have a think before replying about the spirit of the art, but would like to let you know that there are several years of studio based as well as outdoor art projects contemplating time and place prior to this one so it is not out of the blue or without time spent thinking and looking. That is speaking for myself, though I also have every confidence in my colleagues practical as well as emotional abilities and engagement.
This particular piece has to be large in scale and public to do what it set out to do and is continueing to do, though also believe that small scale artworks can also have strong effect and would never limit myself to large scale visible projects.
More soon and best regards,
Lee

Lee,

I've been developing my own underground, experimental art based on collaborative exchanges with other artists, so am interested in the vibes from your quarry. Where is Betchworth, Surrey by the way?

My method involves breaking down the preconcepts of what art is, particularly in both temporal and spatial dimensions (though not both at the same time obviously; I just know you'll understand why having seen what you've done).

Can't carry on now cos I need to keep movin. More later.

Fuzz

Dear Fuzz,
That's an interesting mail, thanks. I'd like to hear more about your art. Have you seen the research currently underway as an exploration into post autonomy (PA art practice) by David Goldenburg in collaboration with others? You can google it quite easily and I am sure it will be of interest to you.
I am a bit blogged out by now but will write more next week.
Best wishes,
Lee

Hi again Fuzz,
Betchworth is in Surrey: near Dorking and Reigate, nearish Leatherhead: Junction 9 M25.
When I replied last week was a bit tired and thought you might be something to do with the PA thing but now think maybe not..
I don't understand why not temporal and spatial at the same time? Are they not relative to each other, so you couldn't investigate one without the other?
Hope you had good moving(s),
Lee

it really annoys me when people are still caught up in their notion that you are 'graffiting' on the landscape. To me what the project has done is heigthen the natural beauty of the landscape and has reminded people again of these particuar features which over time we have taken for granted and forgotten about. The colours are amazing and as for the sheep, i love them, if only i could go pass fields generally and see sheep like those!!!

Hi Emily,
Glad you like the work. I got a bit annoyed too, and also quite exhausted by it all but I guess it's all part of it and the complaints seem to have faded with the fuschia! It's been a bit tough for myself and Surrey County Arts VAO dealing with relative abuse the first week or two following the Q:2 event and has also raised our awareness of support structures that should be in place when working on public projects to deal with the extra work that responses create. It's also highlighted the pressures put on artists before, during and after realising projects: jumping through hoops and being a punch bag or sounding board for the disgruntled is no myth and seems to be part of the remit if commited to working 'with' a community.
Happily there is now more of a focus on the actual meaning of the work and more forward thinking talk which is a great next stage as well as a great relief!
Cheers,
Lee

Hi Lee,
Just wanted to send in some positive feedback after having seen the negative comments in the local paper. Thank you for doing something so different, that has made people more aware of their surroundings. Perhaps if the public realised how much trouble you have taken to ensure that your project was environmentally friendly, they would be less likely to criticise.
Good luck to you
Lin

Hi Lin,
Thanks for your mail, I'm glad you found something you like in the work. I just had a look in the paper and agree that the comments are uninformed about the method and reasoning within the work.
Most negative comments have stopped by now as people can see the pink is fading as predicted and have accessed information available about the process but I guess one or two the other way are to be expected.
Thanks again and best wishes,
Lee