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talc. (de)code landscape time flies — talc. turned 15 this year (our sincerest thanks to former chairperson mary y. smith) and we have now been offering our creative media and arts programme within argyll and the islands for more than three years! this magazine-like documentation mainly covers the project (de)code landscape, funded by young start, including workshops in conductive printing, conductive weaving, sculpture and 3-d print, wearable design, led- light animation, digital textile print and -embroidery, sound programming, sampling and musical instrument making, video drone filming and stage design. a few things changed in 2017: there were more sound related workshops in talc.'s programme. other workshops were entirely new, for example we offered a contemporary dance week during talc.'s summer arts school. during the (de)code landscape project, we also further established talc.'s young artist & work taster scheme, which allows young people to create their own project and to have time in a studio of a professional artist. this year, for the first time, a fantastic opportunity was created for a young person to work with argyll and bute council's planning department, for the work taster "architecture". to have an insight into different creative job realities – however diverse – helps our young people to explore possible futures and the pathways they might take, and to look at what they need to do now to get there. we feel immensely proud of these young artists and wish them all well for their future – creative it will be, for sure! the focus of our creative media | arts educational programme is still on young people aged 10-25, but there are opportunities for people beyond 25, like the intergenerational regular drop-in sessions, or the occasional parent & child art projects, such as the pilot project to work with p5 pupils at tarbert academy. there are also new collaborations – working with the travelling gallery is a great pleasure, as the art bus brings contemporary arts exhibitions into the area. talc.'s plug-in sessions in oban found a home at rockfield centre and more young people from oban accessing talc.'s resources than before. it was also a great opportunity for some of the young people to show a small exhibition, called collections of an invented nature at kilmartin house museum. the workshop programme is structured with three different objectives in mind: 1. to engage many young people to access contemporary arts, digital media and creativity skills through experimentation 2. to help develop artistic skills to the next level for young people in small groups 3. to offer 1:1 support for those who identify a career in the arts and the creative industries as their aspiration. thematically (de)code landscape was inspired by the land- and seascape we are surrounded by; it helped the 6 | sparks, drifts and rain

young people to interpret the landscape they live in for themselves, and for others. the aim to connect the wealth of traditional arts and crafts in the area with the potential of the new digital, design strategies and contemporary concepts – holds quite a few benefits: there is no need to start at zero and it makes a lot of sense to build on the skills already gained. using a computer or digital technology during the art making process is not at all daunting, for those who are already good at making. what do we wish for the next projects? more collaborations with scientists and research projects to encourage our young people to cross disciplines. more time and space for the young people to develop their own projects. and building on the success of the sound and electronic music workshops this year, we will offer more in this area next year. this documentation again invites you to use "aurasma" to experience the augmented reality feel – scan the marked pictures and watch a film, or listen to sound, created by young people of this area! louise paterson · chairperson, nicole heidtke & stefan baumberger · lead artists & producer how to ar+ aurasma is a free app which can be downloaded from the app store or google play onto iphones and ipads, and android phones and tablets version 4.0 and above. 1. launch the aurasma app, create your own free account, go to “discover auras” and type in: “talctarbert” 2. click on “talctarbert’s public auras” and follow us 3. go back to the home screen, press the purple scan button to open the viewfinder. when the viewfinder is open, it shows a bouncing scanner that is “looking” for something to recognise. as soon as it locks in on an active image with the ar+ symbol, the scanner will change to a pulsing target shape. depending on your network or wifi speed, the app will then launch the augmented reality experience.

i was honoured to be asked to be arts advisor for talc. there seems no more pressing and vital work in the arts than to link urban and rural spaces, to explore new technologies and to educate through creativity. i fondly imagined that my role might be to suggest strategies, technologies and teaching techniques. this has turned out to be a small part of the role. in fact, the learning has mostly been the other way round. i have been consistently surprised and delighted by the forward-looking and cross-disciplinary outcomes of these projects. digital technology is revealed as the catalyst to new engagements with craft, with tradition, and with the new. the learning and the achievements of the students at such a crucial stage of their development is both satisfying in itself and develops their life skills and their sense of possibility. i now see my role as being to proclaim the resourcefulness and exploratory energy of these personal and group projects, and to do whatever i can to introduce these ways of working to a wider network. typically, talc.is already reaching outwards, for example through the travelling gallery connection. the way of working which talc. has pioneered requires several things; among them are confidence, modesty, sheer artistic talent, listening skills, and ability in negotiating. it needs one eye on what is already offered, the other on what can be achieved with the right input. there’s a further aspect to what organisations like talc. can achieve; for a long time, people from remote areas and people from areas of deprivation have felt that the arts isn’t for them, or that it’s not a real job. working with schools and with teachers and youth organisations, the possibilities become more visible. in times of economic hardship, the concept of a ‘real job’ is itself under threat. learning how to link tradition, craft, and the contemporary may well turn out to be a wise move in the long run. gair dunlop · course director (time based art & digital film), duncan of jordanstone college of art & design and arts advisor for talc. www.talc.org.uk | 9

from helensburgh to islay and from campbeltown to mull we crossed bridges, took ferries, negotiated round cattle and covered many a mile on single track roads. argyll’s schools are located in some of scotland's fi nest and most diverse landscapes and vary in size from miniscule remote rural primaries to large town comprehensives. the weather was as varied as the roadways, changing day to day as we encountered moments of glorious sunshine on wide stretches of sandy shore, or all the drama of a storm at a misty lighthouse. dragonfl ies, gannets, oystercatchers and migrating geese graced us with their presence and set the tone for a splendid journey into creativity. the welcome at a wee school on an island is something very special, but each school, big or small, made us feel like we were just what they had been waiting for and embraced the challenges ahead. following our presentation of rich delights from the history of textiles to the use of interactive media in contemporary fashion, we gave a short group of fi lms documenting “conductive” work made within the last year by students of talc. it is always a joy in argyll to trace a long-lost friend or pupil and the proud moments for former teachers were plenty. we discussed and debunked the creativity myths and extoled the virtues of creativity across the curriculum. taking time to re-affi rm ourselves as a creative learning network and hooking into the creativity portal. the majority of attendees were primary staff although secondary science, art & design and also technology/home economics were signifi cantly represented. multiple shapes of wearable looms, as intriguing as the landscape, had been laser cut and assembled in advance. with each teacher choosing their own level of challenge, the weaving began. warps and wefts, over and under, through, back and across. memories of sewing classes gone by, fathers teaching children to knit, macrame and 1970’s string pictures all fl ooded back. the chat murmered on as the hands got to work. fiddly fi ngers and eyesight no good for threading needles reminded us what it must be like for the children – especially the very little ones and those with fi ne motor diffi culties. what a valuable reminder this was. then came the exciting part – the "magic” microcontroller. how could a thread conduct a charge? how could that charge play music? quite simply join with croco clips to the “touchboard” and play a tune. how many ways could we take this idea and use it in our classrooms? a rag rug for teaching gaelic, interactive roofs on our 3d models of houses, a project for p7’s transition to high school – science, art, music and technology together. let’s create instruments by hand and play a performance. if we recorded our own sounds could they play? daring leaps in imagination, brave and bold decisions of design – some made through frustration and perseverance and others through happy accidents. sian macqueen www.talc.org.uk | 41

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talc. have given me an insight into the art world that would have otherwise been unavailable to me had i not been involved in their sessions or work tasters. talc. teaches young people alternative techniques and practices that are a much-needed antidote to the typical school art and design system, allowing young people to understand the uses of art and design in the real world are far removed from what is widely taught in schools. since going to college to study art, i’ve realised how valuable talc. really is. i have no doubt that without talc., the transition from school to college would have been too difficult for me to get my head around. with talc., i have been able to try different techniques such as plaster casting and carving, digital design and 3d printing, acrylic inking, conductive screen printing and conductive painting. this has allowed me to experiment with varied mediums and blurred the line between digital work and analogue work, which is extremely important when considering a career in the visual arts. i took part in talc.’s 10-week portfolio preparation course last year, as well as several work tasters. i did a wallpaper design workshop, where i worked with successful wallpaper designer and block printer, karen beauchamp, producing my own work with advice and guidance from her. i also had a session at talc. where i designed a wallpaper on adobe illustrator and sent it away to get printed. having experience with both these working methods proved extremely valuable as it allowed me to view similar products with different aesthetics. i also took part in a glass engraving workshop with glass engraver, wilma mackenzie. this allowed me to stray away from the typical way of drawing and left my mind open to new ideas and different techniques. talc. run a ‘young artist’ programme every year and this year i was lucky enough to take part. originally, i had planned to make a pair of delicate silver bracelets that had tiny leds in them that would respond to each other by changing colour. as i had to be realistic with time and budget, this wasn’t possible. instead, i researched ways of making plywood flexible by cutting it in the laser cutter. through trial and error, talc. helped me to create a pattern that would be flexible, but not too delicate. i ended up with two space-age looking bracelets that lit up when they were near each other. i designed pendants to cover the leds so that they were muted. i drew these designs on adobe illustrator and then used the laser cutter to etch the design on and then cut them out of 10mm acrylic sheets. i then gilded the laser-cut plywood with silver leaf and assembled the plywood parts. talc. were a huge help when it came to the electronic part. once the bracelets were finished, i experimented clipping them together and modelled them as a necklace and even as a belt. the young artist scheme is a fantastic opportunity for young people interested in a career in art and design and i recommend anyone that gets the chance to do it. i also completed an internship with talc. working with primary 5 pupils in tarbert and then with teachers in oban and lochgilphead during cpd sessions. working with the primary 5s was extremely rewarding, as it was so exciting introducing them to new ways of working and creating. i wish i had learned everything i know from talc. at that age. working with the teachers was also a rewarding as it opened their eyes to see that creativity isn’t restricted to the typical ‘artistic’ subjects, but is relevant to all subjects. niamh adams mcgilp 134 | (de)code landscape

150

the jacket i wanted to create a trendy, up-to-date jacket which could be worn in a variety of settings. the theme i was given, of decoding the landscape led me to follow the path of how humans have traditionally done this (by tearing it down and rebuilding on top – in a way, trying to make it better). but like so many things, the concept of better has changed over time. i looked into the history of cities and civilisation – patterns from rococo architecture feature heavily in my fi nished piece for example. i also wanted to show the minimalist and geometric aesthetic found in modern buildings. i hoped to achieve this with a boxy silhouette and darker slightly distressed colours. the bell sleeves and metallic accents are an ode to current fashion trends in an attempt to bring out the ‘city girl’ vibe and to cater to the demographic of a young woman working her way up in the 21st century, changing the future for herself and future generations. the actually production of the garment was very exciting for me; i fi rst pulled all my research into a tonne of sketches and developed a pattern for the jacket from them, then returned to talc. where i tried to use everything and anything the centre offered me: the back panel has been digitally embroidered with a fancy machine and i gilded the sleeves by hand using a laser cut template ironed on to the fabric. the lining was digitally printed on soft cotton and sent to talc. as the fi nal piece of the construction and all the patterns were designed by me on the adobe illustrator program installed on the centre's apple imacs. after that, it was simply a matter of sitting down at my machine and stitching everything together. the original idea was to photograph the fi nished piece in amongst the contrasting setting of the scottish highlands – maybe with some blooming heather to mimic the colour scheme a bit– but due to practicalities and time concerns we ended up meeting half way between the urban, and the wild – wandering among my family’s dilapidated farm buildings. at the end of the year i fi nd myself left with a very sophisticated garment of which i am immensely proud and in awe. looking at it now, although there are a few loose ends and it’s missing two buttons, i’m still astounded at the fact that i made it myself. katie luxmoore 150 | (de)code landscape

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rugile with a site agent from morrison construction at the oban high school project. we were able to offer rugile two days in our property department where she was shown various stages of our latest projects from concept and feasibility stages through to images of the projects in construction. we were also fortunate enough to be able to offer a site visit to one of our largest projects currently on site at oban high school. morrison construction, who are the contractor for the works kindly arrange for one of the site agents to give rugile a full tour of the site including access out onto the roof. in addition to learning about the role of the architect in our projects, rugile also met our other construction professionals including quantity surveyors and our asset manager who explained the role of our new asset management system and how this links into our wider role as providing key services within the council. we found the collaboration with talc extremely useful as this gave the work experience student a chance to explore the more creative side of architecture using the range of equipment that would not be available within our office environment. we feel that we can provide a more technical and pragmatic experience for students, but it’s also important that they explore the creative side of the profession, without the normal constrains we face within our own environment. in the future we would like to collaborate more closely with talc and explore the same brief by setting challenges within our office environment that are as a result of the work the student does at talc, for example we would help a student develop a technical specification for their design using our specification tools so as to link their creative project with a realistic scenario in construction. we have found the experience of working with talc valuable both for the student and for the professionals mentoring the young person. alison mcbride · architect, argyll and bute council www.talc.org.uk | 161

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my brother and i went down to talc every week for about 2 to 3 months this year. when we were there we were working on our next poetry book with nicole who helped us a great amount. talc was such a great fi nd for us as we had professional help, direct access to computers, photoshop, indesign and illustrator all for free. nicole gave us great ideas and inspired our creativity to make something a little different. we had our fi rst poetry book published the year before but didn't have much say on the layout and design. this year we had as much say as possible. it felt great being able to design and create your very own book. nicole gave us a lot of confi dence and motivated us to keep going even when some aspects were particularly diffi cult. while i was down at talc, i also had a few tutorial sessions with wilma mackenzie, a local glass engraver. we started off simple, engraving little fl owers onto a regular drinking glass. as the weeks went on, i learnt new techniques and was progressing to engrave on larger objects. i fi nished my sessions with her by engraving a fl oral heart onto a large vase for my gran's 80th birthday. this took a lot of time and effort as it had a lot more detail and was on a much larger scale but i was very happy with the fi nished result. wilma was very encouraging and helped wherever possible. she even let me take the drill and other tools home so i'd fi nish it in time for my gran's birthday. without talc, my brother and i wouldn't have been able to accomplish either of these things - designing and creating our own book and glass engraving. it was a great experience and taught us so much. we are very grateful for it. eilidh livingstone www.talc.org.uk | 165

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travelling gallery travelling gallery is a contemporary art gallery in a bus and is unique to scotland. our function and core mission is to take our exciting and experimental programme to every part of scotland, allowing access and learning for all. travelling gallery presents two 16 week exhibitions a year which tour remote, rural, urban and suburban communities throughout scotland. we have built strong partnerships with arts organisations across scotland to create a sense of place and improve quality of life through an understanding of the potential of creativity. talc. is a hugely important collaborator for travelling gallery, allowing us to bring our exhibitions to an audience and community we wouldn’t otherwise reach and who wouldn’t get the opportunity to engage with our contemporary art programme. in 2017 we brought the group exhibition eat sleep work repeat to the area from the 31st may – 3rd june, combining two days in lochgilphead and two days in tarbert, including visits from schools and the public, we had a fantastic response as seen in our visitor figures (341 in lochgilphead an 295 in tarbert) and comments: “cool to learn the amazing stories behind all these pieces – the ideas bring it to life” 31/5/17 lochgilphead high school “difficult ideas / formats put over with clarity, humour and challenge!” 1/6/17 lochgilphead high school “the bus is super cool i like the snowmans and snowomans” 2/6/17 tarbert primary “great exhibition. we are delighted to have the experience of having a gallery on our doorstep! a very interesting and original exhibition. thank you!” 3/6/17 public visitor, talc. talc. does exceptional work in the local community, especially encouraging young people to create and engage in the arts. their inclusive and creative programme is supplemented by visits from travelling gallery, allowing talc.'s audience to view artworks by national and international artists, create conversations around the exhibitions and take part in related workshops. we hope this strong collaboration can continue into the future! claire craig · curator travelling gallery & collaboration partner of talc. www.talc.org.uk | 173

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talc. acknowledgements thank you to all young people who contributed to (de)code landscape. thank you for being creative, experimental and open enough to combine the analogue with the digital & the digital with some fresh air. to scan the pages with the ar+ symbol, please download the free aurasma app. for "how to", please check page 005. pages 100-101: video glitch based on chris vik's glitchface patch. talc.’s young artists during sparks, drifts and rain niamh adams mcgilp · wearables cally joynson · sound installation katie luxmoore · fashion eilidh & jamie livingstone · graphic design rugile rimkote · architecture talc. tutors for sparks, drifts and rain stefan baumberger & nicole heidtke · programme lead, digital, sculpture karen beauchamp · wallpaper design wilma mackenzie · glass engraving sian macqueen · project partner, painting, sculpture adam staff · sound programming tony mills · contemporary dance alison mcbride · architecture (collaboration with argyll and bute council) niamh adams mcgilp · talc.'s intern (teaching assistance and programme distribution) talc. collaborations for (de)code landscapes argyll & bute council (planning dept.) artmap engage scottish canals scottish natural heritage scottish waterways travelling gallery thanks to lynne girdwood, alison mcalpine (both art teachers) neil mcknight (headteacher) and our lovely chairperson louise paterson, all tarbert academy and alec ohnstad, neill cinnamond (art teachers), lena carter (head of teaching and learning) all lochgilphead joint campus – for promoting (de)code landscape; to give us time and a room, if necessary. sharon webb and ruth bolwell, kilmartin house museum for supporting the exhibition collections of an invented nature. malcolm sinclair, phoenix project for trying to gives us more space. mary y. smith for supporting art & creative media education for young people. anna dawton for proof reading this documentation. and lots of thanks to young start for funding (de)code landscape! other funders: creative scotland for funding our p5 pilot project and the cpd teacher training throughout argyll and bute (with education scotland). . l o o h c s s t r a r e m m u s s ' . c l a t g n i r u d e l p o e p g n u o y d n a p l i g c m s m a d a h m a i n & r e g r e b m u a b n a f e t s : y h p a r g o t o h p | e k t d i e h e l o c i n : n g i s e d c i h p a r g | 7 1 0 2 t r e b r a t . c l a t 178 178 | (de)code landscape | sparks, drifts and rain ©

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Übersicht Aperçu Overview Sumario Sommario Overzicht

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