Jan Fyfe

Fyfe makes visible the uneventful and overlooked aspects of lived experience that we either pass by or remain in the periphery of our vision. Taken out of context they are conceptually altered, leaving the viewer to see what they see, but still retaining the thing-ness they ascribe. Many are transitory or deemed unsuitable as subjects for photographs yet they say something about something. Taken around the periphery of Hebden Bridge, the photographs make reference to the transient nature of the industrial history of this area. From hill top dwelling to the weaving mills on the valley floor, the influx of artists, musicians, writers and photographers to the tourist trap of today, these things of something and nothing make reference to all of these histories..

Sharon Baddeley 

Up on the hillsides one can look across bounded valleys and see remnants of historic mills and shops nestled within them. The view is wide and open with big skies and a sensation of space and freedom. Inspired by early tourism and the art of the Romantic Period, this work explores how we view and capture our experience of the landscape. 18th and 19th century artists and visitors observed the landscape through dark tinted Claude glasses or mirrors, abstracting the reflected subject and making sketches with a painterly quality. Today, we have our own version of black mirrors - the ‘glass’ of mobile phones, cameras and tablets. We might consider whether the sketches, paintings and photographs produced allow us to relive the phenomenology of being within the landscape, or actually make us an outside observer while we are there. 

Andy Kilmartin 

The growth and development of cities during Victorian times transformed the meaning of the countryside into the notion of the ‘pastoral’. Rural space became idealised, unspoilt and beautiful - rural life appeared free from modern stresses and anxieties. Many Victorians sought to spend time in this pastoral idyll and, as Britain became more urbanised, a visit to the country became an increasingly important form of leisure. This continues today with thousands of Britons flocking to areas of natural beauty every year. One popular pastime is that of walking the hills and dales of Yorkshire, following well-worn paths across farmland and forest, often guided by the drystone walls that delineate the land. Kilmartin photographs unwanted items, discarded by walkers, which have been pushed or folded into the nooks and crevices of the drystone walls above Hebden Bridge. Rather than taken home, these items represent the imposition of the urban everyday onto the notion of the rural idyll.

Jonathan Foulger  

Moved to Hebden Bridge when he was 9 years old with his parents, 3 brothers and a sister. His parents were attracted to the town’s affordable property and beautiful countryside. It was an exciting place to be brought up in to discover old derelict mills and hidden tunnels in woods. It was a place of discovery. As Foulger approached his teenage years that discovery turned into images. Hebden Bridge suddenly felt very small and suppressive. Foulger wanted to get out and discover new things. This project looks at the emotional and physical changes in teenagers in a ever-changing town, starting with his two teenage daughters and the sons and daughters of the people he grew up with and depicted in the areas of the town he frequented. 

 Sophie Powell 

Plants, fruit, rubbish and water collected from walking Powell's individual map squares, which are taken back to the darkroom and used to make photograms and solargrams. Combining multiple elements through layering and printing, new maps are made recording the geography and traces of life within the boundary of the square. The gentle pace of the process, the careful choices made and physical building of the pieces creates quiet, thoughtful work. The work is transitory by the nature of objects used: plants wilt, fruit decays and the sun glares with an ever changing intensity, meaning each piece is unique, mirroring the transitory nature of the landscape.

Tom Baker 

Structures that impose themselves upon the high ground landscape around Hebden Bridge. Seen by many as ugly scars on an otherwise green and pleasant land, these structures are a necessary evil for the residents of Hebden Bridge. Nearby, in the cities of Leeds, Bradford and Manchester, these same structures are out of sight and out of mind, often stationed at great height on the rooftops of hotels and office blocks. Here in the hills they are a highly visible presence reminding everybody of the purpose they serve. Baker’s images have been re-coded and deliberately distorted to highlight the disconnection people in rural communities suffer. From having to find specific spots to get a good phone signal to putting up with substandard internet connection, modern technology can be a disappointment to those that need it most.

Who are Blackshed7

Blackshed7 are transitory visitors to the area. Their aim is to echo the nature of this landscape by taking objects either by moving, removing or photographing, to re-present them to visitors of the 6 Squared exhibition.

The Aim

Blackshed is a creative platform, instigated by Aj. Wilkinson who helped mentor a group (Blackshed7) of photographers and artists, who worked individually and together to interpret random OS map squares of Hebden Bridge, West Yorkshire. Slowly themes have emerged and threads have been drawn, weaving disparate ideas together.

6 Squared

The show’s themes work with and reference the historic landscape of Hebden Bridge and its surrounding area, the transitory and ephemeral: people moving into and through the area for industrial, social, political or commercial reasons, the ephemeral nature of the landscape, buildings punctuating the skyline, moorland clearing, the discarded and unnoticed or unseen. The work holds a mirror to these themes, heightened by the fact that it can be there one day and gone the next.

Using Format