Archives for posts with tag: University of Leeds

Over the moon to be longlisted for the 2025 Artangel Open amongst such amazing company. I am grateful to Artangel and the selection panel Zineb Sedira, Nitin Sawhney CBE, Freddie Opoku-Addaie, Andrea Luka Zimmerman and Mariam Zulfiqar for considering my proposal regarding the Haverah Park Experiment.

Cosmic rays impact technology and life on Earth but their origin and source of enormous energy is still a mystery. I seek to activate the historically remarkable yet humble Haverah Park detector huts abandoned in various states of collapse across the North Yorkshire moors, through workshops, performance, dark sky gazing, creating artworks that interact directly with cosmic rays and installations that respect local land use, to reflect on pioneering cosmology, human curiosity and wonder.

Cosmic rays are fast-moving particles from space that constantly bombard the earth from all directions. About 5 million pass through your body every day. Wherever they come from, the highest-energy particles hold secrets to the origin of their enormous energies which can be many millions of times greater than any earthbound particle accelerator can generate.

The Haverah Park experiment began in the 1960’s, led by the University of Leeds, and ran for over 20 years. I met with Professor Alan Watson in 2024 to visit the huts and hear about his role in setting up the project and his subsequent life’s work in search of ultra-high energy cosmic rays.  It appeals to me that the astonishing achievement of observing particles arriving on Earth from other galaxies happened at these unassuming structures. The huts were built to protect the array of over 200 water-Cherenkov detectors from freezing. When cosmic rays pass through the water tanks, they emit a blue glow of Cherenkov radiation because they travel faster than the speed of light in water. This light can be recorded and calculations made to discover the energy of the primary particle. The shadow of the moon can be seen by detectors on Earth as it absorbs many galactic cosmic rays causing a ‘shadow’ in the otherwise uniform flux of particles from space.

Although I have not been shortlisted for the Artangel commission, I am excited to continue my investigations into these unexpected sites of space exploration and develop these ideas for artworks and a public programme further.

Congratulations to all artists selected and good luck to the shortlisted artists.

I am excited to be taking part in the upcoming occupation of the Safehouses, Peckham with such a fabulous selection of artists.

Curated by Julie Hoyle the exhibition brings together a cross-section of artists from Royal Academicians to emerging practitioners, alongside artists working within disability and community contexts.
Works include painting, sculpture, print, installation, ceramics and moving image. Moving through rooms, staircases and thresholds, visitors will encounter works that move between the intimate and the uncanny, the material and the imagined.
I will be showing work informed by the otherworlds of creatures we share our spaces with as exotic places of discovery and sites of emerging or alternative consciousness.

I have been working on a new video Guttanaut thinking about the extraordinary diversity of life we share our planet with and the invisible creatures found very close to home. This has involved gathering moss from my house gutters and filming the life found within under my microscope, recording the sounds of the gutter with a hydroponic microphone and inserting an endoscope camera into the gutters and drainpipes. Gutta, as used in the title, originates from the Latin meaning  ‘a drop’. For the microscopic explorers in this film, a drop of water may comprise their whole universe. They are very tiny and I have been astounded at the variety and energy of the life found here. I have made some icosahedron and octahedron shapes that represent the elemental qualities of water and air to accompany the projection and also to appear in the film in the guise of satellites or modes of exploration.

I will also be showing Belly of a Rock, a hybrid between rock, mollusc and technology, this video sculpture reflects on an early lifeform’s emerging self-awareness, desire to communicate and urge to create. These works celebrate the extraordinary found in hidden corners. Molluscs are known to show a synchronized response to the moon, altering their behaviour based on both light intensity and tidal movements associated with the lunar cycle. They use the moon as an environmental cue to adjust feeding times, metabolic activity, and reproductive spawning. It may be that these behaviours are adapted to match the movement of plankton, which is also affected by moonlight, or to ensure they are submerged during high tide, which is influenced by the moon’s gravity.

Great to have another studio visit from curator Catherine Li in preparation for my upcoming show at Brompton Cemetery Chapel. The title will be, Appearances are a Glimpse of the Unseen, a quote attributed to Anaxagoras, a pre-Socratic philosopher, exiled for controversial natural explanations of the cosmos. It suggests that despite the limitations of human senses we can discover the underlying structure of reality through careful observation and reasoning. Aligning to the precepts of scientific enquiry, in studying the “appearances” of the visible world to reveal the imperceptible, Anaxagoras concluded that matter is made of finely mixed ingredients and wholly entangled so that “everything has a portion of everything,” and it is “Nous” (the mind), that acts as an organising force in creating reality by relating what is seen to what can be inferred.

I will be showing some existing and some new works that draw on the desire to see what is beyond our horizons, question how we interpret the world around us and consider what influences our perception of reality. I have been stitching the Book of Reversals, a poetic interpretation of the formation of planet Earth and its turbulent internal fluid core that generates an unpredictable but protective magnetic field prone to sudden changes in polarity. I am adapting an old slide viewer to show crystals changing colour using a polarising filter. I am making a new edition to the series of sculptures Instruments of the Anemoi – this one is based on a star chart, centred on the star Thuban, which was the pole star before Polaris. I am experimenting with black concrete, though it may end up being dark grey, and I am growing crystals as analogues for the stars. Also, it was great to have the opportunity to set up the sculptures of everydaymatters in an empty studio to assess their inclusion in the show.

I also spent some time in the cemetery taking photos for new images to print on organza and float in water for a site specific edition of work submīrārī (earthbound) that reflects on this place of acutely felt impermanence with weathered stones, encroaching nature and the many carved dates of remembrance receding and fading.

I was happy to speak about my work Radical Pair for a special invitation curators tour in the last week of Drive Your Plow Over the Bones of the Dead. The exhibition was beautifully curated by Maria Hinel who has an impressive art history knowledge and can also speak in real depth about the works she curates. I enjoyed hearing more about the other works in the show which draws on the novel by Nobel Prize-winning author Olga Tokarczuk and the works of William Blake, asking what forms of empathy might emerge when animals are recognised as ethical and political agents in their own right.

I made a trip to Bristol to spend some time with the works in Cosmos: the art of observing space at the RWA during the final week of the show. Such a rich selection of work to enjoy and it’s always nice to see people engaging with your own work. It hardly seems any time since install and now it has to come down. Great news though that the exhibition will be travelling to Aberdeen Art Gallery later in the year. It will be interesting to see how the works will be curated in a new space. It was an honour to have The Obelisk (of sedimentary knowledge) sitting between Ione Parkin’s Volatile Phenomena painting and Sir Christopher Le Brun’s Phases of the Moon IV of which he says ‘Compelling and grave, the Moon is one of the most haunting of natural symbols- more felt then understood. Here it is shown in a narrative of day and night, with passages of cool and warm light succeeding each other’.

The exhibition has been really popular and Ione did an amazing job alongside the Royal Astronomical Society to bring together such a diverse range of contemporary artwork inspired by themes of astronomy, cosmology, astrophysics, planetary atmospherics, solar dynamics, space exploration and celestial mechanics as well as many astronomy-related items of historical significance loaned from public collections.

I will be opening my studio door for the upcoming Open Studios. It’s also a chance to meet the other artists in my corridor many of whom are new this year.

Out and About

Making Ground curated by Andrew Ekins at Thames-side Studios Gallery, brings together artists whose practice finds common ground in an exploration of the relationship between a topographical terrain and a crumpled landscape of the human condition. Featuring: Kabir Hussain (sculpture in bronze), Dan Hays (conflation of digital technology, and the tactile, flawed and time-consuming medium of painting), Graham Crowley (luminous discourse), Simon Callery (painting rooted in materiality), Andrew Ekins (sediment of experience and memory), Joanna Whittle (real and imaginary landscapes), Harriet Mena Hill (repurposed salvaged material), Laura White (changeable matter).

Gabriele Risso Vita Immobile at The Chapel at Brompton Cemetery curated by Catherine Li. Stone within stone within stone. The simply presented works in stone, which in themselves allude to the potential shapes that sit within the sculptors block, outlining simple objects or interconnecting forms as intricate puzzle boxes, sit beautifully within the stone chapel.

I completed watching series 2 of For All Mankind which is set in the 1980’s with a base camp already on the moon and ongoing jostling for space supremacy between USA and the Soviet Union that ends in an unlikely accord. So my mind is full of moon fiction while also watching the launch of NASA’s Artemis II and the videos of the astronauts Reid Wiseman (commander), Christina Koch (mission specialist), Victor Glover (pilot), and CSA astronaut Jeremy Hansen (mission specialist) as they fly the farthest humans have yet been into space on a 10-day journey around the Moon and back to Earth.

In search of huts. I have been on a mission to locate and document the remaining huts from a cosmic ray detection experiment at Haverah Park on the Pennine moorland in North Yorkshire.

When high-energy cosmic rays enter the atmosphere, they set off a chain-reaction particle cascade known as an extensive air shower. The Haverah Park experiment was home to one of the largest extensive cosmic ray air shower arrays in the world.

It was operated by the Physics Department of the University of Leeds for 20 years, closing in 1987. An array of over 200 water-Cherenkov detectors covering 12 km2 were active during its operation and many 1000’s of extensive air showers were recorded, including ones of such size that the cosmic rays that generated them had energies previously unthought of, adding to the mystery of where they come from.

The large energy density of cosmic rays is close to that of starlight, adding their own glow to the sky as they blast across the universe. Cosmic rays are the atomic nuclei of elements ranging from hydrogen to uranium accelerated to high energies, with half being protons and most positively charged.

Much of the technology used to observe cosmic rays has changed little over the decades since first inventions and still plays a role within newer technologies.

It appeals to me that the excitement of observing particles from other galaxies happened at these unassuming structures.

Sharing the landscape of Haverah Park cosmic ray air shower detector array huts are the striking white radomes that shield secret radar equipment at RAF Menwith Hill. The spy station has been there since the cold war space race began in the mid-fifties. Little is known about what goes on here but broadly it is said to gather electronic intelligence and is operated by US National Security Agency (NSA) and UK Government Communications Headquarters (GCHQ). As satellite technology has increased so has the number of radomes which now number 37 at the site. It is worth noting that satellites are vulnerable to unpredictable space weather and cosmic ray interference.

The total number of particles detected in a shower can be used to estimate the energy of the primary cosmic ray. Some particles contain the highest energy form of radiation known to exist anywhere in the universe and their origin is one of science’s greatest mysteries. Air showers of secondary particles generated from a primary cosmic ray hitting the Earth’s atmosphere are spread over many kilometres when they hit the ground so it is useful to have detectors spread over a large area. The difference in the time of arrival of recorded particles at multiple detectors can be used to estimate the arrival direction of the primary cosmic ray. However, this does not necessarily reveal the origin of the particle as magnetic fields within the galaxies bend their trajectories so that the memory of their original direction is obfuscated.

The cosmic ray detectors I made for the The Breath of Stars use a block of plastic scintillator which emits a short burst of UV light when a charged particle passes through it which is picked up by a single-photon-sensitive device. The detectors used at Haverah Park are water Cherenkov detectors. These are large steel tanks of purified water with photon sensitive detectors in the water.

While the speed of light in a vacuum is a universal constant its speed through a material may be significantly reduced as it is slowed by the medium. A particle passing through a material faster than that at which light can travel through the material loses electrons thereby emitting light. When cosmic rays pass through the water tanks, they emit Cherenkov radiation because they travel faster than the speed of light in water. Cherenkov light is similar to the production of a sonic boom when an airplane is traveling through the air faster than sound waves can move through the air. Pavel Cherenkov along with Ilya Frank and Igor Tamm discovered and demonstrated this phenomenon in 1934, astonishingly, it had been predicted in 1888 by Oliver Heaviside, and in 1910 Marie Curie had noticed a strange blue glow from her radium experiments.

Other huts from the Haverah Park experiment are in a state of collapse.

There are so many high energy particles hurtling around the universe that they almost equal starlight in energy density. Cosmic rays travel at almost the speed of light and because they are charged particles most cosmic rays are confined, spiralling within our galaxy for a million years or more, by the magnetic fields which permeate it.

Five million cosmic rays pass through your body each day. Some will collide with atomic nuclei. A particle passing through a material at a velocity greater than that at which light can travel through the material emits light. Maybe we glow a little.

Following the disappearing trail. Haverah Park hut with an intriguing hexagon tank.

Inside Hut no. 7 is a dumping ground. Waste is a big problem in space as well as on Earth. The thickening shell of space junk in low Earth orbit, if left to accumulate, could cause a conductive shield to form, weakening the effectiveness of the magnetosphere, which protects life on earth from most cosmic radiation.

A decaying wall map of the entire Haverah Park experiment is just visible through a window of one of the huts in the central hub, but not much else remains inside.

It looks like these huts have been recently emptied into a skip which, by chance, was collected while I was there. Unfortunately, the driver had no enlightening information for me about the future of the huts.

Cherenkov radiation is a form of energy that gives off a blue glow when electrically charged particles are moving at speeds faster than light is able to travel through the same medium. The experimental physicist Blackett, who received the 1948 Nobel Prize in Physics for his investigations into cosmic rays, believed that extensive air showers should produce flashes of light that could be perceived by the human eye when lying down and looking upwards under dark skies. Whether he achieved seeing this phenomena himself is not known, but he inspired colleagues Galbraith and Jelley, in 1952, to devise an experiment to detect light from air showers using a rubbish bin painted black on the inside, a recycled searchlight mirror and a small phototube. With these simple items, they made the first observation of Cherenkov light produced by cosmic rays passing through the atmosphere. Not all the twinkling in the night sky is starlight.

During the Haverah Park experiment, the water Cherenkov detectors deployed across the moors were connected by underground cables and transmitted information to the control huts via radio signals in the microwave frequency range. All communication is now severed. Cut cables coil in rain filled tanks. The cosmic rays are still pounding down upon these new unwatched ecosystems but the detectors have moved elsewhere.

I am looking forward to meeting Professor Alan Watson FRS here in the autumn. He is eminent in the field of cosmic rays and helped initiate the extensive air shower project, working at Haverah Park for 25 years. He has kindly agreed to meet and share his insider knowledge of the history and operations at the site.

The idea to build a truly giant shower array was launched by Alan Watson and Jim Cronin shortly after Haverah Park was decommissioned and thanks to the ground breaking work undertaken in these huts, it evolved to become the vast Pierre Auger Observatory in Argentina, named in honour of the man who first discovered extensive air showers.

Peering into the darkness, trying to fathom the structures of the universe or what’s inside the hut, and the nature of that relationship.

The ultra high energy particles detected at Havarah Park and new arrays across the globe are very rare, possibly less than one per square kilometre per century, so it is big news when one arrives. Because they have such high energy, it is thought they shouldn’t be affected by galactic magnetic fields, and therefore, the direction of the particle could be determined and the source located. The Amaterasu particle, named after the sun goddess in Japanese mythology, the second most powerful particle to be recorded, appears to have emerged from the Local Void, ana area with no astronomical objects that might produce such a particle. There is no explanation of where these particles come from, just hints of bigger mysteries to unfold.

Many water tanks remain around Haverah Park, stripped of their purpose as water Cherenkov detectors they now reflect the sky in the rainfall they collect rather than record showers of particles from space.

During operation, huts were built in groups of three, each with six large galvanised steel tanks lined with white plastic to diffuse the light and filled with local purified water. Each tank was monitored by extremely sensitive photon detectors which recorded the Cherenkov light emitted as particles passed through the water. At the end of the large array experiment, one of the detectors was opened, and the water was found to be crystal clear and good enough to drink. The proof that water could be kept bacteria-free in a sealed container for over 25 years gave confidence in using the same technology for a future larger cosmic ray detector array to be developed.

Haverah Park was once one of the largest extensive air shower arrays in the world, with an area of 12 km2, but in the end, it just wasn’t big enough.

When Alan Watson and Jim Cronin proposed building a new 3000 km2 shower array, the question from funders was, ‘why do you want to make the array so large?’. The answer is, of course, to discover those known and unknown unknowns, but funders don’t usually like unpredictable outcomes. Luckily their plea was bolstered by the Fly’s Eye Cosmic Ray Detector Array out in the Utah Desert recording the Oh-My-God particle in 1991, it’s energy was 40 million times greater than that of any particles ever produced in any terrestrial particle accelerator. This and other evidence of extremely high energy particles sparked interest in the field of astrophysics and validated the discovery of similar particles at Haverah Park, which had not been taken seriously at the time. This ambitious proposal gained momentum during the 1990s to become the Pierre Auger Observatory in Argentina, with the detector design developed from the water Cherenkov tanks so successfully operated at Haverah Park. The huts here may be in ruins, but their legacy lives on at the world’s largest extensive air shower detector array, which is edging closer to answer the question ‘Where do ultra-high-energy cosmic rays come from?’

I am looking forward to developing work responding to the legacy of the Haverah Park experiment and building on my experience of creating The Absolute Hut (of absolute potential) New surfaces to explore, more moss, and also lichens here.

‘The Belly of a Rock’ video has waited a long time for its crusted shell. A hybrid between rock, mollusc, and technology inspired by the chemical conversations and urge to create described by Italo Calvino in his story ‘The Spiral’. We don’t always know what we are creating. Within ‘the belly’ surfaces slide and scrape along lines of fissure, distended innards ooze and rocks moan as they are distorted by untold pressure. The turbulent spiralling of the core births rock and lifeforms acted upon by the drag of the oscillating magnetic field.  

I have acquired a large number of photochromic optical lenses. These I have sorted by diameter, thickness and distortion. Initial thoughts about their use include using them as petri dishes to grow crystals which are embedded into small concrete hexagonal pillars of differing heights with reference to the geology of giants causeway. Using them to create composite windows into a new hut structure filled with video projections referencing the fly’s eye cosmic detector array.

A good workout on the guillotine making 201 cuts in copper sheet in preparation for a new concrete tablet in the Instruments of the Anemoi sculpture series.

Gallery and other outings:

Beverley Duckworth’s installation Surplus at Goldsmiths MFA final show. Beverley’s work is grown through a diligent process of care. Found materials are literally given new life in the seeds which are embedded into them, which then transform and colour them. The installation includes an intermittent sound element of recordings of the melody played by waste trucks in Taiwan to call people to bring out their rubbish.

Apparently I wasn’t the first person to be struck by similarities to the landscape of Yangshuo near Guilin China. I visited in 1984 and think it is no longer a quiet little village.

It was the first time I had been back inside the Ben Pimlott building at Goldsmiths since by own graduation, a scary twenty years ago. The building was brand new then and the views with little visible green fed into my installation Re:construction – a large screen print with tiny viewing hole to a tiny oasis amidst the grey, albeit a synthetic one.

Yinka Shonibare Suspended States at Serpentine South. Horrors of war and colonialism are filed under dazzling colour, birds on the brink of extinction stare in plea or accusation, beacons of light in the darkness come from miniature replicas of sanctuaries.

Yinka’s socially engaged inclusive practice spills over into real help for artists and communities. The exhibition celebrates Guest Projects and G.A.S. Foundation in Lagos. Guest Projects is such a generous idea and I have been so lucky to benefit from it with the project Laboratory of Dark Matters

Being awarded a month’s residency at Guest Projects was crucial to the success of Laboratory of Dark Matters as a site for developing ideas and subsequently touring the project. Wonderful to meet Yinka and also to be part of the selection committee for the next round of projects.

Judy Chicago Revelations at Serpentine North. The highlight of this show is the video documenting The Dinner Party (1974-79) installation and the preparatory drawings and sample plate. What a shame the actual installation wasn’t here, I will have to visit the Brooklyn Museum, New York sometime to see it. The research, collaborations, crafts and designs that went into creating it was phenomenal.

Saw Complicité’s excellent Mnemonic at The National Theatre, 25 years after first seeing it at Riverside Studios. ‘A body is found in the ice, and a woman is looking for her father while a man searches for his lost lover. Mnemonic is as much about origins as it is about memory, and remembering what is lost. Mnemonic asks us: what is our place in the natural world? How have human relationships with the environment shaped patterns of migration? Who are we, and where do we come from? ‘

Visited the delightful mellow brick country home and extensive gardens of pioneering naturalist Gilbert White at Selborne. His book ‘The Natural History of Selborne’ (1789) has never been out of print since it was published more than 230 years ago. He was brought to many people’s attention, including mine, during the pandemic and lockdowns of 2020 when writer Melissa Harrison included his diary readings in her podcast The Stubborn Light of Things.