May 2013 exhibition archive


Visual artists Claire Winfield and Rhiannon Evans are making work in response to the lost village of Hazelford, a local site of historical, archaeological and botanical interest.  Claire is currently studying archaeology whilst Rhiannon is a well-established practitioner of herbal medicine.

Both artists are using this year’s Artweeks Open Studios as an opportunity to introduce their collaborative response to the village, its inhabitants and their lives.

During Artweek

The exhibition in Shutford is open daily - see above.

Performance Schedule & information page.
(performances will take place over the weekends 18th, 19th and 25th, 26th, 27th May.)

Visit Hazelford - Please come to the exhibition site first for detailed directions.
Before your visit, download Rhiannon's ambient soundtrack Now and Then to your phone or mp3 player, for use on-site at Hazelford. Please resist the temptation to listen to it before you get there.

Guided visit to Hazelford on Monday 27th May.
Meet at the exhibition site (6a Plush Mills) at 2pm from where we will drive about 2 miles in convoy to a convenient parking place. Car-share is encouraged.

We suggest that you wear wellingtons or strong boots as the walk takes about 10 minutes across fields & there are large areas of stinging nettles at Hazelford!.
Please respect the countryside code as Hazelford is situated on private farmland and the farmers have kindly given permission for access during Artweek.

Claire Winfield

This project, which began for me in March 2012, has given me the opportunity to respond to a subject within my local area.  Hazelford Paper Mill (aka Upper Fulling Mill) lies approximately two miles to the south east of where I live and is easily accessible either by car (for most of the way) or on foot.  This close proximity to my home and studio has enabled me to make numerous visits to the site throughout the year.  Initially I found myself romanticizing the place, likening it to the idyllic location of the television drama The Darling Buds of May.  That association was soon lost however as I experienced the site through the changing seasons and weather conditions and instead what began to emerge was a sense of the harsh reality of what life must really have been like for its rural inhabitants prior to and circa the First World War, a life of hardship and a struggle for survival.

The subject of Hazelford has given me an opportunity to embrace my burgeoning interest in the relationship between art and archaeology.  Working with a combination of social and historical research, documentary evidence, an experimental approach to media, and processes and an inventive use of materials I have sought to combine the two.

Contact: claire (at) cwinfield (dot) co (dot) uk

Rhiannon Evans

My artwork responds to location, considers personal experiences in the past and present, rituals carried out and the residue that is left behind as a material record or memory.

I have come to know the area around Hazelford, and Broughton Grounds Farm from regular Thursday delivery of eggs and at Christmas, collection of meat and festive poultry from farmers, Andrew and Margaret Taylor.  Seasonal conversations about lambing, drilling, harvest and weather have kept alive personal memories of working in agriculture and lead to my discovery of the wildflower meadow, which lies across the brook from Hazelford.  In 2012, I led a wildflower and herb walk in the meadow and was introduced to the' lost village' opposite.

I have been investigating the local area around nearby Crouch Hill and the Salt Way since 2008 and used the residue from some of my actions, plus grain from Broughton Grounds farm in "Labour".  This piece (shown above right), was shown in a vacant office space in central London during the construction industry crisis in 2009, explored the nature of work across time and culture.

For Artweeks, my collaboration with Claire continues these investigations through the Hazelford of the past and its association with paper making, to the present use of paper as a material used to record and document personal experiences in everyday life.

Contact: rhiannon (dot) e (at) btinternet (dot) com

Hazelford - a brief history

Earliest records from 1444 show that Thomas Hazelford rented an acre of land and the village from the Wykeham Estate for 13 shillings and 4 pence, part of a knight's fee.  Built on the site of one of the Doomsday mills and mentioned in a Saxon charter of 956 as a ford over Sor Brook, Hazelford's ideal location has enabled production throughout the centuries as a corn mill, paper mill and possibly a fulling mill.  Hazelford is known locally as the lost village, last inhabited around 1914.  All that remains are two stonewalls of a house and grass covered mounds of brick and stone where three other houses and a mill once stood.  In the southeast corner there are the remnants of a brick lined pool, which could have been used for dyeing cloth or the village water supply.

(Information taken from 'Hazelford', an account by Margaret Taylor, Broughton Grounds Farm, March 2002)

CODA  >past<place><process>present<

A coda is a passage that brings a piece of music to an end.  It looks back on the main body of work after the climax & recapitulation to form a conclusion or create a sense of balance.

All content © Rhiannon Evans & Claire Winfield 2013