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  • Bea Kilduff

click here for 'LOCAL SPACES' 10-2019 || ERROR88

'Local Spaces' 10-2019, Photography & Film YouTube Uploads 'Local Spaces' is a collection of film and photography collected from local spaces that significantly embodied the Furness area. The series is presented as a film-reel and various photographic works. The three spaces are: Salt House Mill The Hope & Anchor Pub and Barrow Underground Music Society (Bums). Each space exemplifies various foundational aspects to the Furness area, such as industry, poverty, creative perseverance, community.

HOPE & ANCHOR Film, 2019, Youtube Upload The Hope & Anchor film is recorded 2019. I was trying to find a space to study in my local area however cafes close very early and studying at home can be difficult. Sometimes me and my friend go to late night pubs and work there. This film documents this ordinary experience: The locals having a catch up, watching the football, walkers coming in for a pint, a local string band playing banjos and accordions. The audio was recorded separately. The footage for me really exemplifies the charm and beauty in the rural, the community, and the ordinary.

SALT HOUSE MILL Virtual Photography, 2019

The subtltly of disruption. Salt House Mill is a space embodying the fragility of economic wellbeing in isolated regions reliant on industrial economies. The integration of nature, contemporary legal and illegal economies, historic abandonment, and creative resilience is celebrated in this space. To me Salt House Mill is an honest space, embody perseverance and hardship. Through photography I have presented the employment of social discourse and hardship; this can be compared to Paul Graham's Roundabout, Andersonstown, Belfast (1984, printed 1993–4) in 'NO SUCH THING AS SOCIETY: PHOTOGRAPHY IN BRITAIN 1968-1987' curated by David Mellor. The first impression Graham's image is that of the mundane, yet upon closer inspection it is a depiction of Irish political hardship. Like my own work, Graham's landscape embodies the mundane and the turbulent. The images are taken at sunset to both conceptually emphasize transformation and hope, and as the golden light celebrates the naturally occurring textures in the architecture. The pieces inspire an important dialogue between the content and the viewer. To some, this work maybe voyeuristic, other, and different. To others the works maybe familiar, mundane, ordinary. The interpretation of the work is dependent on the viewers own regional and class experience. For me, this work is a depiction of home. BUMS; BARROW UNDERGROUND MUSIC SOCIETY Photography, 2019

Barrow Underground Music Society, BUMS, is the final part of 'Local Places'. My intention is to capture underground cultures that persevere despite austerity and a lack of accommodation for creative professions. To me, BUMS embodies being 'othered.' It represents perseverance. It represents youthful chaos. BUMS is a creative space that resiliently exists , encouraging local creative opportunity. BUMS defies this pressures to work in engineering and allows a space for creative community, art, and music. The outside of BUMS is in a run down, deprived area of town. Its existence is outwardly subtle, muted, and undisruptive. The inside of BUMS is vibrant, energetic, and heavily stylized. Outside: Despair, hopelessness, decay. Inside: Youth, Hope, Movement. I intend to show dichotomy. The photo 'Turn Right' performs the industrial textures and colour palette of the industrial town. This composition and palette conservatively echoes Lowry's 'Coming Out Of School' 1927. The photo 'No End' utilizes f-stop f/5 and a 10mm focal length to lengthen the street and imply endlessness, echoing the feelings of fatigue and endlessness experienced due to the cycles of poverty, austerity, and hardship. One of BUMS functions is a space for band practise, so I went whilst some local musicians were practising: My intention here is to capture BUMS immersed in its everyday. The piles of used, empty glasses on the bar, the neglected Nintendo 64, the 90's deco, the neon lights, and band 'Bridge The Divide' playing. These pieces are much more playful. Using a lower f-stop and a much longer exposure time for the lower lighting I have framed the vibrant colours and presented the energy and function of the space: The movement, the youth, the chaos. People come here to further their creative dreams, to dance, to drink, and to forget the struggles of the world outside its walls. The feelings of hopelessness are transformed into creativity and youthful chaos born from the fatigue and need to let go. My intention is for these feelings to saturate the works. Some of the long-exposure was taken whilst dancing to the band and holding my camera to create movement and install the dance within the photo itself. The camera was also placed in the beer glasses to refract and play with the lighting. The photography from within BUMS is far more playful, colourful, and abstract as the space itself is far more playful, colourful, and abstract than the outside world.

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