BOSTON

This Heritage Public Art Project comprised of an exploration of the natural environment surrounding Boston, and how it has changed over the centuries, detailing the draining and flooding schemes. Using the archives to detail these changes, from the writings of Joseph Banks to local farm workers, from ornithologists to botanists, we developed a narrative which took the form of large posters pasted up in the streets, full of facts and figures to promote discussion during consultation. 

In the final artworks, a ceramic tapestry detailing the unique flora and fauna, as well as historical images and texts was created through the use of ceramic decals printed onto tiles, to make a permanent and accessible archive, to be explored by audiences, and used as an educational tool in an ongoing way. 

The two sets of ‘medieval stained-glass windows’ were created on 2 walls of the courtyard in Dolphin Lane, within a medieval lane which once led out to the open fields. 

The richly ornate frames of the windows were constructed with handmade tiles by hundreds of local people, which were built into a decorative mosaic.  

The environmental history windows pair with windows detailing the social history, the subjective histories, and the social groups that advocate and support our communities. These narratives, of course, intertwine, with fishing families going back 4 generations, the old public houses and inns used by traders, intergenerational farm workers and so on.  

The fenlands and Frampton Marsh were explored, the creation of the nature reserve, as well as the enclosures and huge changes in farming practices over the centuries. This inevitably highlighted the plummeting diversity and abundance, with the rise in industrial farming. The success of the RSPB reserve and the vast numbers of birds protected is celebrated. We looked at the origins of the RSPB in Manchester, initially as a resistance to the trend for birds’ feathers in the Victorian era.

The artworks include over 400 ‘panes of glass’ in the windows.

Social media platforms were useful for historical research, promotion and inclusion, confirming Audience as Participant on many levels.

By also creating a garden within the courtyard, it was our intention to speak of the importance of place-making, of communal participation and ownership of public space. 

Through growing food we explored diverse experiences of wild food, herbs and cuisine from both local, and newer communities of Europeans from largely rural backgrounds. This aspect also increased engagement and allowed for important cross-cultural work, with often marginalised groups.