Collective plans a lively arts scene

Artcollective is moving to bigger premises soon. But, considering the number of plans it has in the pipeline, will the new space be big enough? The Globe finds out what kinds of activities will be taking place over the next few months.

The artcollective has decided to take on new premises in Mill Street from June.

The new space is larger and more versatile than its previous one, giving members studio facilities as well as a good, well lit gallery. It enables the collective to hold exhibitions, workshops and events that engage with the public much more than has been possible in the past.

Over the next eight months it will be holding drawing and mark-making workshops leading to a joint exhibition of work by tutors and those taking part.

With recycling very much a hot topic, it will have a show in which artists recycle their old art into new pieces, titled Artcycle.

There will also be evening and full-day courses in ceramics and jewellery on an occasional basis.

More extensive courses in drawing, calligraphy, ceramics and studio photography will be a regular feature.

Another exciting activity will be 'casting' evenings where, under full instruction, you can safely cast your face, hand or foot in plaster of Paris.

Many of these workshops and activities will have tea, home-made cakes, cider, beer and gache provided and full-day courses will have more substantial refreshments. And, of course, all the private views of the exhibitions will offer wine and nibbles – naturally. It also aims to continue its collaboration with writers and musicians by holding frequent poetry and music events. And there have been talks of the collective possibly being able to have small-scale film and performance shows...

All these activities, of course, have the ulterior motive of raising funds for the group in order to maintain the gallery. The work that members produce, although usually for sale, does not necessarily sell. That is because they practise the art that is important to them as individuals – artists do not always want to have an eye for the market. Of importance to the artist is what he or she has to say. The gallery provides that all-important showcase for the artists' work to engage in dialogue with all who care to look.

The collective is very keen to pursue one key element of its original manifesto: to encourage and provide a forum for those in the island studying art and who aim to go on to university. With the collective's encouragement, they will see that there is a lively arts scene here that's worth returning to the island for on completion of their studies. The collective will be contacting all heads of art at secondary and further education levels, outlining workshops and activities aimed at GCSE, A-level and BTEC students.

Arts in Offices is a programme that had lapsed, but the collective would like to revive it. The idea is to appeal to businesses to either rent or buy art from local artists for their office environment. It feels too that this should be part of a States culture and leisure programme involving all professional artists.

The collective has been fortunate enough to secure some grant aid from the States and some private funding in the past, for which it is very grateful. Members were particularly pleased to have Andrew Dyke of Cresswell Cuttle and Dyke as their patron and are grateful for the architectural practice's past sponsorship.

Art has been looked on as a leisure activity and consequently has not really had the financial input from either the private or public sources that it now requires. But things are changing. Three galleries have opened during the last 16 months in Mill Street and nearby.

The recently established Arts Commission for the island will be responsible for supporting and funding projects with a remit for all, and will have disposal of private as well as States finance. The commission is about to go live.

Music, the performing arts and sport are well-served in the island but the visual arts are not. It has been particularly difficult to obtain funding even for small-scale projects. As an example, the arts programme run for Health and Social Services, established during the last few years, proved very beneficial in the healing environment but has had difficulty in attracting sponsorship.

One of the artcollective's members has recently completed a commission for the PEH as part of this programme, but financing it was problematic.

The collective, by its own efforts and with private and States sponsorship, is poised to make an even more significant impact on the cultural landscape of Guernsey, the Channel Islands and the British Isles. Several of its members, for instance, have already had work and exhibitions in the UK. However, it looks to all those in both public and private arenas for encouragement and financial support.