Dancing in the Boardroom (Turnin’ My Heartbeat Up)

This film formed part of 'Topographies of the Obsolete', a site specific research collaboration between the British Ceramics Biennial and Bergen Academy of Art and Design. Research has been developed through participation in a major International research initiative, most recently through two residencies/workshops at Spode in September 2012 and March 2013 with collaborating researchers from: Sheffield Hallam University, Danske Kunstakademi, Copenhagen, Muthesius kunsthochschule, Kiel Germany, The Bergen Academy of Art and Design, Norway, Alfred University, USA, University of Newcastle and the School of Art and Design, Nottingham Trent University. All residencies are held at the former Spode works in Stoke-on-Trent, and research and outcomes are made in response to the site, its associated histories and industrial architecture. During the project a series of interrelated research strands have emerged through a range of interdisciplinary artistic practice, which include an exploration of the post-industrial landscape as site; the globalized landscape of ceramics; the contemporary ruin and the artist as archaeologist. The focus of Chloe Brown's research is on the landscape of post industry and takes the disused Spode factory in Stoke-on-Trent as its critical prompt, as defined by the Spode factory’s history, legacy and socio-political context. The research employs methods of sculptural practice, site-specific intervention, drawing and film in order to promote subtle slippages in meaning to transgress propriety or social contexts and function. Through this material-based research the work follows an enquiry into the construction of particular social narratives in relation to the site of the industrial ruin. This is explored through two outcomes: 1. The reinvention of the in the ‘decals’ or transfers, traditionally used to decorate bone china and porcelain tableware. Brown focused on the depiction on insects, especially bees, dragonflies and butterflies, which once separated from the familiar ‘still life’ imagery of fruit and flowers, could become transformed into something potentially unsettling, applying them to glazed tableware (found at the site) in such numbers that the imagery changed from pleasant to unpleasant, from something potentially beautiful to something crawling with insects. This, when taken in combination with the choice of tableware – teacups, plates and bowls – suggested the combination of infestation with ingestion. 2. The filmed staging of a Northern Soul dance event in the Board Room at the factory. Through this film connections between post-industrial cities of Stoke and Detroit, from where much Northern Soul music originates, are made and issues such as the class system, labour and norms of behavior are questioned and challenged.