Application details for 2008-2009
About The Residency
The Environment
University of Sunderland
The End of Year Exhibition
St Chad’s College: Living Accommodation
Artists-in-Residence since 1983

2008-2009 Applications
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About the Residency

In 1970, the Chaplaincy to the Arts and Recreation converted a former rectory in Teesside into a centre for artists of all disciplines to meet and work together. One experiment within this centre was the provision for an artist in residence. It was an experiment which was financially supported and monitored by Northern Arts for possible development elsewhere.

It was a brief experiment but it lasted long enough for its value to be recognised. Some ten years later and with the combined support of a variety of sponsors, the Chaplaincy was able to develop the artist-in-residency from a base within the precincts of Durham Cathedral, "the finest building in the world". From then, the residency has offered a year long opportunity for artists, aimed to be of benefit at a critical stage in their development.

The original twofold purpose of the Cathedral Residency remains true to the ideals first established in 1983. It is:

1. To provide time and space for an artist, free of other pressures, to respond to the Cathedral as a powerful creative statement in stone, a place for daily public worship, and the centre of a working community of stone masons, joiners, gardeners and office workers, as well as vergers, musicians and clergy.

2. To provide the opportunity for public access to an artist at work.

Developments in 2003

In 2003 the residency has was re-shaped, as a one year experiment, offering two options - one lasting for nine months and continuing to offer a period for reflection and growth, the other lasting for three months and being project-based. This was not continued: from 2004 the residency reverted to offering one appointment for a full year.

The Chaplaincy to the Arts continues to administer the project, which enjoys the combined sponsorship and enthusiasm of a wide range of organisations-

The Chapter of Durham Cathedral, Arts Council England,
The University of Sunderland, St Chad's College in the University of Durham, Durham City Arts, Durham City Council and Durham County Council

They support the residency and, through their representatives, make the appointments.

Benefits

In addition to the fee, the artist holding each residency enjoys a wide range of benefits provided by the sponsors, as may be seen below.


The Environment

Durham Cathedral, set majestically on the city’s peninsula surrounded by the closely wooded banks of the River Wear, is the shrine of the Northumbrian hermit-bishop, Saint Cuthbert, who died on the Inner Farne Island in 687. The saintliness of his life extended to respect for his renown after death. His body was reputedly incorrupt and miracles were attributed to his intercession. The community which grew up on Holy Island took St Cuthbert's body with them when they fled from the Viking invasions in 875, eventually settling at Chester-le-Street from 833-995.

The community, with St Cuthbert's body, eventually came to Durham with Bishop Aldhun who first set in train the building of the cathedral. The chronicler Simeon tells us that the first church was completed at the end of the tenth century, possibly replacing a wooden structure, and was itself supplanted at the end of the eleventh century when, on 11 August 1093, the foundation stones of a new church were laid. On 29 August 1104, in the presence of a great gathering, including Bishop Rannulf Flambard, the building of the choir vault was sufficiently advanced for the body of St. Cuthbert to be transferred to what was then the central eastern apse, now the raised-up feretory.

In 1083, Bishop William of St. Calais had inaugurated a Benedictine monastic community, and as abbot, the involvement of the bishop in the life of the cathedral and priory was still considerable. Increasingly, through the Middle Ages, as the bishop’s office, spiritual and secular, grew in authority, influence and property, the prior of the monastery became the executive of a rich, learned and healthy institution.

When Durham monastery was dissolved on 31 December 1539, the new foundation of Henry VIII was immediately supplied with a Dean and twelve residentiary canons from amongst the old prior and convent. The buildings substantially survived, though some of the trappings of the mediaeval church were despoiled. The magnificent shrine of St. Cuthbert, which had been the most important spiritual centre in the north of England, was broken up and the body of the saint reburied beneath a simple slab, as can be seen today.

The Romanesque strength and grandeur of the cathedral survived the Reformation. The late eleventh century stone vaulting of the choir, the great decorated pillars of the twelfth century nave, the brilliant vaulting of the central crossing, the dizzy heights of the thirteenth century Nine Altars, and the gentle peace of the twelfth century Galilee, with the shrine of the eighth century church historian, Bede, are special glories.

Of the monastic conventual buildings, the late fourteenth century Dormitory, with its original wooden roof, the twelfth century apsidal Chapter House, which was restored in 1895, and the domestic ensemble of the College adjoining the banks of the River Wear and the gracious Baileys especially take the eye.

More than 500,000 people visit the cathedral each year. Whether or not they come initially because of its historic and aesthetic qualities, they nonetheless find themselves in the centre of a spiritual, intellectual and working complex of today, as will the artist.

Studio

Within the College the Dean and Chapter have made available one of the houses for the artist’s studio. Situated on the ground floor are two rooms, each of approximately 16-20 square metres, and running the length of them is space providing essential toilet and basic kitchen facilities.

University of Sunderland

An important part of both residencies is the relationship with the School of Arts, Design, Media and Culture of the University of Sunderland.

The relationship to the University takes two forms. The Resident becomes involved in the teaching of the School and thereby makes a contribution that has become a vital and stimulating part of the annual programme.

Secondly the Resident has access to the facilities that the School provides. Specialist workshops in Metal, Wood, Clay, Plaster, Photography, Ceramics, Glass (both Hot and architectural Glass), Printmaking in its various forms, and Digital Media offer support to a wide range of two and three dimensional working studios. Additionally the School houses a radio station and a television provision. All of these facilities are available to the Resident for the extension and development of their work in any way appropriate, should this be required.

In 1992 building commenced on the new University campus which is situated on the northern bank of the River Wear. The emergence of the new University is seen as a fitting accompaniment to Sunderland’s newly achieved ‘city’ status with the building of a new campus providing an ideal vehicle for opportunity.

End of Year Exhibitions

The Reg Vardy Gallery is the School of Arts' own well equipped and thriving gallery that receives and initiates exhibitions at both a national and international level. The artist holding the nine month residency is invited to hold a solo exhibition in the Reg Vardy Gallery.

Provision may also be made by Durham County Council for the artist to hold a solo exhibition at Durham Art Gallery, where there is a year-round programme of temporary exhibitions, plus a full programme of music, workshops and events.

St Chad’s College: Living Accommodation

St. Chad’s College, which is part of the University of Durham, has welcomed the presence of the artist-in-residence for a number of years.

The College, situated by the side of the cathedral, is housed in largely eighteenth century buildings and its students are drawn from all faculties in the University.

The artist-in-residence is given accommodation a short walk from the studio in that part of the college occupied by postgraduates, and is encouraged to take part in their discussions and activities.

Two thirds of the cost of the accommodation is met out of the budgets of the College and the Cathedral. The artist, who is also a member of the College’s Senior Common Room, provides the remainder.

External Advisers

Three external advisers are appointed to the residency, each for a three year period.

Durham Cathedral Artists-in-Residence

1983-1984 Virginia Bodman
1984-1985 Felicity Allen
1985-1986 Matthew Carey
1986-1987 Colin Wilbourn
1987-1988 Anita Taylor
1988-1989 Gerald Davies
1989-1990 Tara Sabharwal
1990-1991 Jo Burns
1991-1992 Deborah Gardner
1992-1993 Richard Cole
1993-1994 Robert Maclaurin
1994-1995 Ian Breakwell
1995-1996 Rachel Evans
1996-1997 Neil Gall
1997-1998 David Ward
1998-1999 Katayoun Pasban Dowlatshahi
1999-2000 Simon Parish
2000-2001 Geoff Broadway
2001-2002 Tony Sinden
2002-2003 Jim Harold
2003-2004 Paul Moss / Maggie Hills (3 and 9 months respecively)
2004-2005 Paul Housley
2005-2006 Zatorski & Zatorski
2006-2007 Oliver Godow
2007-2008 Eleanor Morton