BELCHER CHAINS AND SADDLE RINGS

Exhibition text by Charlie Morrod:

 

Boothferry estate is a sacred place, the roots, essence and spirit of Campbell’s life and work. Combined, they give her a deeply humble and gracious attitude towards her presence and practice. While these attributes are evident in Campbell, this body of work remains fearless, raw, and deeply significant to her.

 

Belcher Chains and Saddle Rings is a union of growing up on the estate : Boothferry Bridge, the significance of the jewellery itself, family bonds and a pining for a life beyond the park gates. Kids larking out, tags on brick walls, the sound of bikes revving and the blue reflection of sirens through living room windows - the sensory elements of Boothferry. Campbell portrays this in it’s fullness through poetry, film and paintings.

 

One of the ideas for the film stemmed from Cambo’s longstanding desire to hang a sheet with a message on from Boothferry bridge - growing up it was something memorable. Sheets hung over the steel and concrete bridge, spray painted with ‘Happy Birthday Mam’ ‘Free BG #Out Soon’ or ‘Last one out, turn the lights off’ when most of west hull watched FC play in Wembley in 2016. Usually up for a few days but long enough to read and remember. As many people would say you know you’re in Hull when you see the Humber bridge, I can imagine you know when you’re back in Boothferry for the same reason. Campbell’s idea formed into fruition in the film, portraying the artist hanging the bedsheet over the bridge, together with shots of Gower park gates, garages and other areas of the estate.

 

Pride remains central to evoking the true essence of council culture. Not only does Campbell affirm this in each paint stroke but it is the core reason for her devotion and love of her background. Works capture unfiltered moments and objects, with the jewellery ‘Belcher chains and Saddler rings’ holding significant value both materially and personally. The jewellery is passed down, gifted or a family heirloom. A tangible symbol of connection, love and strength within a family bond. Paintings depict both father and son wearing both ring and chain displaying these with honour. Boothferry’s influence shines with a new light unearthed by Campbell’s ever-growing sense of wholeness nourished by the council culture.

 

The installation, film, poem, and paintings together tell a personal story of Campbell’s roots, family relationships, values, and the symbolic elements of council life. Each piece contributes to the cohesive concept of the exhibition. One of the stigmas behind council culture is that people don’t leave the roads that surround them. This is a full circle for Campbell as she showcases her first solo exhibition whilst living in Berlin, Germany. Setting herself free to live the dream, expand her horizons but most importantly never forgetting where she came from.

 

 

Words from the artist.

This exhibition is the definition of full circle. It was only two years ago, on this very week, at this very festival, that my work was first exhibited. I had no identity as an artist, three paintings to my name, and one went in wet. Fast forward to now, and I’m living in Berlin, practicing as an artist, hosting my first proper solo gallery show with the very festival that spotlighted me in the first place. I am blessed beyond belief. But there is a cost to freedom. There is nothing I want more than to be stuck in the land of green council fences in Hull’s rainy October, but German paperwork restricts me from doing so.

 

The month preceding the exhibition taught me that to be an artist, you sometimes have to let go. The work’s need to be seen and showcased should override my desire to see it. Regardless of its importance, I guess that’s a sacrifice you have to make in this industry. The freedom I longed for in the film and this series, is the very thing trapping me from seeing the it’s debut. But that’s life.

 

To be honest, Belcher Chains and Saddle Rings is a series that won’t ever end. The work doesn’t stop because Hull will always be my home and my relationship with it is forever changing, And with change comes art. So I thank you for being witness to the first of its showing. I didn’t even know it was possible to show work about Boothferry in a white walled exhibition. But you have to believe. Stick to your roots, believe and believe again.

 

Choose your support networks wisely. Nothing is impossible. Even on the most logical microscopic level everything is possible. You just sometimes have to graft a bit - but that’s the best part. This exhibition wouldn’t be possible without the help of the people to follow. From installing the work, invigilating the space, to putting up posters, I thank all of you from the bottom of my heart. You are the thread that brought this exhibition together. So, a special thank you to: Keaton, Theo, The Unthinkable Team and mentors, Lucy Brooke, Rachel Anderson, Jon Keen, Jess Patrick, Jack Moxon, the Dive Boys, Alison, The invigilating team, all my friends that chipped in along the way, and To my family and Charlie for being my personal support.

 

Work hard and dream big.