Photo by Kai Oberhäuser
I imagine you were as disappointed as I was to learn that our new art gallery, the Paddock Project, had been abandoned following the withdrawal of the primary benefactor's funding. It's a sad thing to happen given the dedication of so many people over the years. It is especially unfortunate because the notion of a significant art project in Sherborne had received such strong local support. The project would have benefited not only the artistic community but the town and its residents as well. It's a setback that results from and is made worse by, the global pandemic; the greatest collective shock that we have experienced. What is needed at this challenging time is optimism and the hope of a brighter future. We've had our fill of despair.
I've been providing architectural services for the other art project in Sherborne, the Art Farm, located in the old barns at Barton Farm. This scheme, principally intended to provide artists studios as well as sculpture and pottery workshops, remains viable but will inevitably be affected by changes to the funding landscape. As a result, we will need to revisit the proposals to ensure that they include appropriate facilities and that they can be delivered economically. Before embarking on this review, it felt right to pause for a moment to see if anything could come from the idea of a joint project. I am pleased to confirm that discussions are in progress regarding the possibility of a combined approach. Joe Benjamin and Sir Robert Fry, the respective Chairs of the Art Farm Project and Sherborne Arts Trust, have both confirmed to me their agreement to explore such a strategy.
It won't be easy as each project has its complexities and sensitivities. However, bringing them together as a single entity, and avoiding any duplication of facilities, has the potential to simplify and streamline the concepts. It also provides an opportunity to re-imagine what is possible, albeit on a more modest scale, and take advantage of the significant wealth of knowledge and support that the projects have previously accrued. New sources of funding will be required, and no doubt these will be increasingly difficult to secure during the coming economic difficulties. It is in this context that the two projects have asked me to develop ideas for how a building or buildings for a unified scheme might emerge. No one can predict the future, and I am under no illusions as to the difficulty of this task.
In reviewing the configuration of both projects, it will be essential to look at things holistically and to ask some fundamental questions. Previously each project had its own site, should this new unified project instead be based at one location? What will any changes to the proposals mean for Barton Farm and the integration of the project with other Digby Estate buildings? If the old Paddock Project site is unused, what will happen to that area of land, given the constraints imposed on its acquisition? Could improvements be made to the relationship with Paddock Gardens? Previously there was a reduction of spaces in the Market Car Park but could there now be an increase? Will car usage in Sherborne go up or down in the future? What about the future of high street shopping? What will happen with Sherborne House and is there a possibility of co-ordination with Sherborne House Trust to help unlock the full potential of this vital building? Can we arrive at a masterplan that will provide sufficient improvement to the town, such that it will gain support from the Town Council and the local community? It may not be possible to achieve all that was previously intended, but even with a reduced scope, the project can still be a catalyst for broader benefit.
Not everyone will agree with whatever emerges, and not all opinions can be incorporated. We will have to abandon some possibilities as we prioritise others. Given the circumstances, people will also be sceptical that we can achieve anything. The development of new proposals will require sensitive management and collaboration. There will be an obvious need for appropriate consultation with all relevant organisations, statutory and otherwise. A programme of regular public consultation will be crucial, as will the need to listen and to incorporate adjustments according to what is said. Although the Art Farm and Sherborne Arts Trust will drive the study, we should not forget that the real clients are the people of Sherborne.
Overall, we need to be realistic and focus on what is achievable. Any solution must command local support and be capable of attracting funds. However, that doesn't prevent us from being ambitious. The proposals should still spark the public imagination and be a significant contribution to Sherborne's future success. Although it would be tempting to give up in the face of the difficulties caused by the global pandemic, what we need now, more than ever, is hope. A successful community art project can still make a significant contribution to a better future for us all.
This article was written by Andy Foster for the June ‘20 edition of the Sherborne Times.