The exhibition maps the landscape of the Bretton Estate in relation to its populations of bees and wildflowers. Works in the exhibition include meticulously drawn maps that chart the locations of where bees have been feeding at certain times of the year. Each map shows a month that Chesney worked on site, from March to October, with a key showing symbols for each bee observed and its location.
Chesney is careful to highlight that the research is not scientific, but an artistic approach to presenting data. The work offers a beautiful insight into the movements of different species of bee across the seasons. The maps are accompanied by Chesney’s collected plant specimens, highlighting the flowers and plants the bees select to feed on.
Other works in the exhibition include screenprints featuring the solitary bee. These contain extracts from George Else’s unpublished key for identifying solitary bees, of which there are over 250 species in Britain alone. The curious collection of words produces a poetic description of each bee and makes visual the difficulties encountered when attempting to make identifications.
During her residency in 2010, Chesney made many sound recordings using the newly installed honeybee hives at her nature reserve base, which she has transcribed into detailed drawings. The artist has described how dramatically different the sound of each hive was depending on the day, the hour and the weather and these drawings detail this observation. The exhibition ends with Chesney’s proposal for an extensive landscape intervention created with bee-friendly plants. As part of the residency, the artist made a proposal to create two plots of an acre each, one containing blue and the other yellows flowers.
At an estimated cost of £100k the proposal requires significant investment and we are exploring its feasibility in relation to funding, space, the living environment of YSP and the conditions of land agreements. Accordingly test plots have been established in the Girl Guide lawn which will help to highlight the necessary requirements for the work and any difficulties in their realisation - it is expected that the meadows will become stronger with each passing year.
The project also raised interesting questions about the use of the landscape, echoing the politics of the Land Art movement and interventions such as Agnes Denes’ Wheatfield: A Confrontation of 1982 in downtown Manhattan.