Assemblage Arts Collective
The idea to collectivise came about during the Berwick Film and Media Arts Festival 2024. Taking part in a round table discussion led by Elphy, a collective of film makers from Rotterdam, we saw a creative future that made projects more manageable, exciting and ambitious. As brothers we share common ideals, ethics, politics, love of making things and creating sounds that Assemblage Arts Collective frame works, structures and assembles into practice we feel gives us confidence and voice to engage with people, communities and thinking we consider connected to our creative souls.
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We are interested in the dialogical processes involved in researching, making, presenting and engaging with art
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We aim to create projects that value all these processes
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We aim to be non-competitive including interactions with organisations and people
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We will work towards some form of presentation to all our projects
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We will work to be sustainable
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The core group are the brothers Ben and James Grant
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We aim to invite and support others to be involved with our projects
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Our projects state our belief in equality and humanity
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And work to understand the planet
Projects
2025 Bunker
2025 Bunker Preview
Saturday 22nd February 2025 1:30 to 2:30pm: Preview at the Hand, 55 York Road, Acomb, York, YO24 4LN

This short film shows a pillbox overlooking Cocklawburn Beach built as part of defensive works to protect the UK during World War 2. The beach is about 2 miles south of Berwick-Upon-Tweed in Northumberland.
We made the initial image and sound recordings of the structure when the Brexit debates felt most divisive; though we were conscious that any work we made from recordings about a defensive site could easily be read within a far-right narrative of nation and belonging.
In 2024, we picked the project up again and began work to articulate what had first drawn us to the pillbox, and pursue ideas as to how and why our experiences as children and adults relate to the concrete structure. The result is a portrait of a public building, eroding back into the landscape. Entwined throughout is our desire to recognise and remember the building, not just as a defensive structure, but as a meeting place within which ideas of a post-war future society were discussed and thought about. Ideas that brought radical social advances we both directly and indirectly benefited from.
Grandad a Conscripted Soldier
The draw is in part a connection to our grandfather, a conscripted soldier from a small village in Nidderdale, North Yorkshire. He drove tanks in North African and Southern European campaigns and from the memories he’d recount to us, some would make us laugh but most would make us wonder at the pure chances of his being there. His experiences we re-lived through games, books and comics.
One measure of the project has been to think what might have been going through his mind if he had sat inside, and what he and his comrades might have been discussing.
Sand, Gravel, Cement and Water
In May 1940, after the invasion of Luxembourg, the Netherlands, Belgium and the UK rapidly put together defensive plans. Local labour and troops rapidly built 18,000 pillboxes to create a ‘coastal crust’ of defended beaches and a network of ‘stop-lines’. Building stopped in February 1941, after 28,000 had been built. Construction materials were in short supply, necessitating improvisation including using sand and pebbles from beaches and scrap metal.
We imagined the discussions around chance. What if guns were being fired at us? What about the sand, gravel, cement and water?
“Behind You!”
So, what is all that behind the concrete pillbox as it sits on the coastline and faces out to sea? Behind them lie villages, towns and cities. Hidden from view to those deep inside concrete walls, yet are the reason why the folk were there.
Those ideas, images and thoughts of the past and future, brought inside and held in the minds of the defenders who sit and look to the sea, and train in case of emergency. Their only solace found in their reasons for being there.
Survive and Make the World a Better Place.
Feeding the imaginations in the pillbox would have been the Beveridge Report. A best seller when published, with 700,000 copies sold, and advertising posters hung in across public buildings. After ‘surviving the Blitz’ (September 1940 - May 1941) the Coalition Government commissioned, published and supported the report’s recommendations: a radical, socially progressive vision for future Britain. Published in December 1942 it outlined a public funded safety net comprising of a free at the point-of-use universal health care system; access to maternity, child and unemployment benefits; state pensions; and funeral allowances, regardless of personal wealth and status.
All for All
We think carefully about those visions of post-war Britain, and how they have impacted on our lives. We have discussed our birth, both within the NHS, supported by midwives, doctors, and nurses. Access to early education in the local village school, our collective society worked to provide our dinners (our parents didn’t have much money). And weekly swimming lessons and music. We’d well-looked after teeth, and our verrucas were dealt with. We arrived at secondary school on a daily school bus and participated in classes and took exams. There were grants and fees for college, and universities.
And this list of support could be multiplied 20 times.
Pillbox Place
John Berger (2007) wrote a book Hold Everything Dear: Dispatches on Survival and Resistance 2007. He argues we are now more likely to connect to a place through bought lifestyles and brands because global capital has destroyed the autonomy and quality of places to avoid tax and regulation and sell cheap commodities. To us the pillbox is a symbol of resistance to this; the essentials of life, what we really need to be happy and contented with, is to be part of a socially progressive civic society we give to, in a place we need to take care of.
Shout Out Road Show
We have planned a film tour to share the film and ideas. It will be a mixture of private, gorilla and community screenings to acknowledge the Beveridge Report’s five giants impeding a progressive society: idleness, ignorance, disease, squalor and want.
Rock Soil Scape
2025

Muck Spreading Kelso 2022
Several ideas are being spun to create a number of short videos based on interviews with people who work with sediment in various forms. With images of earth works in the vicinity of Berwick-Upon-Tweed the videos are being made alongside our Field project with the London based artist Phil Dobson to be shown in The Boatshed, Berwick-Upon-Tweed June 2024.
The series starts with the artist Michelle De Bruin reflecting on her experiences carving stone.
Sedimentation of the Mind: Earth Projects (1966)
Robert Smithson (1938-73), a big inspiration for the project, wrote in 1966 about ‘Pulverizations’ or artistic processes focused on sedimentation of matter. He believed these basic and essential to understanding the true nature of life and our relationship to the earth contrary to ‘Technological Idealism’.
We have thought about this in terms of life and death, and if we take away our fear, we are left seeing ourselves very much part of Smithson’s Pulverizations. We connect to the earth by dust, our sediment blowing in the wind to join the earth. It’s interesting to think about stone workers skin, wearing on hard rocks they work to reduce, mixing with layers back on the earth’s surface.
Nostalgic about Geometrical Land Marks
As teenagers and young-adults we both worked on farms local to where we lived in rural Nidderdale. What catches us now is the contrast of industrial metal oil diesel powered tractors dragging steel cutting rolling machinery across fields making idealised gentle geometrical patterns. Lines, rectangles and triangles made with rows of hay, tyre prints or furrows across sloping hills.
Shaping Up
When children our parents bought an old farm building and worked to make it into a home. Sand, cement, stone, blocks, soil, digging trenches and hammer and chisel.
Not on Top of Things
Thinking about Timothy Morton’ s book Being Ecological (2018) some serious ideas need thinking through. Agricultural based religions have separated us from needs of the earth; creating beliefs of human souls being on top of all things and arriving at the logic of see it- say it- sort it. Or a hierarchy of which needs come first. For fixing our relationship to the planet Morton calls for the right attitude, avoiding operating in the language of good and evil, top and bottom, guilt and redemption and our thoughts pull on Smithson; can people who work in the cycles of earth and deep time find or potentially find another earth connector. A way of being a live sediment?
BMAF Festival (2023)
There was a very immediate audible interaction between a film being shown and the audience; retired soldiers were loudly calling out simple facts to digitalised super 8 films that showed their regiment, on patrol, or at leisure etc. “That’s Belfast” for example or “that’s what we drove in”. What sparked our imagination was sensing the knowledge and emotion behind so few words.
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Dry Stone Walling Nidderdale 2022

Michelle De Bruin Studio Visit 2024
Field
2024
With Phil Dobson
We are working with the artist Phil Dobson to create a field inside a Boatshed situated on the quayside to the river Tweed in Berwick-Upon-Tweed. Interested in ideas about deep time expressed in sediment moved by the water in the Tweed we are aiming to harvest sediment from the river then transport it to the Boatshed where it will mechanically spread.
We are discussing the wide possibilities for the life a new field, including our believe it will become the starting point for a new country. Somewhere new inspires us to consider all possible political, social and physical and systems manifestations. This includes non-nationalistic, nonreligious, nonfarming, equal and sustainable thinking and actions between all animals.
The field will also need to be reflection of post digital manifestations of nature, but also like the sediment its self, be an expression of human time on the planet that has led to this point. So a vast knot of parrarell and inter weaving times in which what can seem understandable can turn to confusion. Plastic is a good example; made from chains of chemical and minerals from the earth’s crust we turn into material that is transformative of human life, but is destructive, can change in an instant with heat or becomes part of the earths crust in forms we don’t fully understand the consequence off.
We are reaching out to experts to grow the processes of creativity for the Field. Dawn Bothwell, Public Programmer for Berwick Film and Media Arts Festival. Madeleine Ferrar, Printmaker and Linguist based in Berwick. Alison Tymon a Geologist for University for the Third Age and Berwick Education Association. Mark Lambert, from The Extinct Animal Project.
Background
Continual Movement: science has created knowledge of a planet continually on the move, the earth’s mantle flowing; shifting and changing the crust on which we live. In our discussions we focus on continual movement being at odds with national/physical borders, particularly those drawn across maps with pencil and rule to create finite lines across the planet. We have also tried to think about conceptual boarders particularly surrounding beliefs, including religious and political dogma and the seeming immoveable ideas (often linked to feelings of belonging) and again we sense a group disquiet of the conjecture between scientific reality and cultural/communal knowledge.
Science: Big World in a Small Thing: We have been drawn by the awe and wonder of what science and technological development have enabled us to see and understand, it can’t be helped, it’s amazing that so much understanding of the planet can be drawn from a single piece of sediment. We are thinking about back tracking; trying to imagine a beginning, something coming from nothing, and it seems impossible to us. But why? Is it because of the dominance of material capitalism and its institutions and structures creating sense and reason or is it something deeper and more intrinsic and ‘natural’ in our psyche? A survival instinct, a need to understand what has happened to predict what may come next
The Eroded Steps: Thinking about no beginning no end Giuseppe Penone’s (1989) The Eroded Steps relates to the old factory steps in Dean Clough Henry Moore Studios Halifax worn away by heavy boots of workers. What we find interesting is the suggestion of a beginning, the steps once perfect, but we wonder what happened to the dust and grit? We presume it was washed away down a drainage system. Where are is it now? The steps remain but the other half again buried?
Local is a very Large Place: We were unnerved but fascinated when we traced back the Tweed (as far as we could). There is evidence that emergence from the sea of the first vertebrates and their diversification occurred in locations near what is now the Tweed, though at the time (450 million years ago), it was attached to what is now N. America, in the landmass called Laurentia (Otherlands by Thomas Halliday p. 214 and related references in his notes). And of course this kind of evidence comes from rock created by build-up of sediment. Messages from distance in both time and place.
We thought about its roles as a divider of nations, a provider of sports and livelihoods, a stage set in many arts and photographs, a supporter of towns, and understood a character against which we think about our sense of being and belonging, a tradition and heritage that we need? To hold our feet to the ground without which we would be floating and moving we don’t know where. The ground created from sediment.
Machines and Words: Scratching the surface of planet earth for humans to live, farming and building are clanking towards becoming advanced robotics. A process we liken to religion, ‘the glory of hope in technology’. Against this we have thought about words, and the work they need to do to conjure the layers below the scratched surface into time and events that if all time was a ton of wheat, the bible would barely be a handful. This is appropriate to this project since there is evidence that early colonisation of land by marine animals occurred in the region of what is now the Tweed estuary, but at the time, around 460 million years ago, was attached to what is now North America. On this scale of time, the imposition of national boundaries makes less sense.

Note Book Research into Field


Recording with Hydrophone on the Whiteadder, Northumberland and the Scottish Borders 2024



Lichen on Rocks, Whiteadder 2024


Field Trip 2024
Life
The palaeontologist Robert Fortey wrote in his book Life 'Carbon lies at the centre of life, its ubiquitous and indispensable ingredient. Carbon atoms link together in chains, and bind with other atoms, to make the whole array of organic chemicals that constitute life itself, from DNA to toenails. Only one other atom is as versatile as carbon, and that is silicon, which comprises the essential ingredient of many rock forming minerals. It, too, can hold hands with its neighbours through large molecules. Silicon chip technology exploits its properties, and it is no coincidence that silicon intelligence is portrayed as the only possible rival to that of our own carbon-based brain. You do not have to be a fanatical reductionist to realise that the soul of life is carbonaceous and the soul of rock siliceous.' (1999)
After the Deluge
2023
With Phil Dobson
Supported by Bridge Street Gallery and The Boatshed, Berwick-Upon-Tweed


Details of After the Deluge 2023
Combining the sculptural work of Jim Grant with Phil Dobson’s digitally animated flowers and Ben Grant’s atmospheric sound the installation worked to suggest the fragility and potential collapse of natural systems, their decay and renewal, in the poignant form of a felled and broken tree, screwed and bolted together suspended by filaments animated by the projected images. The material for the installation had been collected along the shores of the Tweed estuary, linking the work to the locality. The Boat Shed has been depicted in paintings of the 1780s and was used between 1901 and 1979 by Berwick Salmon Fisheries Co Ltd.
The installation is partly a proposition of a future when nature is being relived through incomplete memory or data. This desire to reconstruct nature, as if after the deluge, is initially despairing, but also gives us hope that humankind can undo the damage it has done to nature. The title refers to the materials used, the location and the theme of the show citing the redemption story of Noah in Genesis, the Ark possibly being a metaphor for gene banks.


Video documenting After the Deluge 2023


Details of After the Deluge 2023
