Janice Kerbel’s Home Climate Gardens drawings were the result of a collaborative project between the Norwich Gallery NSAD and the Tyndall Centre for Climate Research UEA. The project was funded by the Calouste Gulbenkian Foundation, Arts Council England, Canadian High Commission and Norwich City Council. The Curator Lynda Morris wrote in 2003: Janice Kerbel learnt that in 1980 NASA had promoted the benefits of plants inside space stations as an inexpensive, low-tech, eco-friendly means of removing pollutants from the air of the home and workplace. Under laboratory conditions, spider plants could remove 96% of carbon monoxide, toxic exhaust gas. Lady Palm (Rhapis excela) was found to aid in the removal of formaldehyde fumes. Plants ‘breathe in’ our carbon dioxide exhalations and ‘breathe out’ vital fresh oxygen, making them our ‘perfect partners’. Nature’s own air purification system. Home Climate Gardens situates itself between dystopian visions of environmental disaster and traditional utopian idylls of landscape and architectural design. The work is generated out of an interest in the contradictions at the centre of our relationship to climate change. Our love of nature is secondary to our desire for the technology of a modern metropolitan lifestyle, with all the energy requirements of our expectations for cleanliness, warmth, refrigeration, mobility, light, entertainment and communication. A humid bathroom may offer similar climatic conditions as an island in the South Pacific, without the risk of El Niño and coastal erosion. The climate of a central-heated office block is a fragile desert habitat. The climate of the future remains unclear, but it will be effected as a result of the growth of greenhouse gas emissions and human habits. There is nothing that can be done now to stop our climate changing. Home Climate Gardens is an allegorical meditation on the future conditions of a world marked by increasingly uncertain environmental conditions that we are going to have to learn to live with.

Norwich Lido was a project by Elizabeth Wright in collaboration with Norwich Gallery NSAD, Tyndall Centre at UEA and Wysing Arts Cambridgeshire. Elizabeth Wright wrote: The Government financed and built Lidos throughout Britain in the 1930’s. They were motivated by the need to create a healthier work force. After the First World War the level of animal fat in the population’s diet was depleted due to its use in making high explosives. Cod liver oil was used as a food supplement but in the summer months the incidence of rickets and tuberculosis (two of the illnesses associated with vitamin depletion) declined. A connection was drawn between the medicinal properties of sunlight and people’s health. It required a public ‘leap of faith’ to believe that the climate had become more like that of Southern Europe. There was no literal change in the climate, a psychological change had taken place. Norwich Lido aims to link this perceived change in climate in the 1930’s with our own uncertainties about the climate change in the future. In the 80’s when the Lidos become the responsibility of local councils across the country, the vast majority fell into disrepair and were later demolished. Research at the Tyndall Centre has examined how interactive games may be an alternative method for visualizing the effect that certain policy decisions may have. A ‘simulation game’ creates hypothetical situations where players experience the consequences of their decisions. Norwich Lido presents a scenario and a simulation game in which a viewer may participate. Using enamelled swimming pool signage: ‘Deep End,’ ‘Shallow End’, ‘No Diving’, ‘1.0M’, ‘1.8M’ and 3.8M’, six virtual pools were placed within the city infrastructure of Norwich. On entering any of the Norwich Lido sites the viewer creates their own ‘scenario’ and method of negotiating the site, imagining the ‘virtual pool’ to be either full or empty.

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