The Metal Story

Chapter 1 - London

“After 26 years working in the arts as a theatre director, largely within funded institutions, I felt a need within myself for a greater freedom of creative expression, outside of the safety net provided by an institution.  I wanted the opportunity to experiment, reflect and further challenge my practice as the author of works of art and to take new risks.

Working collaboratively across disciplines had increasingly interested me in my work in the theatre and I wanted to build on these experiences, through a more personal artistic expression.

I looked for a space to work in this new way and found a building in West Hampstead.  It was virtually derelict and stacked high with rusting metal – originally built in 1887 as the ticket office for the West Hampstead railway, for the last 60 years it had been the domain of Tom Hunter who had run his metal workshop mending kettles and other household objects for the local community.  I loved the building immediately and I could tell that the space had a remarkable atmosphere conducive to artistic and creative endeavour.  In conversation with Tom it emerged that Sir Anthony Caro had created some of his ground breaking welded steel sculptures here in the 1960’s. 

I had seen the desire in me for greater creative freedom, mirrored in other arts practitioners in the UK, and in particular in older, established artists.  Alongside my personal journey examining my own creative redirection and providing myself with creative challenges, I decided to explore how to create a resource to be used by senior, key artistic leaders for experimentation, risk, collaboration, discussion and shared expertise and experience through a found space / an artistic laboratory with the idea of a congregation of artists – across disciplines, cultures and nations, loosely attached to a support system and network. 

I located the owners of the building, Anthony Green and Spencer, and over the course of two years they became interested in my idea and agreed to invest in complete refurbishment the building.  I asked my friend and guru, the architect Cedric Price to help and he said “divide the space by light”.  I have called this laboratory, Metal.

I knew that creating opportunities for discussion and debate between artists was to be a central element of Metal’s work and I was interested in the informality and generosity that cooking and eating together brought to conversation.  I explained my idea to AGA and they gave me an AGA oven which I installed at the heart of Metal’s building - and its philosophy.  Invited artists of all kinds gather, cook and eat together at breakfasts, lunches and suppers to provoke debate, partnerships, new relationships and shared knowledge and expertise.

In some ways Metal is my own work in progress – a live ‘installation’ to explore my thoughts about what makes a creative person or a creative place.

Jude Kelly

Chapter 2 - Liverpool

Ian Brownbill came to visit Metal in London to tell us about the story that he was developing with the Liverpool born writer, Jimmy McGovern called King Cotton.  Two things happened:  He left feeling inspired by Metal's way of working with artists, and in particular our approach to a number of arts projects that were developed and delivered with partners involved in the regeneration of large areas of London;  Jude Kelly agreed to help develop, and direct, King Cotton.

Ian was working in Kensington in Liverpool where he had been for ten years.  Kensington was, and still is, undergoing huge physical and cultural change as a government -led, long term, regeneration programme tackles the housing, health, social and economic issues faced by those living in the area.  As Metal's association with Liverpool through the development of the King Cotton story deepened we began a number of conversations with people living and working in Kensington.

No. 6 Marmaduke Street - part of a beautiful Grade II listed terrace of Mansion Houses called Clare Terrace - belongs to the housing association Community Seven.  It was standing empty as long-term plans for the area were developed.  Metal suggested that, in the meantime, the house could be brought back into a useful life for the community by filling it with artists and creative thinkers from around the UK, overseas and across the north west, who were of a disposition to use their work to make connections, communicate ideas, create energies, pass on skills and act as a catalyst for other creative resources and activities to come to the Kensington area.

Over a number of months Community Seven, and their parent company Riverside Housing became convinced of Metal's ability to do this and gave us a lease on the house for one year.  At the end of this 12 months Metal has hosted 40 artists from 10 different countries, through our own projects and partnership work.  Numerous projects, ideas and relationships have been started, finished and continue to develop.  The lease, and the partnership, with Community Seven has been extended for a further 10 years.

AGA continue their support of Metal and provided us with a second AGA oven in Liverpool.  Cooking, eating together, talking, listening and sharing ideas, knowledge and experience remain at the heart of Metal's work in both Liverpool and London.