One Action Ones Actions – Site Specific Installation At Cultybraggan PoW Camp

One Action Ones Actions Poster




An Art Installation By Dickie Webb

Exploring A Sites Relationship With Community

2nd June 2013 – 11am-4pm

HUT 64

Cultybraggan Camp

Comrie – Perthshire.

 One Action, Ones Actions is a new work by Edinburgh based artist Dickie Webb.  The interactive sculpture, installed within the Cultybraggan Camp near Comrie, Perthshire responds to the sites history and seeks to visualise the ongoing relationship to the nearby community of Comrie.

On the 2nd of June 2,000 bouncy balls will fall from the centre of Hut 64, an A listed Nissen Hut first used to house Prisoners of War in WWII.  The 2,000 represents the local population, individuals which form a community.  The movement of the bouncing balls through the space highlights their individual journeys.  These objects interact with mobile structures and stationary balls present within the confines of Hut 64.  The individual balls start to operate as a whole rather than isolated entity as more of them enter the space.  It is this interplay of time and motion of objects that One Action, Ones Actions explores.  An unknown performance choreographed by chance and prior actions.



Cultybraggan Camp is currently owned and operated by the Comrie Development Trust (CDT).  It was first used as a prisoner of war (PoW) camp during WWII housing different levels of German and conscripted soldiers.  Since WWII the camp has seen a variety of uses Army Training centre, Royal Observer Corps (ROC) when a nuclear bunker was built on the site and also as a Regional Government Headquarters.  The local community benefits from the regeneration of the camp by the opportunities for small businesses, sports and recreation areas and renewable energy biodiversity strategies.  One Action, Ones Actions is part of an Open Day organised by CDT celebrating the past, present and future of Cultybraggan.


Dickie Webb – Within my work I try to echo human qualities that are present in discovered spaces; anthropomorphising vacated structures and overlooked objects.  By creating unique forms and sensory-based installations I consider what is past the obvious, discovering hidden potential within these objects and spaces.

I am currently preoccupied with whether it is possible to create a heterotopia within a liminal space?  Installing metaphorical objects within site-specific spaces creating suggestions of somewhere or nowhere, allowing the viewer to move between the real and the virtual.  These heterotopias transport the audience from the here and now, re-engaging the viewers with prior knowledge to complete the story.





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