I live and work in the beautiful Tamar Valley, Cornwall UK. For over 20 years, I have balanced my own studio practice with the privilege of working with many school students of all ages. The school residencies help to expand the curriculum, and I specialise in assisting young people to lead with implementing improvements and change within their organisations.
Initially, I began working with young people at the now famous Stantonbury Campus in Milton Keynes in 1979, whilst also working as a member of the cast with Roy Nevitt and Roger Kitchen's ambitious community theatre productions. Since then I have devised and performed with Rational Theatre Company at Hull Truck, The Place London, Battersea Arts Centre, Cardiff Arts Lab, The Arnolfini Bristol, and alongside Birmingham Royal Ballet, Plymouth City Museum and Art Gallery, Eden Project Cornwall, Education Action Zone Plymouth, The Photographers Gallery London.
My studio work is centred in installation and fine art printmaking. In 2014 I won the Design Factory Award, with the Design Museum for digital textile design pictured on this page, and in the same year was selected by the Victoria and Albert Museum/Morley Gallery to show fine art print work in the "Inspired By" Exhibition.
I am presently engaged in a new project, setting up a Community Interest Company as Co-Director of "The Ministry of Making", a brand new Creative Hub, which will operate in the UK, France and online.
What is Enough?
Jo Tyler works with immaterial means; The light, translucent layers and transparent glass vessels describe current global states of instability and flux.
She works to create the blown glass vessels with master glass technician, Lawrence West. Jo then fills these simple transparent vessels with a moving assortment of evocative substances; ice, oil and ochre, drawing on the intelligence of the body and inviting us to respond with every cell.
Jo’s fine art print work, using transparent layers of extended ink, handprinted chine colle and delicate Japanese handmade washi paper, offer insight into the design processes that inform the glass installations.
Disembodied voices played within this immersive experience give a sense of intimacy with others. Like pillow talk, they offer a moment where we can still our own concerns, and see into another person’s world.
Sometimes the work is sombre, and shadowy; sometimes playful and unexpectedly adventurous, but always it is compelling, hypnotic and passionately rooted in the redemption of human connection.
Temporary Craft-the art of rangoli
Temporary Craft was presented at Making Futures conference, in Cornwall, as part of the 2015 programme, and the paper, published by Making Futures can be found here;
The “Temporary Craft” process takes place within three distinct stages: sourcing, designing and deconstructing, during which participants are encouraged to reframe their role as spectator in increasingly active terms, as “witness or beholder” to the act of making.There are fluid routes through the activities, and people are able to drop in to create the design, step back in regard, or retreat to gather more supplies at any time during the life of the event.The lead artist chooses to deliberately apply the humblest and most accessible of materials: an old carpet or rug is provided on which to construct the design.Bowls are made available which participants use to gather materials from the immediate locale. It is made clear that collected materials must be biodegradable and gathered in silence with awareness for environmental concerns. This fosters an atmosphere of care and watchfulness, which runs through the whole event.
Boundaries between professional and amateur are intentionally bridged from the outset. The artist appears as a cultivator to support this process. During the first hour of the event, beach sand, flower petals, left over desiccated oranges, and earth gathered by participants begin to arrive at the site, to be incorporated onto the main design.
People add to the installation freely, patterns evolve and expand, and people become absorbed in designing, step back to witness the whole picture, or exit to collect new materials.
As the event comes to completion, the artist reappears to initiate the deconstruction. Participants take part knowing that the piece will inevitably be destroyed and, in an ideal context, they, themselves, will carry out this deconstruction. Participants are requested to step back and observe how their own part in the design sits alongside patterns that have been designed by others. They are able to witness that multiple and unlegislated contributions can result in a design that holds unique aesthetic value.
At this point people will often want to photograph the final piece. The artist then initiates a collective action (usually with an invitation to physically connect the group, for example by joining hands) to undertake the destruction of the piece by walking through the design and scattering the materials. Finally, the resulting chaos of organic materials is carried to a compost bin or buried.
Temporary Craft was presented at making Futures Conference 2015.
Light Up-an installation that participants create for themselves
Participants make hand made slides, which are projected into a dark space, with white walls. They wear white garments, and "catch" works of abstract art- created either by themselves, or fellow collaborators, on sheets of white paper.
Light Up recently featured as part of Tate Exchange with Plymouth College of Art and will be presented as part of beyond Words Conference at Plymouth University in March 2017
Who Allows You?
Who Allows You? Is a washing line intervention that has popped up in Giardini at Venice Biennale, and at Glastonbury Festival. The title is taken from a Roald Dahl quote from "The Twits".
Who Allows You? invites participants and audience to enter into a playful and lighthearted conversation about agency, compliance and democracy, on their own terms.
Participatory and inclusive arts for Schools and Community Groups
For over 30 years, Jo has designed and supported the development of arts in schools, and in community settings. She worked as a Creative Agent for Creative Partnerships, as a Partner Schools Manager for Devon Arts in Schools Initiative ( DAISI), and has run her own company, Creative Kids, since 2000. Jo has enabled students to design 5 separate pieces of huge wall art in partnership with Plymouth Rail Station, which all the passengers still enjoy. She has worked with Golden Tree, and with Rambunctious Social Club, to bring art out of the established gallery settings, and into the public domain.
If you want to contact Jo for an informal (free) 30 minute discussion about designing an exciting project for your venue, which will involve your participants, please feel free to call, email or text.
Jo is passionate about offering a chance for creativity to be available for everyone, regardless of income or background.
Scroll down to view some images from students work made during exciting events and arts residencies