The Tate website defines socially engaged practice as
‘art that is collaborative, often participatory and involves people as the medium or material of the work. It's also referred to as social practice or socially engaged art, can include any artform which involves people and communities in debate, collaboration or social interaction. This can often be organised as the result of an outreach or education program, but many independent artists also use it within their work. The term new genre public art, coined by Suzanne Lacy, is also a form of socially engaged practice.
The participatory element of socially engaged practice, is key, with the artworks created often holding equal or less importance to the collaborative act of creating them. As Tom Finkelpearl outlines in his book What We Made: Conversations on Art and Social Cooperation, social practice is ‘art that’s socially engaged, where the social interaction is at some level the art.’
Socially engaged practice can be associated with activism because it often deals with political issues. Artists who work within this field will often spend much time integrating into the specific community which they wish to help, educate or simply share with.
The artists’ aim could be to help a community work towards a common goal, raise awareness and encourage conversation around issues, or perhaps to improve their physical or psychological conditions.
2015’s winners of the Turner Prize, Assemble, are a perfect example of artists using socially engaged practice because they collaborate with residents to improve their local area.'
Tate, date unknown, Socially engaged practice, Available from: http://www.tate.org.uk/art/art-terms/s/socially-engaged-practice
As I have described elsewhere, I have always been a maker, and I still am, but increasingly some of my work has a socially engaged element.
Safety net at Synecdoche's [dis]place residency
at The Vestibules, Bristol, September 2017
What I call my accidental introduction to social engagement happened in 2015. I was awarded The Embroiderers’ Guild Scholarship so was invited to exhibit at The Knitting and Stitching Shows in London and Harrogate. These are large trade shows for everything to do with textiles, with a number of art galleries too. This is where I was exhibiting. I was expected to be there with my work from 10-5 every day for 9 days in total.
Do you mind if I write that down?
at The Knitting and Stitching Show, Alexandra Palace, London, October 2015
I was, frankly, rather nervous about exhibiting in this context as I thought that most visitors would want to see traditional, decorative, beautiful, benign textile art and my large, body like soft sculptures are far from that! I had planned to sit quietly and knit and try to avoid any awkward interaction but I realised, almost straight away when I saw how people were responding, that if I did I’d miss an amazing opportunity to engage with my audience. So began the most wonderful few days. I had to make myself quite vulnerable as my work is very personal but I found it cathartic to talk to people who had had similar experiences. There were hugs, tears, lots of laughter and many stimulating conversations about life, and art. There were also some people, inevitably, who disapproved, or couldn’t understand what I was doing, or couldn't see the point, but that was all part of the diverse range of responses.
And I wrote down what people said. I knew I wouldn’t be able to remember everything so I captured what I could in a sketchbook. It was very interesting to see how people responded when I said ‘Oh! Do you mind if I write that down?’ It seemed to validate what they were saying and most people then elaborated and wanted to say more. It was an astonishing experience! I have written more about it when I describe my experience during my clothing installation, Don't wash your dirty laundry in public in September 2016. I've documented it further here.
Have a look at the documentation of the comments and conversations from the Knitting and Stitching Shows, which I have called, appropriately, ‘Do you mind if I write that down?’
I was addicted! I subsequently began to think of ways to involve the public more actively in my work. Have a look at my Social engagement projects. My experience at The Knitting and Stiching Show, especially in London, felt like my accidentatl introduction to social engagement. I still have a lot to learn about how to invite people to interact with my work, but I do find it very exciting! I’m looking forward to finding opportunities to expand this part of my practice further. Watch this space!
Don't wash your dirty laundry in public
at Synecdoche's Bodies residency
in an empty shop in a busy shopping centre in Bristol, September 2016
(Edited March 2025)