A Collective – written by Alannah
The Kindred Collective embarked on our journey together with the Nerve Centre and Joe Caslin, at the Public Record Office of Northern Ireland (PRONI) in Belfast. Surrounded by stories and papers of our past, we began thinking about what we want for our future. A stroll around Hamilton Dock with this small group was the beginning of something bigger, the perfect place to launch our new ideas of what Northern Ireland could become.
With workshops (and great food!) we detangled our relationships with our parents' generation. We were able to see information presented to us in a physical fashion which helped us to physically place complex themes apart from one another and tackle them together.
For our generation's sake, much of the conflict of the past has been buried down and silenced within families. When we were exploring themes and piecing together fragments of what we knew of ‘The Troubles’, it was clear – we can do better.
Much of the information and stories our generation interacts with are through social media or screens, therefore Joe's approach was a breath of fresh air.
With paper, storytelling, posters, print-outs, sketches and presentations, we were immersed in his methodology, and given a tactile experience to draw us together as a collective to help co-design what the artwork would become. We weren't separated by a screen or kept apart online during the process, we were a collective and treated as such. We were being given a voice and a space that our generation doesn't often have.
In this article we will discuss how we chose Downhill House as a collective, the purpose of the artwork and AR, opening events and activations and our legacy; the hopes and promises we sent to the horizon.
Co-design – written by Rebecca
It was clear from the first meeting that we had all come with different skill sets and for different reasons, with varying aspects of the project drawing us together. We knew that this would be an advantage, allowing the scope of the project to widen. However, it was also daunting at times, seeming unclear how all our strengths would overlap and come together to produce one cohesive message / vision.
However, from the get go, Joe was an incredible facilitator. He acknowledged and drew upon our individual strengths, assigning roles that were best suited to each of us, from designing assets and branding, thinking about events, architectural logistics, music creation and performance, cultural research and more.
Deciding on every aspect of the project – such as events, the location, the artwork, and all the way to the project font – we got together as a group to make a democratic decision, with everyone’s voices counting. Where there were differences in opinion, we talked everything through respectfully, following our guiding principles.
The subjects being tackled were often heavy so discussing them in such a safe and open space was a rare freedom, allowing us to really delve into our thoughts and learn to express them calmly. I think we all experienced a lot of personal growth and confidence from these meetings.
Once realising the potential of the group and the project, and all fired up to do the best in our individual roles, the project ended up extending from the originally planned three months to nine, with new and bigger ideas constantly unfolding!
We worked together incredibly well as a team, thanks to our guiding principles of respect, Joe’s experienced facilitation, and our determination.
Choosing Downhill House – written by Brónagh
The Kindred Collective agreed with the Nerve Centre and Joe that the artwork needed to be placed upon a building of importance. This important building could be anywhere in Northern Ireland, derelict or historical, and needed to be in a place where it was accessible to those in the team and the wider public. The building needed to add to the importance of our message.
Through a series of (very fun) explorative visits, the Kindred visited areas surrounding the North Coast. A number of buildings were considered and we had a great time imagining Joe creating artwork that could span the entire length of the Derry walls – and why not?!
Ultimately we decided upon a final two to bring the entire team to visit and scrutinise – Downhill House and Martello Tower at Magilligan point. Both structures are of great importance to the area and to Northern Ireland’s history.
The day was a success (minus getting soaked in the pouring rain) and we decided on the beautiful walls of Downhill house, now cared for by The National Trust. The original owner of the house was the Earl Bishop of Derry who was a renowned and well-liked man by both sides of the community at a time when penal laws existed – no easy feat. The house itself is placed next to the beautiful backdrop of Binevenagh Mountain with a view outwards to the sea.
The team at the National Trust explained to us that Bishop Frederick was an avid art collector, and modelled the stunning nearby Mussenden temple on a similar temple he saw on his many travels. It's said he wished to have some of the same grandeur at his home diocese.
We wished to borrow some of this grandeur for our message. Although the house is now a ruin, there is something magnificent about the way the walls have stood the test of time. We also knew the space would be perfect to allow us to utilise space for technology throughout the exhibition.
Adding Augmented Reality - written by Dáire
Embarking on the journey to create an AR experience with Hamilton Robson was exhilarating. Our goal was to merge cutting-edge technology with the rich tapestry of Northern Ireland’s history. The process began with immersive research, including a walking tour of Belfast’s historic murals. This tour wasn’t just about seeing the murals; it was about feeling the heartbeat of the city’s past and present.
As we strolled through the city, the murals spoke volumes about the region’s tumultuous history and its hopes for peace. This journey was vital for understanding the context in which our AR project would be set. The visuals of the murals, combined with their powerful messages, inspired us to create an experience that was equally impactful and immersive.
In addition to the walking tour, we engaged in Seanchoíche events – intimate storytelling gatherings where we listened to and shared personal stories. These sessions were invaluable, providing a deeper emotional connection to the narratives we wanted to incorporate in our project. Hearing accounts from each member of the Collective enriched our understanding and helped shape the content we would later develop.
As we gathered these stories and experiences, the vision for our AR installation at Downhill House became clearer. The app was designed not just to display art but to activate audio recordings of Kindred Collective members sharing their personal stories. Each story added a layer of depth, turning the site into a safe space for reflection and connection.
Creating this AR experience was about more than just technology; it was about capturing the essence of Northern Ireland’s journey and inviting others to participate in that narrative. The combination of historical tours, storytelling events, and personal interactions formed the foundation of a project that aimed to bridge the past and the future meaningfully.
Events and Activations – written by Étain
We Can Do Better’s opening weekend took place on Friday 17th to Sunday 19th May and was made up of a range of events and activations, led by Joe Caslin and The Kindred Collective.
The festivities of We Can Do Better kick started on Friday, with the official launch of the installation. Representatives from the Nerve Centre, Imperial War Museums, National Trust and the Arts Council NI shared opening remarks and speeches on the project’s journey. Joe and The Kindred Collective then took the Stakeholders and guests through the exhibition space.
Saturday welcomed a full day of events and activations for the public. The first was a guided tour of the installation and Downhill House. The Kindred Collective and Joe teamed up to showcase the installation including the augmented reality app, encouraging people to download the app to use on the tour. Joe led the tour through the installation, explaining the details of his artwork and how it related to the chosen theme of ‘conflict’ while a representative from the National Trust focused on the building’s history and lore.
The Kindred Collective later assisted visitors with placard making. Over 200 placards already decorated the ruins of Downhill House which had been chosen by The Kindred Collective prior to the installation opening and explored four main themes:
1. Our lived experiences of Northern Ireland
2. Suicide and Mental Health
3. Femicide and Gender Based Violence
4. The Hopes and Morals of ‘The Kindred Collective’
During this activation, the public were encouraged to create their own placard relating to these four themes, before adding them to the installation space.
A storytelling event, in partnership with Seanchoíche, took place on Saturday evening. The event was held in the ruins of Downhill House and co-hosted by Joe and the wonderful Mark from Seanchoíche. Three members of the Collective spoke, sharing their stories of ‘conflict’ and other speakers also took to the stage to tell their story. It was an evening of poetry, spoken word, vulnerability and powerful storytelling. Some speakers made cheeks sore from laughing and others moved people to tears. The evening ended with a walk to Mussenden Temple to watch the sun set.
Sunday was the third and final day of the events, with more guided tours and sharing stories. The sun was splitting the trees, so the site was busy. The weekend festivities closed with a hauntingly beautiful performance in Mussenden Temple called ‘Horizon Song’. The hour-long performance was composed and led by Rebecca, a member of The Kindred Collective, who sang a collection of her own songs to 100 guests within the temple walls. The Horizon Song performance finished with the remaining members of The Kindred Collective joining Rebecca to sing their own rendition of the song ‘Savage Daughter’.
Legacy – written by Róisín
Our aim for the project was to educate and evoke emotion from the public, without causing a feeling of isolation or bias. Through the use of AR and statistics, storytelling and artwork we hope to have made a lasting impact on all who attended the opening weekend or saw the project over the five weeks after its launch.
Not only did we find a home with our fellow members through common goals and viewpoints, which allowed us to build lifelong friendships, but we had the chance to see how our work impacted those who experienced We Can Do Better over the course of the opening weekend – the most profound parts being when visitors told their own stories through our AR app. These stories truly touched us as people opened up to share their own experiences of conflict within Northern Ireland.
Joe Caslin took what we had to say and transformed the front of the prestigious Downhill House into a beautiful mural of a woman, symbolising us all. He took great care in creating this stunning piece, which exceeded our expectations and reflected the aspirations of the project.
One of the most impactful parts of the project seemed to have been the protest placard area, where statistics and opinion pieces were available to read. These appeared to have shocked some viewers, with some being moved to tears at the time of viewing.
We hope that this project has reframed views on conflict in Northern Ireland, specifically in bringing about more awareness about the levels of violence against women and feminine presenting people.