Bervie Brow Research Station is a locus solus in north-east Scotland, and takes its name from the high coastal promontory on which it stands. The Station's 28-acre site fuses a dramatic landscape with Cold War archaeology. As well as being a private residency, it is an artist's project with a creative, educational, and environmental purpose.
'Deep-field research stations as a spatial type can be understood as remote sites of institutional living-working, temporary community, proximity to nature, and physical refuge in a landscape. They are often positioned geographically and conceptually on a frontier. In the polar regions, for instance, stations evolved through the twentieth century from simple wooden huts to sleek sci-fi styled architecture.' [L. 5. 1, p.14]
The Station was built as a Royal Air Force technical site for secret signals intelligence, first becoming operational in 1953 as part of the UK's early-warning radar network against the threat of atomic attack. Later, the installation was repurposed as a listening station for US Naval cryptologists and latterly as an emergency communications centre for the British Army. It was closed and sold by the Ministry of Defence in 1999.
In the present, the labyrinthine and Tardis-like Station brings together several strands of Harry's work. A precursor was the Field Tent
, which was used notably for a research installation
with Jane Wildgoose. Another point of origin is Strands: Station to Station
, an art project with Gregory Whitehead and others. A key influence is the subject of Harry's doctoral thesis: the towers built by the artist R. C. Lucas
, while thinking of the work of Gaston Bachelard and Frances Yates. The Station also builds on aspects of the Session Five programme, which included the restoration of a WW1 War Shrine
The Station is available for professional filming/photography.