For more than three decades, Shared Habitat has developed artistic, cultural, and environmental projects that bring together creativity, ecology, and community. Working across disciplines and in collaboration with artists, researchers, organisations, and local communities, our practice creates opportunities for exchange, dialogue, and shared ways of inhabiting place.
Among our long-term initiatives is the Dartington to Totnes Foot and Cycle Path, realised in partnership with Sustrans in 1993. This landmark project continues to provide a safe and sustainable connection between the two communities and stands as an enduring example of creative environmental infrastructure.
In 2013, Shared Habitat established the Pfaelzer Hof Artist Residencies in Idar-Oberstein, Germany, with the support of the Town Council of Idar-Oberstein. The residency programme continues to foster international artistic exchange, collaboration, and research, bringing together artists from diverse disciplines in dialogue with place and landscape.
Among our long-term initiatives is the Dartington to Totnes Foot and Cycle Path, realised in partnership with Sustrans in 1993. This landmark project continues to provide a safe and sustainable connection between the two communities and stands as an enduring example of creative environmental infrastructure.
In 2013, Shared Habitat established the Pfaelzer Hof Artist Residencies in Idar-Oberstein, Germany, with the support of the Town Council of Idar-Oberstein. The residency programme continues to foster international artistic exchange, collaboration, and research, bringing together artists from diverse disciplines in dialogue with place and landscape.
Pfaelzer Hof Artists Residencies in Rhineland-Palatinate, Germany
Collaborators:
Eila Goldhahn (Curator and Director)
Stuart J Young (Director)
Pfaelzer Hof Artists Residencies is located in a small, former, hotel in in the town of Idar-Oberstein, Germany’s jewellery making capital, and set in a wooded and vine growing area. Shared Habitat have curated exhibitions and artists residencies from 2013 until 2025 and are accreditd members of the international network of ResArtis. Shared Habitat enable international artists’ retreats that support new ideas and work to flourish in a relaxed atmosphere.
Stuart J Young (Director)
Pfaelzer Hof Artists Residencies is located in a small, former, hotel in in the town of Idar-Oberstein, Germany’s jewellery making capital, and set in a wooded and vine growing area. Shared Habitat have curated exhibitions and artists residencies from 2013 until 2025 and are accreditd members of the international network of ResArtis. Shared Habitat enable international artists’ retreats that support new ideas and work to flourish in a relaxed atmosphere.
S H A R E D H A B I T A T
Tenuis
Artists:
Eila Goldhahn: Video installation
Jamie Mills: Sculptures & Curation
Stuart J Young: Calligraphy and Sculptures
Jamie Mills: Sculptures & Curation
Stuart J Young: Calligraphy and Sculptures
‘Tenuis’ featured work by Stuart J Young, Eila Goldhahn, and Jamie Mills. The exhibition traversed drawing, sculpture, artefact, and moving image to share a common voice in the exploration of gesture, material status, and ritual as a means of contemplation and transformation.
Goldhahn’s, Mills’ and Young’s works speak of fragility and diligence. They honour their material integrity as well as their process of creation - the innate errant journeys that exist between a uiet inner voice and an emergent materiality - in their small disruptions. As with prayer, of which, its strength exists in the activity, it is the accumulation of subtle voices - a gentle coaxing which begets transformation through the interfacing of the materials over time.
S T U A R T
J Y O U N G
Sculptures of Body and Landscape
Artist: Stuart J Young
Practice: Sculpture
Project type: Research project / Exhibition
Medium: Ciment Fondue, Plaster, Pigment, Wood
Body and Landscape is a series of sculptural works that explores the relationship between the human form and the natural world. Developed in dialogue with the ideals of classical modernism, the works draw inspiration from sculptors such as Jean Arp and Henry Moore, whose organic forms dissolve the boundaries between body, landscape, and abstraction.
The sculptures emerge through an intuitive and tactile process. Figures are carved directly from woods such as apple and holly, allowing the grain and character of each material to shape the final form, or are first modelled in plaster before being cast in metal or ciment fondu. Their rounded, often biomorphic forms evoke fragments of bodies, stones, seeds, or geological formations, suggesting a continuity between human anatomy and the rhythms of nature.
Materiality is central to the work. Surfaces are finished with pigments derived from ochres and siennas, polished with beeswax, or painted with milk, employing traditional techniques that emphasise the sculptures' physical presence and their connection to natural processes. Through these elemental materials and methods, Body and Landscape proposes sculpture as an act of transformation in which body and terrain, memory and matter, become inseparable.
Practice: Sculpture
Project type: Research project / Exhibition
Medium: Ciment Fondue, Plaster, Pigment, Wood
Body and Landscape is a series of sculptural works that explores the relationship between the human form and the natural world. Developed in dialogue with the ideals of classical modernism, the works draw inspiration from sculptors such as Jean Arp and Henry Moore, whose organic forms dissolve the boundaries between body, landscape, and abstraction.
The sculptures emerge through an intuitive and tactile process. Figures are carved directly from woods such as apple and holly, allowing the grain and character of each material to shape the final form, or are first modelled in plaster before being cast in metal or ciment fondu. Their rounded, often biomorphic forms evoke fragments of bodies, stones, seeds, or geological formations, suggesting a continuity between human anatomy and the rhythms of nature.
Materiality is central to the work. Surfaces are finished with pigments derived from ochres and siennas, polished with beeswax, or painted with milk, employing traditional techniques that emphasise the sculptures' physical presence and their connection to natural processes. Through these elemental materials and methods, Body and Landscape proposes sculpture as an act of transformation in which body and terrain, memory and matter, become inseparable.