Skylines

Last Monday I listened to the first of 3 programmes on Radio 4 called Playing the Skyline  (thank-you Jo for pointing it out to me!).  In this episode two composers were challenged to compose a short piece of music that took inspiration from the outline of the London skyline as seen from the Millenium Bridge over the Thames. The original idea came from a view from an old mariner’s chart where the coastal profile is laid out horizontally as a navigation aid for sailors. The contours of the shoreline between sea and sky rise and fall much like the melody of a piece of music. The chart could almost be ‘read’ as a musical score.

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Views and coastal profiles of the Isle of Sable (collections.rmg.co.uk)

I love the idea of creating music from the contours of the landscape and was struck by how similar it is to my Soundmark Drawings which are a reversal of this concept - sound into landscape  as opposed to landscape into sound.

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Neither the music composed from the London skyline nor my drawings aim to fully represent what is seen or heard – as artists we take in as much information as we can only to filter out what is unnecessary. In my case the rhythms and textures of what I hear are the most important. Sporadic vertical lines are strung out or clustered together along the horizon line giving an interpretation of what I hear and see.

Listening and thinking about this programme has prompted me to draw the skyline here on the coast – these drawings are from my sketchbook.

Looking straight out the sea and sky merge.

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As you turn small spits of sand jut out and the profile of the horizon changes – it’s hard to differentiate between land and sea.

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Turning further still to left or right the contours of the land rise and fall as it becomes more prominent.

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I wonder how these contours would sound if played?

The start of summer

We have launched Pickle (our small Cornish Coble sailing boat) and so summer can now officially begin ….

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…. I’m looking forward to working and playing for the next 7 weeks in this wonderful environment - let’s hope the weather holds up!

Odds and ends

Next week I go up to Norfolk for the rest of the summer and I am starting to think about what work and materials I need to take up with me. I tend to take just the things required for the projects I have on the go at the time (and a few essentials I can’t do without). The process of thinking about what I need to get done over the next few weeks has made me realise that it amounts to rather a lot! I thought you might be interested in all the ends I need to tie together before the autumn.

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Firstly, my Aeolian Pipes. Well – I’ve made four new large ones. As these are an experiment I am trying out one aspect of their design at a time to see how I could get them to sound out in the wind. For this series of ‘trying outs ‘I have changed the shape of the hole in the side. I know from my flute playing days that the shape and size of the embouchure hole effects the type of sound the instrument  produces, so it makes sense to start with that. I have incorporated small, medium and large round(ish) holes and one long thin hole. It’s fingers crossed that they make a noise …. I’ll let you know when I get them on the beach in a good wind.

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Secondly, I have a piece to make for  Studio 21. All year the group have been drawing, painting and generally getting together ideas to kick-start a project that started with some old sewing machines that we abused and pulled apart. I have to say that the idea of making work simply from drawing an old sewing machine didn’t really inspire me but after a bit of thinking things are beginning to fall into place. I am revisiting a piece from the Marking Time  project that I exhibited last year at the Crypt Gallery. One piece, Counting Cloth – Beating Time, I always felt would work well as a 3-D installation made up of many identical (or nearly identical) units that tick-tocked their way  across the floor and up the wall. The connection to a sewing machine is in the repetitive and rhythmic sound of the motor and the visual action of the needle and bobbin. Here is the first one ….

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…. just another 20 odd to make.

While we’re talking about Studio 21 you may be interested to know that the group are currently looking for new members. If you can get to meetings in Surrey and have a ‘strong personal style, exceptional skills in making and an excellent knowledge of your chosen materials’ why not put in an application – we would love to hear from you. Application form here.

Thirdly …. collages for an exhibition in the Autumn. This is an art show and I am doing it specifically to sell work. Shows like this provide me with the funding to buy materials (and time)to make and research the conceptual work that I find so interesting and enjoyable. The collages are small, domestic pieces that are perfect for putting straight onto the wall. They give an impression of how I ‘see’ the coast. One batch is finished and ready to be mounted and bagged ….

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…. and they next lot (which are bigger) are on their way!

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Finally, you may have noticed that a lot of information has disappeared from the menu bar at the top of the page. This is because it has all moved over to my new website and you can now find my profile, galleries and exhibition details there. There is a link to it in the side bar or you can take a look here.

 

New noticings and experiences

I have been on holiday in the Lake District – a place I haven’t visited for nearly twenty years. It is an environment that I don’t know very well and is about as different from the North Norfolk coastline as it possibly could be. We had fantastic weather – a rare occurrence for this mountainous area – and the views from the tops of the fells were staggeringly clear and far-reaching.

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Even though it was dry practically all week (we had 20 minutes of rain, but that doesn’t count) there was water everywhere. It pools silently in clear, deep tarns and between rocks, and gushes with bubbling force down precipices and gullies. On the tops of the fells water is retained in boggy areas. Mossy, grassy vegetation acts like a sponge to soak it up until it can’t hold any more. As saturation point is reached it drains away to seep or tumble or plummet from the tops of the mountains down any conduit it can find to the bottom – gravity is always in evidence here. Walking is wet as you tramp across the tops or climb slowly and steadily up a rocky path that is more stream than walkway. Good, solid, waterproof boots are a must and Gortex is a wonderful invention.

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Experiencing a new environment and then beginning to understand it takes a long time – for me it is the personal familiarity of a place and an empathetic comprehension of the changes that occur within it that lead me to make artworks. But small appreciations and ‘noticings’ of a new place bring some understanding. The elements – wind, water, air, land – are of course the same whether by the sea or on top of a mountain. Each is continually in motion and it is the way in which they interact with each other that creates a unique environment.

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Thinking about how water interacts with the land in the Lake District and the recognition that height and gravity play such a big part in this place is a beginning to slowly finding my way in.

‘When the snows melt, when a cloud bursts, or rain teems out of the sky for days on end without intermission, then the burns come down in spate. The narrow channels cannot contain the water, which streams down the hillsides, tears deep grooves in the soil, rolls the boulders about, brawls, obliterates paths, floods burrow, swamps nests, uproots trees, finally reaching more level ground, becomes a moving sea…..the most appalling quality of water is its strength.’
Nan Shepherd, The Living Mountain

Tarpaulin: Double Cloth

A couple of months ago I made a new Tarpaulin Cloth.

Like the cloths I made for ‘Caught by the Tide’ earlier in the year this work considers the processes of change that can occur to cloth when exposed to the elements. I like to use the sea as a resource – it is another material available to me – so I put this cloth into the sea and then left it outside in the salty, coastal environment.

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The sewn wire eyelets rusted really well in the sea and the sea air, but I wanted more crustiness – a texture and surface on the cloth that looked used and that told a story of its time outside. So I have soaked it in saltwater as well and I’m really happy with the result. It has a subtle, crispy surface that isn’t obviously ‘salty’ and a pleasing stiffness to the whole cloth.

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debbie lyddon tarpaulin double cloth detail web

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On a whim I entered it for the Fine Art Quilt Masters at the Festival of Quilts and guess what? I’ve been short-listed! So if you would like to see this Tarpaulin Double Cloth it will be on display at the New Designers exhibition, along with the other short-listed works, which is running at the Business Design Centre, Islington, London from 25-28 June or of course you can see it at the Festival of Quilts at the NEC Birmingham from 7-10 August.

 

 

More Aeolian Pipes

I’ve made some more Aeolian Pipes – very long ones and very small ones. The aim is to try and get the wind to make them sing or hum. I experimented with two designs for the long pipes – one is an open tube and one is closed at one end. Both look great at the beach. Standing with their feet in a rippled, shallow pool and their tops reaching above the horizon, they are visually just right and remarkably stable. Unfortunately it was very still at the weekend and there just wasn’t enough wind to fill the pipes with sound.

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To test their sound worthiness I’ve tried blowing into them - I haven’t enough puff! I’ve tried using a hairdryer - they started to melt! I suspect it would have to be very windy for them to produce any sound at all ….

So I went back to the drawing board and thought about what shape and configuration of hole I know will produce a noise – my flute. Here are two tiny pipes that do make quite a melodious sound – a monotone – when I blow across the hole in the side. Their diameter is less than an inch. They are open at one end and I hold them horizontally to blow across the hole on the side. Funnily enough I need to cover the open end to produce a sound – something that is not necessary on my flute. I think it has something to do with the sharpness of the side aperture.

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I suppose it was inevitable that eventually I would start making things that bring me full circle, back to my original occupation of playing the flute. I shall keep on experimenting – the next move is to make these big, closed at both ends and with a sharp hole (probably quite big) at the side.

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