I have finally got to the stage with part of my latest piece of work where I can dip it into the sea and I have been thinking about why this process is so important to me.
Recently, I have placed the finished cloths into the sea two or three times. This, I thought, was principally to rust the iron rings that I had sewn into them, but it has become obvious that the process of taking the cloth to water has more significance than just the visual effect of the rusting.
The cloths are inspired by vividly remembered encounters and engagements with the coast: processes, sights and sounds of the the sea, the beach and the marshland. Placing the work and photographing it in the environment that inspired it somehow brings the whole thought process back full circle.
For me the work I make in response to a place is about the experience of looking, touching, hearing, light and space. The work, for me, is not separate from the original experience. The energy of the place is within the energy of the piece, although its form and material come from my imagination. The introduction of the work to the place brings together two halves of a whole.
The photographs I take of this ‘introduction’ are not a work in themselves, but the documentation of bringing work and place together is highly significant to me and the photographs form a visual record of the act. The other record is of course the resulting rust marks that stain the cloth from the contact of sea and iron.
Without this baptism in the sea the work would not be complete.