My studio was formerly an old whelkshed – a place where fishermen would bring mussels and whelks to be to be washed and cooked. It is in an area which is still very much the working part of Wells-next-the-Sea and I am surrounded by buildings and paraphernalia that are used today by fishermen and the staff who keep the harbour running efficiently. In the unadopted lane that runs past the studio there are always stacks of both old and new lobster creels and traps, and old anchors and massive pieces of worn oak (the remains of wooden sailing ships) rest outside the boat park having been scooped out of mud by the dredger as it keeps the channel clear for boats. These are all an indication of both the town’s past and present activity.
Although my work does carry latent indications of man’s intervention in the landscape as I echo man-made objects such as jetties, sluices, and the remains of old wooden structures that can be found all across the marsh, I realise that I don’t very often directly address the idea of man in the landscape as my bias is mostly towards the effect of natural processes. With this in mind I have looked just outside the studio for inspiration to the objects lying there that are the immediate evidence of human activity in this environment – lobster pots.
The pots, or creels, used here on the North Norfolk coast for catching shellfish – mainly lobsters and crabs – are D-shaped and covered with black netting (apparently black netting is more effective at catching shellfish than any other colour). There are usually 2 or 3 entrances, each with a conical inner net that leads to a hard ‘eye’ to allow the shellfish to crawl up and then drop into the ‘parlour’ or main body of the creel.
So here is the first ‘fish trap’ that has been inspired by some of the features of the traps outside the studio: black net, a crawl space and an inner ‘eye.
I’m not a weaver or a knotter but I am a knitter, so that was my chosen method. The material I am using is Habu Textiles, Shosenshi Linen Viscose Paper. It is a 4mm wide flat tape that is made from 100% linen and covered with a permanent viscose sizing. It is very crispy and crackles and crunches in my hands as I work with it. It is a posh sort of raffia and when knitted up I like that it looks a bit like Thongweed, a long thin type of seaweed.
This is my first ‘fish trap’ and there is another on the needles now. I must say I am really enjoying the process of making these objects that relate so directly to the Norfolk landscape.