Category Archives: letting you know

For one day only (again)

Viv and Kev at ArtVanGo have asked me to come and be one of the artist’s in residence again at the Knitting & Stitching show in Harrogate. Because I had such a lovely time at Ally Pally and, because I have to be in Harrogate to do my stint on the Studio 21 ‘Colour Notes’ stand, I have said yes!

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I will be on the Artist’s in residence stand all day on Saturday 24 November.

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I am going to be exploring ways of using the pigments that I have gathered from the environment – red clay, yellow ochre, chalk and sea coal – and I will be making paint. I will be processing the pigments in order to make watercolour paint, acrylic paint and a type of printing ink. I will then be painting and printing with them on paper and cloth (that’s the plan at least).

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These drawings use synthetic colours, but the yellow/orange colour is yellow ochre that I have collected from the cliffs at West Runton. It has been roughly ground so that the silica grains are still quite coarse and mixed with a binder so that it stays on the paper.

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I love the way the fine pigment and the silica separate out as the water and paint runs through it. It is much like the way sea or rain water would create runnels through the earth outside in the natural environment.

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These small drawings will be for sale in Harrogate …..

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and during the day I will be making some big ones as well.

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Whelk Shed studio workshops

Do you fancy coming to Wells and working with me in my studio for a couple of days?

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I have decided to run some workshops at the studio and have put two weekends in my diary for next year.

These workshops will give you the opportunity to come and be creative in the inspiring landscape that surrounds the studio. Each morning will be spent outside, both by the marsh and on the beach, exploring and noticing. The emphasis will be on your experience of this wonderful place and you will document this with drawing, writing, mark-making and collecting. The afternoons will be spent in the studio making. There will be no set ‘structure’ but we will work with what we find on the day. My aim is to encourage you to experiment with materials and ideas and to extend what you would normally ‘do’.

I’ll provide lunch and make a cake!

If you are interested there are more details and how to book here.

P1000271Just outside the studio

P1000278The marsh

P1000243The studio

For one day only

I’m very happy to have been invited by Viv and Kev at Art Van Go (stand TGF1) to be one of several Artists in Residence at this year’s Knitting & Stitching show at Ally Pally and I am going to be there this coming Saturday.

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The brief is to ‘examine options, explore ideas and work through processes’ and the idea is that each artist should work in their space as if it were their own studio. I am going to be bringing along some unfinished and unresolved works in progress. I am working through various new ideas at the moment and I intend to show how the concept of one of these ideas begins and how it could possibly unfold.

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The works are intended to be a small part of a much larger body of work that looks at the connections that can be made between the experience of different places. It looks at the encounter with new environments and how the experience of a new location is touched by similarities and associations to more familiar places in a never-ending, and possibly unconscious, triangulation of place, experience and memory.

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I am a great collector and just about every time I  go for a walk I will pick up pebbles, shells, wood, rope, fossils, seaweed and rusty detritus. These ‘evocative’ objects come from various locations and create associations to a particular place and can be seen as reminder, or a touchstone, of experiences and impressions that in turn feed the creative mind and the imagination. I am exploring how these objects could be included into these small works.

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On Saturday I will bring the inspiration for this work – drawings, found objects and things I have already made (including the work you see here). I will be experimenting  with colours collected from the landscape: chalk, yellow ochre, clay and sea coal and other materials to paint cloth and then when its dry, hopefully, I’ll be waxing and stitching it – I may even sew in an eyelet or two. At this moment nothing is set in stone ….. if you are there do come along and see what happens and to say hello.

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 I’ll report back next week with what I managed to achieve!

Finally, also at the Knitting and Stitching shows, I have two pieces of work in the Colour Notes exhibition by textile group Studio 21. The works tie in very neatly with what I will be doing with Artists in Action at Ally Pally as they are both coloured using ‘colours from the landscape’: chalk, yellow ochre and sea coal.

fullsizeoutput_d1f.jpeg copyGround Work: CoilLinen, wire, hand-collected and hand-ground chalk, hand-collected and hand-ground yellow clay, beeswax, sea water. Approx. 29 x 29 x 10 cm

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Ground Work: Fold, Linen, wire, hand-collected and hand-ground seacoal, sea water, beeswax, found threads. Approx. 35 x 40 x 10 cm

 

Whelk shed studio

Exciting things have been happening here over the last couple of weeks and I have just moved into a new studio in Wells. It is an old whelk shed and is one of a few buildings that were originally used by fishermen to process and boil whelks and other shellfish. These sheds have now been replaced with more efficient and modern buildings elsewhere in Wells and so some of them are now being used as artist studios. It is under 10 minutes walk from my house so is very convenient.

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It is quite a large space – approximately 10 x 5 m (although every time I go in there it seems to get smaller),

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and it is quite basic, with a tap, electricity and a wood-burning stove for heat in the winter (it has had a coat of paint since the photo below was taken).

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You can’t see from the photo above, but the view through the window is wonderful, and looks over the water and the marshes ….

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….. I’m not sure I’ll ever get any work done!

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I’m slowly moving everything in and putting up shelves and storage. Soon I hope to be showing you work that I have made there.

Ctrl/Shift

The new 62 Group exhibition opens in 10 days time and I am delighted to have had work selected for it. The work that I submitted for the exhibition is the culmination of all the research and experimentation that I have done on collecting pigments from the local landscape and using it to colour cloth.

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P1020399_edited-1Ground Cloth: Chalk, Linen, wire, hand-collected and hand-ground chalk, linseed oil, beeswax, sea-water, found threads, 120 x 197 cm

I have called the three cloths in the exhibition Ground Cloths – a play on the word ground: to grind up a material and the place from which the material emanates. The materials I have collected, hand-ground and used in the work are chalk from both Hunstanton and West Runton, yellow ochre from West Runton and sea coal collected from Wells beach.

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P1020421_edited-1Ground Cloth: Seacoal, Linen, wire, hand-collected and hand-ground seacoal, linseed oil, beeswax, sea-water, found threads, 75 x 279 cm

The brief for Ctrl/Shift was to consider shifts and changes in our practice and to produce work that had moved on or transformed in some way. The Ground Cloths introduce new materials and processes to my practice and I have spent a considerable amount of time researching, exploring and experimenting with the hand-collected materials to make this work.

P1020405Ground Cloth: Yellow Ochre, Linen, wire, hand-collected and hand-ground yellow ochre, linseed oil, beeswax, sea-water, found threads, 106 x 190 cm

Some aspects of my practice have, however, remained and the form of the work takes inspiration from the sails and tarpaulins that are found everywhere here on the coast. The cloths could be considered to be large ‘fragments’ of a sail and the dangling threads take inspiration from reef points that are used to shorten and secure a sail in heavy winds.

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Traditionally, sailors and fishermen would protect sails, ropes and nets by ‘dressing’ them with a mixture of linseed oil, wax and red ochre to give protection from the elements and I have also experimented with, and subtly altered, the traditional techniques of waterproofing and preserving cloth by substituting red ochre with locally-collected materials – chalk, sea-coal and yellow ochre – to produce a blend that both protects and preserves the Ground Cloths and links the materiality of the environment (the actual matter that landscape is made up of) with the utilitarian use of cloth in a coastal location.

The Ctrl/Shift Private view is on Saturday 21 July at the MAC and I have attached an invitation, with details, as you are all welcome to come and celebrate the opening with us and to meet some of the artists.

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Soundwalking

Yesterday I went along to St. Margaret’s church, Cley-next-the-Sea to deliver and place my work for the Cley 18 exhibition.

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The brief for this year’s exhibition, curated by Dr Caroline Fisher, is a quote from W.G. Sebald’s The Rings of Saturn,‘The greater the distance the clearer the view’. The Rings of Saturn describes a summer journey up the Suffolk coast where the narrator tells apparently disconnected stories of people and place. The exhibition quote is taken from the part where Sebald talks about the writing of Thomas Browne, ‘the great Norwich physician and writer of the 17th century. It encapsulates the idea that something seen from far away can resolve itself to become clearer than something seen close up or that a long journey can allow us the greatest perspective on a subject. It implies either distance or time between the object and the viewer’.

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Reading the brief, I knew immediately that I wanted to make a new soundwalk drawing that explored the connection between the visual and aural landscapes of the North Norfolk coast and that it would be a sensory response to my experience of the physicality of the environment; a drawing that placed the emphasis on sound to create an evocation of the passing of time and place and to give a clearer and more focussed interpretation of our multi-sensory world.

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Inspired by the architect Juhani Pallasma who says that, ‘Hearing structures and articulates the experience and understanding of space. We are not normally aware of the significance of hearing in spatial experience, although sound often provides the temporal continuum in which visual impressions are embedded’, my drawing is a visual journey through time that connects elements contained within both the aural and visual landscape: movement, rhythm, repetition, line, intensity and silence

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The form of the drawing is one that I have used before and is based on musical graphic scores – a method of writing down sound through drawing rather than musical notation. It is inspired by the sounds I hear as I walk and explore the Norfolk coastline: birdsong, the wind, waves, and footsteps.

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The drawing is called Marsh Soundwalk and it is 1000 x 20.5 cm. It is a watercolour drawing painted on one long piece of paper that I have folded into a concertina book. I have made hand-bound covers for it.

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You can see Marsh Soundwalk at Cley18,  St Margaret’s Church, Holt Road, Cley, NR25 7TT from 5 July – 5 Aug 2018. The church is open from 10am – 5.30pm daily and there is no charge. There is work by other artists on display at the Norfolk Wildlife Centre and on the beach at Cley and workshops and events are also taking place as part of the exhibition.

Wells Art Trail

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I’ve just had a wonderful 2 weeks driving around the whole of Iceland. However, I’m not going to talk about that at the moment although I’m sure that in the near future new work will come out of the drawing and writing that I did on my way round the island. If you’d like a flavour of the trip, pop over to my Instagram page where I posted a few highlights.

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Whilst I was away my work for the Wells Maltings Heritage Art Trail was put up on the quay at Wells by the Maltings hanging team. They have done a fantastic job! It was a thrill to come back and to see my piece hanging between two tall boat masts; gently flapping in the breeze and repeated as its shadow was reflected by the sun on the building behind.

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The work is called View from the Shipwright’sand it is a representation of the view across Wells Harbour from the residence next to where it hangs on the quay at the East End of Wells called the Shipwrights. The building was formerly a pub called the Shipwright’s Arms and its name gives a clue to the approximate location of a previous boatyard.

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The work is 2850 x 117 cm and it combines my own artistic practices with simple sail-making and knotwork techniques. It is protected from the weather in the traditional way using bitumen, beeswax and linseed oil. I hope that the materials will do the job over the three months that it will be hanging there.

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During the 19thcentury the main livelihood in Wells was the trading of grain and coal up and down the coast and many wooden sailing vessels would have been tied up against quay. There were two shipwrights in the town who built and maintained these elegant vessels and provided them with ropes and sails.

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View from the Shipwright’s is inspired by the ‘soft’ materials the boatyard’s sailmaker would have used in the 19thcentury: canvas, thread and rope, and uses bitumen and a traditional concoction of beeswax and linseed oil to preserve and protect it from the degenerative effects of the weather. Looking across the marsh from the Shipwright’s Arms 200 years ago a sail maker would have recognised the contours of the land and sea depicted in my work.

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There are 17 works in Wells Heritage Arts Trail that has been curated by John and Yvonne Milwood and each work has been created especially for the event. The trail takes you around the quay at Wells and onto the beach and it runs from 23 June until Sunday 30 September 2018. There is a free trail guide that can be picked up from the Maltings on Staithe Street, Wells.