Category Archives: making

More playing

P1010688

When I make things I often do so obsessively, repeating things over and again until I have what I want. I’m sure this is a throwback from doing hours of flute practice in order to be able to play notes and to get techniques perfect. I’ve been making more samples that have been coloured solely with materials that I have collected from the ground: sea-coal, clay and chalk. I’ve tried grinding the ‘pigments’ to different sizes, experimented with heavy, light, loosely woven and tight textured cloth and fiddled around with different percentages of linseed oil and beeswax to make the binder. I now have enough samples that I’m happy with to enable me to start on the fun bit ….. the construction and putting together to see what is possible.

P1010682

I started simply by folding one sample over another or placing eyelets on top of one another or wrapping a piece round an edge. Just to see what would happen. I tried many combinations.

P1010692

I love the blend of coarsely ground chalk and the creamy waxiness of the binder …….

P1010696

and here there was an especially thick layer of wax that cracked on a fold. It’s very fragile, but is food for thought.

P1010691

This was the last sample I made, and to use everything up I threw all the last bits of grindings into the wax pot. The result is surprisingly good.

P1010678

These eyelets have been rusted with sea water before having a coating of the wax mixture and a trace of sea-coal.

I’m finally happy with the arrangement of each piece so now I need to sew them together. But I’m wondering! These samples are small  ….. I wonder how they would look big?

Chalk Ground at Cley 17

P1000883

Next weekend I will be installing my newest piece of work, Chalk Ground, at St Margaret’s Church, Cley-next-the-Sea and I am very pleased to be a part of this exhibition run by the North Norfolk Exhibition Project. Cley is just 10 minutes down the road from my house and so the work is being shown in the place of its inspiration – this doesn’t happen very often!

P1000780 The NNEP was set up in order to be able to show contemporary art in a place where there was no gallery that artists could show new work in. Each year there is a different curator who sets the brief and chooses the artists. This year the curator is Marion Stuart who is an artist, art lecturer and founder of StudioDo. The brief is ‘Connectivity’ and asks artists to use historical context and local connections to create links between site and art. She states that, ‘Connecting is inherently human and one way to connect to the world is through art.’

P1000805

This brief was a gift to me and plays directly into all the interests of my practice. Recently I have been using the materiality of the environment to articulate ideas about landscape and place, mostly in my use of salt. Chalk is another material that is associated with this area and I was very keen to introduce this new material into my practice in order to stimulate new ideas and processes.

P1000876

Chalk is the bedrock of the physical landscape of East Anglia and it forms a ‘chalk belt’ that runs from the Chilterns to the North Norfolk coast. It has shaped the economic and cultural development of this region and gives rise to some of its most beautiful and inspiring landscapes. Chalk is the basis of the new work, Chalk Ground, and the shape and material of the work draws attention to the world we inhabit by making a connection between the materiality of the artwork and the land beneath our feet.

P1000843

Ground:

  1. The solid surface of the earth
  2. A prepared surface to which paint is applied
  3. Reduced to fine particles by crushing

 I love the play on words that is contained within the title of the piece and I have tried to incorporate each strand of meaning into the work. The form and shape of the work reflects the curve of the land and I was thinking of a geographical cross-section when deciding what form the work should take. I have made my own ‘ground’ by ‘grinding’ chalk collected from the environment to make a paint, or distemper, to coat the linen cloth.

P1000856

I have used all forms of chalk in the work and its texture varies from fine to very coarse. Added to that, each vessel has a ballast of chalk pebbles to make it stable. The height of the vessels ranges from 55-23 cms in height and each vessel is 5 cm in diameter. The whole work measures approx. 2 metres wide and 20cm deep.  You can read more about the process of making this work here, here and here.

P1000877

Lastly, having finished the work I have now made other connections to my practice that I should, perhaps, have noted beforehand. I have used the pipe or tube shape before and it is a form that creates many associations for me. It is a vessel or container and so has the ability to ‘hold place’, but primarily it is the shape of a flute and therefore contains the promise of sound. Coincidentally, the work is to be placed on an stone shelf near to the organ….. I think you will agree that there is more than a passing resemblance to a set of organ pipes.

P1000867 

If you are in Norfolk from 6 July to 6 August please come and see the exhibition. As Marion Stuart is a ceramicist I expect it will have a pottery slant which I am really looking forward to. There are also some excellent related workshops and events taking place. There is a copy of the leaflet here.

 

 

 

 

 

.

Chalk

Chalk is the bedrock of the physical landscape of East Anglia and it forms a ‘chalk belt’ that runs from the Chilterns to the North Norfolk coast. It has shaped the economic and cultural development of this region and forms some of its most beautiful and spectacular landscapes.

fullsizeoutput_82c

Hunstanton chalk samples

Although chalk is not as apparent in Norfolk as in other areas of Britain such as the South Downs, at Seven Sisters and the White Cliffs of Dover, it embraces the North Norfolk coast with chalk cliffs to the West at Hunstanton and to the East at West Runton. There are chalk pits and quarries all over the county, including just up the road from here in Wells, and sub-terranean Norwich is riddled with tunnels where chalk was formerly mined.

fullsizeoutput_82b

West Runton chalk samples

I am using chalk in my next piece of work and decided to collect the material from two different sites that mark the outer boundaries of my ‘place’: Hunstanton, where there are red and white cliffs, and the beach at West Runton where a vein of chalk emerges on the beach and at the bottom of the cliffs. The chalk I find at both sites has broken off from the cliffs, probably from wave action and the force of the tides, and lies scattered across the beach. Huge great lumps, too big to pick up and take home, lie at the top of both beaches under the cliffs, but smaller pieces have been distributed across the sand by the sea. I collect lumps about the size of my fist and smaller pebbles from both places. My intention is to grind them down to a powder and combine the resulting white pigment with a binder to stiffen and colour cloth.

Immediately I can see that the chalk collected from each site is different. The pieces of Hunstanton chalk are rounded and they don’t mark my skin or clothes as I pick them up. They are hard, dry and cold.

fullsizeoutput_82f

The West Runton chalk, on the other hand, is soft and buttery and the greasy surface of each piece has attracted a light covering of sand. It is damp and soft and marks everything it touches. By the time I get home my hands, clothes, bags and the car are covered with a film of white dust.

fullsizeoutput_82e

Before I even try to break it up I know that the properties of each sample is very different; the West Runton chalk will definitely be easier to process than the fragments from Hunstanton. I don goggles and a dust mask and whack a small piece of Hunstanton chalk with a hammer. Nothing happens. I try again, and again it doesn’t break. I get a bigger, heavier hammer. This time it cracks in two, but I can sense that using this material will be a battle. I try the West Runton chalk. One firm tap with a hammer and it breaks into four or five small pieces. It is so soft and breaks very easily. I continue tapping and soon I have a coarse powder.

fullsizeoutput_833

I take a hard Hunstanton lump and start to grind the softer particles with it. It works well as a pestle and the powder gradually becomes finer. I take more of the softer lumps and continue crushing and grinding until I have quite a large heap. Fine powder rises up with the grinding action and I can feel it drying the skin on my hands and face – I’m glad of the dust mask.

fullsizeoutput_831

The ground West Runton chalk is the colour of double cream. I suppose it has been yellowed by sand and I wonder whether covering it with water would purify it. I place it in a large bowl of water and wait. Bubbles rise to the surface as air is expelled from between each grain and after a few minutes the chalk has fallen to the bottom and the water has cleared.

fullsizeoutput_82a

I put my hands into the chalky soup and can feel hard lumps. I can squish them between my fingers and they disintegrate. I keep squishing, but there are too many to get a fine powder this way.

fullsizeoutput_835

I pour off the clear water and realise that, of course, all the large sand and chalk particles  are still combined. I place the creamy, chalk mixture on a tray and leave to dry. Soon I’ll be able to mix it with a binder and make a form of coarse gesso to form the foundation of my next piece of work.

fullsizeoutput_839

 

 

 

Burnt Cloth

Some of you may be wondering whether I did decide to burn the last of the ‘Flags’ in my Signalman body of work. I was undecided when I last wrote about it.

fullsizeoutput_770

Well, after much hum-ing and haa-ing I took the plunge and did it. This wasn’t a scientific, controlled process but more of a ‘go into the garden with a box of matches, some stout boots and a garden hose, type  of procedure’.

fullsizeoutput_76e

It was surprisingly difficult to make the cloth catch fire and even more difficult to make it catch fire in an artistic way! Anyhow I’m pleased with the result and even more pleased with the patch that I had to put on it where it burnt through too much.

fullsizeoutput_76d

You can see this flag and the other two in the series at The Archive Project@The Cello Factory from 4-12 May 2017.

Simple starting points

I’ve started making a new piece of work. I’m at the beginning of the process and although I’m beyond the first sampling and trying out stage, I’m still in, ‘not quite sure exactly how this will turn out’ mode. I thought I’d write a little about some of its origins and a few ideas I am pondering at the moment.

IMG_2147

The form of this work comes from Minimalist music that originated in America in the mid-sixties. This type of music broke away from the classical tradition to be more chaotic and you could say, less musical.

fullsizeoutput_56f

Some of the features of Minimalist music are:

  • Layers of repeated rhythmic, melodic or harmonic patterns that are repeated many times (the proper word is ostinato).
  • Repeated patterns that gradually change over time.
  • Layered textures

fullsizeoutput_567

Composers included Terry Riley, Steve Reich and Philip Glass.

I remember taking part in a performance of Terry Riley’s In C, when I was at music college and being completely amazed by the way a seemingly simple score could create such complex sounds.

fullsizeoutput_566

In C consists of 53 separate bars of music in the key of C, each with a different melodic and rhythmic pattern.  Players repeat each bar as many times as they wish before moving onto the next. The result is an ever-changing web of sound where complicated patterns and unpredictable combinations of the set bars occur.

The idea that one simple form, when repeated over and over again, can produce complex and multifarious patterns is very beguiling and is also very relevant to visual art. The work I am making at the moment is made up of a simple, repeated form. When assembled these forms will create an altogether new and more complex work. I think that this work is the simplest interpretation of the idea…..

fullsizeoutput_569

….but already my mind is moving on to how I could make an even more complex work from the simplest of ideas: very, very, simple repeated, rhythmic layers that slip in and out of sync with each other to make a complex work.

However, for now, it’s on with the sewing – there’s a lot to do.  More on this project later as I progress!

 

 

The Signalman (part 3)

I have finished the last flag in The Signalman series (you can read about the other two flags and a bit of background  to the work here and here). This last flag is made in response to events that took place during the 3rd night action of the Battle of Jutland and specifically the 2nd Light Cruiser Squadron engagement.

fullsizeoutput_557

This action was devastating for the HMS Southampton as it was hit by twenty 4.1” and 5.1” shells. Three guns and two searchlights were knocked out and the ship’s radio was destroyed. Lieutenant Stephen King-Hall wrote: ‘75% of the upper deck men on Southampton had been killed or wounded. It had been a point blank engagement. Southampton was burning so badly that a friend of mine who was five miles away on one of the 5th Battle Squadron ships read a signal on the bridge by the light of our fires’.

My grandfather was very lucky to survive the action.

fullsizeoutput_54b

Flag 3: Night action

Fires started. Flames engulfed the forebridge.

Signal method: Flags

Linen, cotton duck, cotton, brass

Written by Charlie Sewell in his memoire.

 ‘… at 10.20pm the roar of the claxon sounded and action stations were manned again. I took my place on the upper bridge and as soon as I could accustom myself to the darkness it was clear that a line of light cruisers was just before us on the starboard beam, steering, what appeared almost a parallel course, gradually closing upon us …. finally, both seemed to challenge at the same time and immediately there were exchanges of gunfire and torpedoes, an action which historians state lasted 15 minutes, but to me five minutes….’

fullsizeoutput_54c

The ‘U’ flag – The Royal Navy Handbook of Signalling (1913)

I am having a bit of a dilemma. My original intention was to set fire the flag in order to blacken it (but obviously not to fully destroy it). Now it comes to it, I can’t decide ….. I wonder if it may seem trite rather than powerful …… what do you think?

The exhibition details are:

The Archive Project @The Cello Factory

33-34 Cornwall Rd., Waterloo, London. SE1 8TJ

Thursday 4th May – Friday 12th May 2017,

Open daily 11.00-17:30 (16:00 on last day)

MEET THE ARTISTS Saturday 6th May 11:00-17:30.

 

The Signalman (part 2)

I have finished the 2nd flag in a new body of work that I have titled The Signalman. The work is for a new group exhibition, The Archive Project@ The Cello factory . The exhibition is at The Cello Factory, 33-34 Cornwall Road, Waterloo London SE1 8TJ from Thursday 4 May 2017 – Friday 12 May 2017.

The starting point for my work is a personal archive – a journal that was written by my grandfather, Charles Thomas Sewell, who was a Leading Signalman on the Light Cruiser, HMS Southampton, during the Battle of Jutland in 1916. He survived the battle and left a concise, but personal, account of the events of 31 May and 1 June. The main events of the battle are told using key words and phrases that have been taken either from my grandfather’s memoir or from the record of Naval signals that were sent during the battle. The Signalman takes the form of three ‘flags’ where the narrative of each is notated with a different method of signal communication. Each flag commemorates a different part of the battle. 1. The beginning, 2. The day action and 3. The night action.

fullsizeoutput_53d

The semaphore code on Flag 2 spells out, ‘Urgent. Have sighted enemy battle fleet.’ It is part of  signal 497 that was sent from HMS Southampton to the Commander in Chief of the Battle cruiser fleet at 16.38 GMT on 31 May 1916. The original message was sent by wireless telegraphy and announced the first sighting of the enemy during the day action at the Battle of Jutland.

fullsizeoutput_53a

Flag 2: Day action

Urgent. Have sighted enemy battle fleet.

Wed 31 May 1916, 16.38 GMT

Signal Method: Semaphore

Linen, felt, cotton, wire, brass

Written by Charlie Sewell in his memoir:

‘Incidents in the action were taking place very rapidly; we in HMS Southampton with our squadron ahead of HMS Lion had a close view of most events, some discouraging. At about 4.30pm we sighted the enemy battle fleet and reported the fact to Admiral Jellicoe in HMS Iron Duke…. In order to obtain the disposition and composition of the enemy battle fleet Commodore Goodenough led his Light Cruiser Squadron in between the lines and it was for all the staff on the upper bridge a very thrilling experience.

 fullsizeoutput_53b