Category Archives: noticing

Marsh Watercolour Books

1/2020Marsh Watercolour Book #1/2020

I have painted some watercolours, folded them into concertina books and bound them with hard covers. They were done in my studio overlooking the marsh just before the lockdown started. I am finding that a lot of the work I am making at the moment is in response to past experience and each of these images is an interpretation drawn from my visual memory. The shapes, lines, spaces and light are a combination of inventiveness and actuality.

2 2020_edited-1Marsh Watercolour Book #2/2020

The writer AS Byatt said, ‘Memories can be polished, like objects taken out, burnished and contemplated’, and indeed we do not record experiences precisely, as in a photograph. Instead we take parts of the experience and reconstruct it rather than retrieve an exact copy, adding feelings and knowledge of other experiences into the mix. Each time we remember, we remember differently.

3 2020_edited-1Marsh Watercolour Book #3/2020

I have discovered that the very act of remembering has enabled me to create a distance from an experience so that the original observations and thoughts have the opportunity to re-emerge from my mind transformed by my imagination (and other past experiences) to make a new and more lively construction of a remembered reality.

5 2020_edited-1Marsh Watercolour Book #5/2020

We are all, of course, distanced from all sorts of experiences at the moment so the opportunity to remember and to reconstruct in order to create something new is very pertinent.

4 2020_edited-1Marsh Watercolour Book #4/2020

These Marsh Watercolour Concertina books have been painted on Saunders Waterford HP watercolour paper, with a black bookcloth cover and I have put them in a simple paper pocket cover for protection. They are 16.5 x 75.5 cm (open) 17 x 10 x 1 cm (closed) and each book is signed on the back with a catalogue number.

P1050414_edited-1Slip covers

I have just put them up for sale on my online shop.

Whelkshed workshops 2020

Come and spend creative time with me at my studio and be inspired by the ever-changing coastal landscape of Wells-next-the-Sea, Norfolk.

I have put the dates for three new studio workshops into my diary for 2020

DATES OF COASTAL EXPLORATIONS WORKSHOP 2020

Tuesday 23 and Wednesday 24 June 2020

Saturday 27 and Sunday 28 June 2020

Wednesday 1 July and Thursday 2 July 2020

Student work Coastal Explorations Workshop 2019

About the Workshop

Be inspired by the ever-changing coastal landscape of Wells-next-the-Sea and take the time to observe, document and create in these beautiful surroundings.

Part of the Coastal Explorations workshop will be spent outside by the sea paying attention and recording observations with drawing, collecting objects and writing.

Back in the studio your collections will form a starting point for experiments with paper, cloth, stitch, mark-making, collage and printing to create a unique and personal record of your exploration of place.

Cost: £200

Includes basic materials and a simple lunch. Coffee and tea will be available all day with homemade cake.

There are 6 places available for each workshop.

To book please email me for availability on debbie@debbielyddon.co.uk

Booking is on a first come, first served basis.

About the Studio

Debbie’s studio is in Wells-next-the-Sea on the north Norfolk coast, a designated Area of Outstanding Natural Beauty that offers stunning views, wonderful wildlife and beautiful beaches, tidal creeks and salt marshes.

The studio is a former fisherman’s whelk shed and has an enviable position overlooking the sea and the salt marshes and is a stunning place to be inspired and to work creatively.

The studio is a large, fully-equipped working space (approx. 10 x 5 m), with water, electricity and a wood-burning stove for chillier days. NB. There is no toilet, but a ‘nice’ Portaloo will be available just outside on workshop days.

The view through the window is wonderful and looks over the water and the marshes.

My Studio

 

Sea dipping again after quite a while

I haven’t been down to the beach to dip a piece of work in the sea for quite a long time. I seem to be having a creative rush at the moment with one piece of work following another. This is the first of several pieces to be sea dipped.

P1040620

Words are becoming more important to me (an imperative really) and each of the works that I am making are a response to words that document the memory of an experience. I have given them the working title of ‘Fragments’.

P1040607

This is what I wrote after I arrived home after a walk along the raised dyke

Burnham Overy Staithe.

The sun is warm on my back as I walk out to the beach,

but coming back the wind gets into my ears and chills them.

 

Low tide.

The blue sky is reflected upwards again by the shiny, smooth marsh:

a bright, slick brown/blue/green.

 

Recent spring tides have moved the sand and mud.

Where before the marsh was formed into deep crevices;

it is now flat.

Where before the marsh was flat;

it is now sculpted into twisting channels

of high banks and low, slowly seeping waters.

 

On top: sunlit, sparkling.

Below: deep dark shadow.

P1040604

P1040602

As I was dipping this in the sea (to rust the small iron wire eyelets sewn into the cloth) it occurred to me that although I was on Wells beach the experience that inspired the cloth was of another place. It is interesting that the memory of a place from then has been transcribed to now. The original memory has been reshaped and as a result another layer of meaning has been embedded into the cloth.

Connections

I’ve been in the studio everyday recently making new work. I normally have several things on the go at a time and between all the stitching, painting and general making there are quiet times where I’m waiting for things to dry or when I just need to think.

Last week during one of these quiet periods I sat down at the window and with Radio 3 playing and a cup of coffee in my hand it was an opportunity just to look, to sit still and to be.

P1000312

The tide was almost at its lowest point and water was still draining slowly out towards the sea. At low tide the main waterway in the channel is on the side furthest away from the studio, towards the northern bank, and tidal action has recently moved mud and sand so that it slopes down towards the bank on which the studio sits.

The water was falling away from the channel in small rivulets that rippled around and about sculpted sand and mud. Twisting and turning they merged and parted before finally coming together again in a smaller secondary channel to continue their gentle journey out to sea.

I drew this movement.

C3F16F0E-B5EF-4AAE-8A1E-45157B60FE10

8FE31EFF-553B-4B17-9877-4C6F66633AB4

And then drew again.

E436B734-503E-46A2-90FB-75F3A013D013 2

84B9D8B3-07C6-4094-B70E-BED941F625EB

11C35D0B-1AF7-4983-8A0C-AF2F123841AA

Trying to capture the gently flowing lines of water moving.

And then on the radio I heard the Dolorosa from Pergolesi’s Stabat Mater (you can listen to it here). This is the most beautiful of pieces and one I listen to often. Hearing its beautiful contrapuntal lines I couldn’t but connect the movement of the music to the movement of the water in front of me.

So often I perceive music to be a visual art and I see its rhythms and spaces and melodies in my mind’s eye. But it is rare to make such a direct connection between what I can hear and what I see in front of me. I wouldn’t have thought of Pergolesi unless it had come on to the radio at that time, nor would I have associated it with the diurnal ebb and flow of the tide. I very much enjoy these infrequent moments of understanding.

Teaching in Italy

How would you like to join me in Italy on an Exploring Place workshop? I have been invited to teach a 5-day course in October 2020 at the stunning 18th century Masseria della Zingara in Puglia, Italy.

The masseria at dawn

The masseria, sits in 20 tranquil acres of olive, cherry and almond groves and I’m very much looking forward to walking, exploring, noticing, documenting and making in this beautiful environment and sunny climate. I hope some of you would like to join me!

sketchbookSmall, handmade, coptic bound sketchbook

Each morning will start with a walk where the emphasis will be on paying attention and documenting our experiences in sketchbooks that we will make ourselves. Using all of our senses we will explore the contours of the landscape, objects, materials, and the effect that air, wind, light and sound have on the environment.

detail from soundmark bookSoundwalk concertina book

Back in the studio we will draw, and make and sew; feeling our way into the landscape and finding ways of documenting our own personal experience of this place. I expect to  experiment with new materials, found objects and natural phenomena such as shadows, light and the wind.

ropeObject made from found rope

The photos are examples of the type of things we will be doing. You can find more information about the workshop on the Committed to Cloth website and more information about the Masseria della Zingara here.

 

Fragment 8

P1040534

Baleshare.

Scudding clouds and sunny intervals.

Brisk wind.

 

A long, pooled shore,

scintillating in the sun.

Sea roar obliterates all other sounds.

 

On the strandline

the translucent remains of by-the-wind-sailors,

Velella Velella.

 

I wonder how far they have floated across the sea?

 

P1040504

P1040508

 

 

 

 

 

 

 

Fragment 4

P1040535

 

West beach.

Drizzling rain has given way to dry, but dull cloud.

 

An ebbing tide has left lines of kelp along the top of the beach.

 

In the receding water more of the rubbery fronds

are pitched and flung by the waves.

Some escape to form another curving contour on the sand.

 

Folded and curled on themselves they scribe

their own story of time and process.

P1040541

P1040510