Category Archives: walking

Walking notes

I’m back in Wells after a month down in Surrey. As always the first thing I do is to go for a walk to take the air and to see what’s what. It’s a mild day with little wind. The tide is coming in and although it’s mid afternoon the light is flat and is already beginning to fade. Here is my walk ….

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The berries of the sea buckthorn stand out bright orange in the dull light.

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It’s a very lazy tide today and the sea laps gently up and around the groynes.

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There are a couple of seals swimming around just off the beach. Rope barriers have been set up to give the seals a ‘safe place’ from dogs and humans – this one is very interested in one of the poles.

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Cormorants head back inland to their roost.

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The sun, just visible through the clouds, falls fast at this time of year. 

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Its colour deepens the lower it falls.

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Across the fields towards Holkham a mist rises after the sun has set.

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Landscape Change, Material Change

Here on the coast nothing is ever the same.

I have many routes that I regularly walk. Some I do more frequently than others and my favourites may be done once or twice a week. At a glance the landscape doesn’t seem to alter, but as the months go by seasonal change brings different light, colour and weather. Year on year the birds that fly overhead come and go and the plants that bloom at the side of the paths grow and die back. Twice a day the tides ebb and flow and move the shifting sands up and down the beach.

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9 Hanging Salts Pots – 2 years ago

Yesterday I walked at Burnham Overy Staithe. This is one of my favourite walks (at least once a week) as it is always varied and interesting. On this occasion the tide was coming in. There was a brisk northerly wind and a few sailing boats were tacking against it up the creek to wider waters. The sun was warm on my back but high cumulus clouds were threatening rain inland.

DSC_19559 Hanging Salts Pots – 2 years ago

At the end of the raised dyke I turned left to walk along the side of the marsh round the spit of land called Gun Hill. Something had changed – the large, floating and rather ugly, grey shipping container that had, surprisingly, sat on the edge of the marsh, (I think it may have been an artist’s studio) had been taken away. This was a blow as the low, wooden slatted shelves built into its side have provided a place to sit, drink coffee and draw many times in the past. Last time I was there the wooden slats had been prised up; pulled violently away from the container I thought it had been the fault of vandals, but maybe it was time for this temporary shelter to move on.

P10108149 Hanging Salts Pots (detail) – today

Round on the beach a large flock of birds was flying low over the sea edge. Skimming the water, they curved round and landed on the shingle just in front of me. They were well camouflaged by the grey, white and black pebbles but through the binoculars I could see that they were a huge flock of little ringed plovers. I’ve never seen so many together – there were perhaps fifty or sixty birds hopping around. Suddenly another flock flew in and landed beside them. They were sanderling: another, slightly smaller flock of small grey/white birds. I stood and watched them until a passing dog ran towards them and up they rose to land, in safety, further along the beach.

P10108219 Hanging Salts Pots (detail) – today

With the large spring tides we have been having recently, a result of the autumn equinox, I noticed another change in the landscape. The force of the incoming water had pushed the sand up the beach into undulating, shelved ridges. I don’t suppose it will be long before the wind blows it all back down the beach and flattens its surface out again.

P10108089 Hanging Salts Pots (detail) – today

When I make work, I always have this mutable environment in my mind. I aim to evoke the shifting landscape and the consequential implied passing of time in the processes and materials that I use. Salt is one of the materials I use to suggest this as the cyclical transformation of the material from to solid to liquid back to solid is a transformative, time-based process.

P10108029 Hanging Salts Pots (detail) – today

A couple of weeks ago I had reason to look at one of my saltworks, 9 Hanging Salt Pots, that had been packed away for a couple of years. As I took it out of the packaging I was initially shocked to see how much the work had deteriorated. I am, of course, aware that salt is corrosive, but other works have not corroded and broken down in quite the same way as this work. The iron wire that I use to stiffen the rim of the works had completely rusted through – eaten away over time by the continuing action of the salt that surrounds it, so that the eyelets were broken in several places. The cloth was still intact, but the areas coloured by the rust were thinner and beginning to rot. I feel as if it is just a matter of time before the cloth also breaks down.

P10108139 Hanging Salts Pots (detail) – today

My first reaction was ‘on no!’. But on reflection this action has to be a good thing. I want my work to appear weather-worn and to look as if it has had a previous life. What better way is there to achieve this than for the materials I use to actually do their job and to break down the works over time? This is a lesson to be learned and I will definitely exploit it in the future. The only problem is that I might have to put it away in a box for two years!

Burnham Overy Staithe walk – drawing and collage

Last time I showed you photos taken on a walk to Burnham Overy Staithe and today I am showing you some drawings and the work that came from them.

As always, I document what I notice about the conditions on that particular day and on that day I wrote in my sketchbook:

The sky and sea reflect each other.

There is so much light.

The land is in relief against it – a dark, almost featureless mass.

Shape – light – dark.

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It was a grey day and the tide was out. Huge expanses of wet, shimmering mud were exposed and were reflecting the light from the sky so that a pale grey light almost totally filled my view. If I squinted, half closing my eyes, the overall impression was of dark land silhouetted against the pale sky and mud.

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My interest was not the detail but in the sinuous, muddy shapes formed by small channels and creeks that cut the marsh with ebbing and flowing tides.

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I looked at the light, the dark and the in-between tones.

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In the foreground a scribble describes the chaotic, abundance of late summer wild flowers and plants.

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These collages have been made in response to the drawings. They evoke the light of the mud and sky and the heavy, dark shape of the marsh on that day. The colour is subdued and there is just enough detail to suggest the natural rhythms of the aural and visual landscape. Each collage is 20 x 40cms, mounted on 18mm board and has a waxed linen ‘frame’.

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These collages will be exhibited at the Cranleigh Arts Centre, 1 High Street, Cranleigh, Surrey, GU6 8AS, from  5-16 September as part of The Makers’ Art 2017, The Society of Designer Craftsmen, North Surrey Group. The exhibition is open from 10am – 4.30pm and entry is free.

Burnham Overy Staithe walk

I often find myself setting rules for the way in which I work. I don’t necessarily mean to do this, but every now and again I find a new routine has crept into my practice.

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Recently I have been taking my sketchbook with me when I go out for a walk rather than taking my camera. The decision to take a sketchbook is a conscious one as the act of drawing makes me stop and take notice. I believe that to document what I see and hear with drawing increases my perception of the environment and enables me to pay more attention to what is going on around me. Drawing makes me select what I want to record  from my surroundings and gives me the choice about how to put it down on paper. I can select to record what is above, below or around me and I can make notes about the sounds I hear or what I can feel.

P1010711Purple sea-lavender covers the salt marsh

On the other hand, it is very easy to snap a picture with a camera without really looking. Often there is no memory of the experience: the wind on my face or a skylark singing, and there remains only a cropped image of a sensory environment that would have extended 360 degrees around me. Drawing and writing in my sketchbook is my preferred method of documentation.

P1010712Winding channels in the mud

Having said all that, I made a conscious decision the other day to take my camera with me and to try and think about the photos I was taking in order to document my favourite walk at Burnham Overy Staithe. I hope these photos give you an idea of how I see and experience this place.

P1010713Withies mark the channels. They stick up above the water at high tide so you don’t get stuck in the mud.

P1010723Narrow waterways run into the marsh.

P1010720A turnstone feeding on the mud.

P1010736Looking inland across the marsh.

P1010737I used to think this was a submerged boat, but now more of the structure has emerged and I wonder if it is actually part of an old jetty.

Next time I’ll show you drawings done on another walk to Burnham Overy Staithe and the new work that came from them.

Contrasts

What a difference a couple of weeks can make! Two weeks ago I was in the far west of  Cornwall. After a fantastic first day everything rather went down hill. Firstly, I got a cold (the first for 2 years), and secondly the weather deteriorated into rain (heavy at times) and gales. It made for exciting conditions, standing on the top of cliffs, looking down at huge, rolling waves and being battered by force 8 winds. The conditions meant that I didn’t manage to do as much drawing as I had hoped, however, the rain did stop occasionally, the sun did make an appearance (rarely), I did manage a few walks and some sketching was done.

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Looking to Pendeen watch from east of Porthmeor Beach. Grey Granite. Green grass. Grey/blue sea. Grey/blue sky is lighter than the sea which has a softly edged dark stripe along the horizon.

The landscape in Cornwall is vibrant.  The colours are strong and the lines and forms of the land and water are dynamic. All around there is constant activity and movement. When I was there the noise of the wind and the waves was tremendous; it filled the ears and was a real presence. I draw fast, moving pencil, pen and paint over the paper at speed: look, scribble, look, scribble. It is an energetic response to a vigorous landscape.

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Looking down on a boiling sea and rock stack at Porthmeor Beach. Jade green/blue sea. White/jade waves froth around the rocks.

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Rocks at Kynance Cove.

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Cliffs at Kynance Cove.

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Deep black gully looking back from Gurnard’s head.

Back here in Wells on the far east side of the country the contrast couldn’t have been more different this weekend as there were clear, bright days with hot sunshine. Sitting at the beachhut early in the morning, I watched the beach gradually fill with people coming to enjoy the summer sunshine. The long horizontal lines of the landscape languidly mingle and intertwine and although the light is brilliant there is still a subtle blue/grey cast to its colour. Everything appears calm.  Even the incoming tide, that creeps slowly over the sand, filling gullies and submerging exposed sandbanks, moves so slowly it is almost indiscernible. There is movement and change but, at the moment, it is a much quieter energy than that of the Cornish landscape. I draw a line, look and then draw another line. I smooth and gently wash the paint across the paper, filling the brush with colour and letting it drip and mingle as it will. It is a considered response to a contemplative landscape.

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The tide is coming in. The sun is bright with a westerly wind. The sky is cloudless and the sea is a shade darker. A dark line on the horizon.

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British Sharpie Championship lining up for the star of the race. The sound of the hooter carries (loudly) over the water.

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Bunched up before the race.

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A beautiful brown sail boat (runs) sails past the gap in the dunes.

Thankfully the cold has gone!

Cornwall walk – On Gurnard’s Head

About 1.30 pm. Brilliant sunshine with white/grey streaky clouds. A strong westerly wind.

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I have been walking along the SW coastal path all morning and have just arrived at Gurnard’s Head, a small headland on the North coast of Cornwall. With a tricky scramble over rocks I’ve managed to reach a rocky outcrop high above the sea. Exposed to the Atlantic I feel exhilarated.

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I’m facing into the wind and looking straight out to sea. Behind me are cliffs and at 10 o’clock, in the far distance on another jutting headland, is the Pendeen Watch lighthouse. The granite rocks at the bottom of the cliffs are brilliant with yellow lichen – they shine, slick with seawater, in the bright sun.

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In stark contrast, rising up behind the glassy rocks, are deep, dark fissures that have been worn into the cliffs by millennia of pounding seas. The shadows of these clefts are rendered so dark by the glaring sun that no detail can be seen within them. Small white seagulls wheel in and out of the black gullies, briefly showing in relief against the darkness before disappearing as they are backed by a white and blue sunlit sea. They glide round in slow, lazy loops, in turn emerging and vanishing.

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As I face directly into the wind, it roars uninterruptedly in both ears. I only have to turn my head slightly to the left or right and the sound fades. I like the slightly chilly wind on my face in the warm sun.

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Beneath me the sea boils. Waves constantly beat the rocks below; frothing up and pulling back. One rock slopes at 45 degrees into the sea. Pounded by waves, it is submerged in a coat of white sea spume before reappearing as the swell drags the beaten water back down again into the jade/blue translucent morass.

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The sea is rarely like this in Wells. There, its soft grey/blue flatness creeps slowly backwards and forwards tide after tide. Here, on this part of the Cornish coast, the sea is energetic, heaving, rolling and frothed. Each wave is dashed violently against the land, its energy exhausted as it is flung upwards and outwards.

Painting and drawing

Everyone is back where they should be after the Easter holidays and suddenly I find myself on on my own for a couple of days. Although I have things I should be getting on with, I decide to take a break and do some painting and drawing.

So, this is how a near perfect day on my own goes:

  1. Go to the art shop and buy a couple of sheets of lovely 300gsm watercolour paper.
  2. Stop off on the way home at Morston quay and buy a cup of coffee from the National Trust shop.
  3. Drink coffee and take in the view and general hustle and bustle (boats being put in the water for the first time this year, dog walkers, seal boats loading up to take people out to Blakeney Point). Enjoy the sunshine.
  4. Follow the path along the creek and across the marsh with sketchbook and pencil in hand.
  5. Stop every now and again and draw what catches the eye.

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  1. Lunch
  2. Get out painting equipment, put on music (Bach, Brandenburg Concerto’s) and spend the rest of the afternoon painting (keep half an eye on the morning’s drawings but paint mainly from memory).

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