Tag Archives: exhibition

Black Beach

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I don’t know why, but I have struggled to write this post. Normally I sit down and write about my work fluently; straight off; without a second thought. But writing about this piece of work has been surprisingly difficult. On the face of it this piece of work has happened in the way that most of my work happens – by paying attention to my surroundings. Essentially it is about one of those unexpected happenings that I have noticed in my wanderings along the North Norfolk coastline, namely that after a storm at sea, marine creatures can occasionally, and extraordinarily, be found washed ashore, stranded high on the beach by the incoming tide before being washed away again by the next one.

A simple idea? But so many other thoughts have gone into this work: about materials; about processes, both within the natural environment and in the making of the work; about the history of place; and finally, about my own methods of perception, processing information and creativity. A simple idea that has taken a huge amount of consideration and that perhaps, in the end, contains more ideas than is obvious at first glance.

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I start by writing down a list of principal words and ideas:

  • A moment of being – something I have noticed and remembered:
  • Storm at sea – weather – deposition/ wave action
  • Material process – saltwater/evaporation – transformation and decay/degeneration
  • Form – mussels/beach
  • Wilhelmina Barns-Graham – perception and a way of thinking

But I can’t decide what my message is (my husband calls it my strategic statement); what is the most important thing here?

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Starting at the top of the list …..

I walk. I notice. I experience. I remember. In this instance I recall hundreds of sponge balls washed up on Cley beach by the action of the waves after a storm at sea has dislodged them from the sea bed. The weather, the waves and the water play a significant part in this shifting, dynamic coastline so that nothing is ever quite the same from day to day. They change the appearance of surfaces and seek to destroy them. They move things around and wear things down. They make things appear and then disappear. This is not a stable environment but a place of transience and uncertainty. Observation of changing phenomena is at the foundation of this work.

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Things appear and disappear. I wanted to comment on impermanence; a brief interlude of wonder, cast upon the beach by the sea only to be taken away again by the next tide and I have conjured up transient sea-creatures from my imagination. Each ‘creature’ was soaked in a shallow bath of salt water that was allowed to evaporate naturally – a process that took about 2 weeks. Although salt is intrinsic to my exploration of the processes of change and impermanence in the environment, in a dry state the residues of the evaporation process are surprisingly durable. However, a hint of water would quickly turn the crystals back into a salty liquid making it a highly ephemeral, unstable medium. Furthermore, salt is a corrosive material and I would expect the linen and wire in this work to degenerate very slowly over time.

I chose the form of the sea creatures to suggest the oval form of mussel shells. Mussels are harvested all along this coast and in the near past Wells harbour had mussel beds lining the far side of the quay that longshoremen (men who earned their living from the harbour, sea or shoreline) would tend and harvest. The remains of one of the mussel beds lies at the base of the bank opposite my studio, and every time I look out of the window I see the sharp edges of the shells sticking out of the mud. Indeed, my studio would have originally had an old copper where the shellfish would have been boiled before being packed up and sent off to be sold. Mussels are an appropriate form for this piece of work.

IMG_0315Detail of a map from 1908 of Wells Harbour. The little black crosses show the location of mussel beds.

I must also speak about Wihelmina Barns-Graham (1912-2004), a painter and printmaker and one of the St Ives School. Her ideas about how she understood her surroundings have been the mainstay of my thinking regarding how I experience what is going on around me. She wrote about her perception of nature as having ‘something to do with inner perception and outward observation’, and this inner seeing and outer sensing has become central to my work.

To go out, to walk, to notice, to remember and sometimes to document ‘noticings’ is essential but is only the very first stage of the creative process. I increasingly realise that most important are the abstract meanderings of my mind – my inner perception. Like a flow chart I used to draw in maths at school – data goes into one end and comes out at the other end processed and transformed as a finished artwork. What goes on in the middle is key.

Again, Wilhelmina Barns-Graham’s thoughts: ‘to develop one’s awareness to inner perception, collecting shapes that become my shapes. To see later what is useful, now with increased understanding of the importance to be in union with nature. To identify with its rhythm so that, again, later I can express myself in my own language’.

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To express myself in my own language is so, so important. All the information for this work, has been gathered together in a continuous interaction of searching, connecting and making. What makes my work mine can only happen when subjective perception, understanding and selection come together with the creativity of my hands and the way I compose with materials and structure. The end form is only possible as an evocation of my first observations with the coming together of all of these functions. In effect, my senses: my eyes, ears and hands, only operate through the medium of my brain. To sense is to think and to think is to make personal work.

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So, what is my message? What is the most important thing here? Well, for you the viewer, the work is about the observation: a transient happening that is fleeting and to be marvelled at. But for me, the most important thing that has come about through this particular work is the growing realisation that creativity comes from the processing of my emotional and intellectual experiences of the phenomenological world deep inside my mind. The resulting work is not an imitation of the world but a way of revealing my personal observations of its innumerable manifestations.

I am delighted that Black Beach has been selected for the 62 Group exhibition, CONSTRUCT and it will be at Sunny Bank Mills, 82-5 Town Street, Farsley, Pudsey, W. Yorkshire, LS28 5UJ from 20 July – 15 September 2019.

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Moments of Being at Wells Maltings

IMG_0170Sluice Creek Cloth: Moon Rise

The exhibition has been up for a week now and it is such a thrill to be showing Moments of Being in the place that inspired it. Visitors can walk a few steps up from the reality of the marshes and the quay to the Handa Gallery at the Wells Maltings and see my work that is an evocation of the same place. I am delighted that people have understood the connections that I have been trying to make between the way we sense this coastal environment: its imagery, sounds and materials, and the processes of change that take place here on a daily basis. Many of the visitors know this coast as well as I do and have been able to relate the work to the environment.

I am sharing the exhibition with Caroline Fisher and her ceramics sit so well next to my cloth pieces. You can see some of the cobalt glazed bowls in one of the photos

Here are a few gallery shots.

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IMG_01753 Marshscape Collages

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The exhibition is on daily until 6 April from 11am – 4pm, free entry. I will be in the gallery every day except 21 March and 6 April.

 

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.

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.