MIDWINTER OPEN STUDIO
Saturday 28th and Sunday 29th November, 1100-1600
After an exciting first year, including a great exhibition at the White Moose Gallery, a number of successful workshops and OPEN STUDIOS and participation in other international projects, eARTh has relocated to a smaller, more rural space at Hele Corn Mill where we (myself and partner Francesca Owen) will be continuing our work with local earth pigments and plant dyes.
Hele Corn Mill dates from 1525 and is a unique working watermill in North Devon. Located just 300m from stunning Hele Bay beach just east of Ilfracombe, a visit to the mill makes a perfect family visit. Opposite the mill is the Miller’s Wife Tearoom, where you can relax and enjoy a traditional cream tea or a slice of one of many delicious cakes, which are homemade every day. For directions, parking and opening times please visit www.helecornmill.com.
You are warmly invited to a pre-Christmas opening – a chat, some nibbles, a glass of wine and some art. If you cannot make the opening please feel free to visit anytime. eARTh will be open on a regular basis along with workshops, exhibitions and events throughout the year and is looking forward to seeing you soon.
For more information please visit www.earthnorthdevon.wix.com/arts
© P Ward 2015
Falmouth Art Gallery 19 September – 21 November 2015,
and at Peninsula Arts, Plymouth University 16 January – 19 March 2016
Having been involved with the development of the Soil Culture project since 2011 it was a great honour to be invited to be part of its final exhibition alongside such highly respected names in the world of environmental art as herman de vries, Ana Mendieta, Richard Long, Mel Chin, Chris Drury, David Nash and Andy Goldsworthy, to name but a few. The show aims to express the way artists have worked with and about soil and ranges from simple soil rubbings and paintings, alongside sculptural installations and bioglyphs (a photographic process using microbes) to soil remediation projects and large-scale earth works. It is also the perfect culmination to the long and distinguished career of CCANW’s enthusiastic director Clive Adams.
My own contribution to the exhibition was an earth pigment painting completed in 2009, as well as installation of three glass top display cases showing different aspects of soil art including pigments, soil science and soil biology to help contextualize the other work in the exhibition. Helping install the exhibition reminded me of the attention to detail necessary that makes work of this caliber really shine – it took 3 of us over 6 hours to hang herman de vries’ grid of 16 soil rubbings and a team of 8 a week in all to hang the show, not to mention the years of preparation involved in bringing all the work together!!
© P Ward 2015
Geumgang Nature Art Pre-biennale 2015, South Korea
7 October – 30 November 2015
I was invited to contribute photographic documentation of 3 works to highlight aspects of my practice (below) and a project proposal (A BUNDLE OF STICKS) to this international environmental art residency programme and exhibition organised by YATOOI in South Korea. The proposal will hopefully lead to a 3-week fully paid residency in South Korea in 2016.
The Geumgang Nature Art Biennale is an international Nature Art exhibition planned by Yatoo, the Korean Nature Art Association firstly established in 1981. Yatoo spreads Nature Art around Gongju in Chungnam Province. Based on Yatoo’s experience of planning and hosting international nature art events since the early 1990s, the first Biennale was held in 2004, supported by the Ministry of Culture, Sports and Tourism, the South Chungcheong Province and Gongju City. Throughout three weeks the artists from around the world live together and create their works. An introductive session for the nature art project and other programs are conducted in parallel. There are two programs for foreign artists and IWO campers. The first is introducing the Korean culture, the second is a project created together with children and other citizens. The works of the artists are displayed at Ssangshin Park allowing the visitors to observe how they interact with the natural context.
expressions of an intimate ecology:
I came upon this large driftwood log during a walk along a beach in North Devon and painted it with locally gathered earth pigments. After a few weeks the log disappeared from the beach, taken back by the sea. Six months later it reappeared on the same beach, still painted but altered by its journey, wherever it may have been.
Work is often made spontaneously, in response to and with the environment, using gathered materials and elemental forces to shape its evolution. For me, ART and making are means through which I may learn about the world both practically and imaginatively.
“Art does not reproduce the visible but makes visible” Paul Klee
Two works relating to animals: ‘1 hour of feathers’ is made from feathers collected during a short coastal walk; ‘birdsong’ aims to capture some of the varied intonations of sound expressed by our feathered friends through simple drawing. My relationship to wildlife, to the other life forms with whom we share this earth, has been a constant source of inspiration and wonder.
“I think of what wild animals are in our imaginations. And how they are disappearing – not just from the wild, but from people’s everyday lives, replaced by images of themselves in print and on screen. The rarer they get, the fewer meanings animals can have. Eventually rarity is all they are made of.” From H is for Hawk by Helen Macdonald.
painting with earth / painting together:
An action performed as part of an artists’ residency expedition on the Isles of Scilly to explore creative responses to climate change. Participants were invited to make marks with earth pigments on a small, round granite boulder found on a nearby beach while bringing to mind an act they may contribute to earth’s wellbeing. One pigment had been gathered from my home and brought with me. Another collected that morning from the shore. The painted stone remained as a talisman within the space throughout the meeting, then left as a gift to the space.
Painting with locally gathered earth pigments has become an important and integral part of my art practice, offering insights into geology, social history, art and our relationships with earth’s resources. Making has been enriched through a deeper understanding of the materials I use. Beyond observation and a simple response to materials, painting may offer a space for investigation of environment and even ritual. Painting with others may bring together all these as well as a sense of communication beyond self.
“Re-engaging with the raw materials from which our lives are shaped is a potent reminder of the difference between what is real and what is only illusory” Anna Konig
© p ward 2015
One week on the Isle of Man, 2015
It is nearly thirty years since I last visited Ellan Vannin – the Manx name for the Isle of Man. Situated in the middle of the emerald waters of the Irish Sea, within sight of England, Ireland, Scotland, Wales and Heaven, so it is said, this self-governed commonwealth nation is probably best known for the yearly motorcycle TT race. For me, as an idealistic teenager surrounded by radical older students, it became a place of great significance in my own spiritual development. For the Celts it was the centre of the Faerie Empire, the royal thrones sitting atop the second highest mountain, South Barrule. Even today, respect for the other realms is still very much in evidence. Beyond this the island, once you have accepted the proliferation of lycra-clad outdoor pursuits, the squeals of cliff-leaping coasteerers and the constant stream of motorcyclists, is still a peaceful haven with stunning views and coastline, a place of folklore, local heritage and marine and avian wildlife.
Thank you to my family for treating us to this short holiday and this time to restore my connection to those things that inspire my living.
© P Ward 2015
I do not recall the moment
The shift in feeling
From love to nothing
From excitement and anticipation
To no sense
Nor what event or action caused such change
A switch switched off silently
A light that goes out
And turning away from
But towards nowhere and no one
I do not know what to say or do
(Everything is the same as ever)
How to create new life without a care
To breach a gulf of non-misunderstanding
For a tide to rise again for the first time
And carry me
© P Ward 2015
of black and white i have become acquainted
shifting material tonality contextually alighting itself in emotion
the falcons’ tumbling play from the high hill cliff top nearby
between myself and the evening sun, i became blind
your overarching display tantamount to simple exquisite perfection
as well timed as it was
there is black
and there is black
there is white
a way to describe
a fleeting perception of this place and that
of an occurrence personally experienced
a mere scribble by comparison
a fumbling juxtaposition
in the face of complexity
it will just have to do
it is all i have
beyond itself here
i do not wish to be spoon-fed
the spoon is soiled with black
a black arches awaits nightfall on white bathroom tiles
i have had another 5 minutes of fame
when will it end?
© P Ward 2015
just another day in the life of an earth pigment artist…
I was recently invited by the popular television property show ‘Escape to the Country’ (Freemantle Media) to help with a local interest article about Bideford Black. Despite very inclement weather for August we spent an enjoyable morning on the beach and cliff top near the outcrop of pigment, accompanied of course by a chorus of local ravens, oystercatchers, gulls and a single peregrine falcon. The presenter, Alistair Appleton, was completely surprised by the ‘blackness’ and quality of the pigment and became quickly absorbed in his brief painting experience. It was fascinating to see behind the scenes, work alongside the team for a while and also get an opportunity to share my work with a new audience – the show reaches about 16 million people! It will be broadcast on BBC2 sometime during the next few months.
on location at greencliff and paintings by the team © p ward and courtesy n wilkinson (www.nickwilkinsontv.co.uk) 2015
© P Ward 2015