of this eARTh: childish inspiration and other stories

new paintings from 2016

Since the birth of our daughter Agnes in July last year, and our son Noah nearly 3 years ago, it has been rather slow getting the painty wheels turning but work has been done and exhibited and new artistic thoughts and inspiration are gradually emerging from the baby-addled-brain. Most recently I have been really enjoying Noah’s freestyle scribbling as he explores manipulation of simple mark-making tools, finding a similarity between that and my own evolving physically energetic relationship and understanding of the primitive materials that are earth pigments.

In January I was invited to give a presentation and workshop at THE ART STUDENTS CONVENTION 2107[i] at Plymouth College of Art, part of a TATE initiative[ii] to look at creative education in the UK, providing a most enjoyable personal (and paid) opportunity to look back over my development as an artist and painter, its highs and lows, and to share some thoughts with others – always a worthwhile exercise and bringing a sense of confidence and satisfaction at what I have achieved over the years.

Anyway, here is a selection of new small paintings from the last year and a quote that offers renewed meaning to my work with rocks and geology…

drawing-on-obscurity-32x35cm-earth-pigments-on-board-p-ward-2016drawing on obscurity (32x35cm; earth pigments on board) © p ward 2016

“Those who suspected Hawkes of solipsism were guilty of misreading: she in fact offers an account of selfhood in which, molecularly and emotionally, ‘every being is united both inwardly and outwardly with the beginning of life in time and with the simplest forms of contemporary life’. The ‘individual’ (from the Latin individuus, meaning ‘indivisible’) is not unique but soluble, particulate, fluid. Her book is dedicated to proving that ‘inside this the whole history of life’; she is merely one of the outcrops or features of the ‘land’. ‘Consciousness must surely be traced back to the rocks,’ she argues. A Land should be read, she suggests at its close, as ‘the simple reaction of a consciousness exposed at a particular point in time and space. I display its arguments, its posturings, as imprints of a moment of being as specific and as limited as the imprint of its body left by a herring in Cretaceous slime’. Her book is itself a geological formation, no more or less extraordinary than a fossil or a pebble.

To Hawkes, stone did not only prompt thought – it constituted it. Our ‘affinity with rock’ was so profound that she understood us to be mineral-memoried, stone sensed. Often in A Land she writes geologically of the mind’s structures: thoughts are ‘rocks . . . silently forming’, memory is ‘the Blue Lias’ of fossil-filled strata around Lyme Regis. She admires Henry Moore because while ‘Rodin pursued the idea of conscious, spiritual man emerging from the rock’, ‘Moore sees him rather as always part of it’…”

Robert Macfarlane writing in Landmarks (2015) of Jacquetta Hawkes’s book A Land (1951).

inward-boundless-i-ii-ii-iv-20x20cm-earth-pigments-on-canvas-p-ward-2016inward boundless I, II, II, IV (20x20cm; earth pigments on canvas) © p ward 2016

childish-inspiration-i-ii-iii-20x20cm-earth-pigments-on-canvas-p-ward-2016childish inspiration I, II, III (20x20cm; earth pigments on canvas) © p ward 2016

sequential-40x40cm-earth-pigments-on-canvas-p-ward-2016sequential (40x40cm; earth pigments on canvas) © p ward 2016

© P Ward 2017

_________________

[i] http://tasc2017.co.uk

[ii] http://www.tate.org.uk/whats-on/tate-modern/workshop/tate-exchange/making-learning


please accept my resignation 131016

 

some things I have seen, done and made that have made me think, feel and smile over the last few months…

“Reading true literature [Nan Shepherd] reflected, ‘it’s as though you are standing experiencing and suddenly the work is there, bursting out of its own ripeness . . . life has exploded, sticky and rich and smelling oh so good. And . . . that makes the ordinary world magical – that reverberates/illuminates.’ ” taken from Landmarks by Robert Macfarlane.

folded-paper-little-family-special-gifts-friendship-earth-pigments-on-canvas-p-ward-2016folded paper; little family; special gifts; friendship (earth pigments on canvas) © p ward 2016

wooden-tray-full-of-found-things-earth-2016wooden tray full of found things © eARTh 2016

the-exmoor-best-exmoor-zoological-gardens-p-ward-2016‘the exmoor beast’!?, exmoor zoological gardens © p ward 2016

crow-point-p-ward-2016crow point © p ward 2016

sycamore-p-ward-2016sycamore © p ward 2016

drawing-a-line-coast-to-coast-with-skedge-13916-earth-2016drawing a line, coast to coast with skedge 13916 © eARTh 2016

learning-to-draw-i-p-ward-2016learning to draw I © p ward 2016

learning-to-draw-ii-iii-iv-earth-2016learning to draw II, III, IV © eARTh 2016

towan-beach-roseland-peninsula-bottallack-mines-st-just-cornwall-p-ward-2016towan beach, roseland peninsula; bottallack mines, st just, cornwall © p ward 2016

west-somerset-railway-bicclescombe-park-shed-ilfracombe-earth-2016west somerset railway; bicclescombe park shed, ilfracombe © eARTh 2016

painted-palette-earth-pigments-on-wood-earth-2016painted palette (earth pigments on wood) © eARTh 2016

offcuts-in-an-offcut-frame-palette-mask-earth-pigments-on-wood-p-ward-2016offcuts in an offcut frame – palette; mask (earth pigments on wood) © p ward 2016

figure-offcuts-in-an-offcut-frame-viii-earth-pigments-on-wood-building-blocks-p-ward-2016figure; offcuts in an offcut frame – VIII (earth pigments on wood); building blocks © p ward 2016

resignation-definitiondefinition from google search

with special thanks to francesca, noah, agnes, family and friends for your love, support and companionship 🙂

© p ward/eARTh 2016


home: research, research and inspiration – early 2016 update

water, air and earth

sticks and stones

and, somewhere, fire

.

as the year unfolds

to a new life

within us

.

and you grow

and hold us rapt

in your emphatic personality

.

we deliberate upon Nature

each delicate

and deafening response

.

there is red and black and grey and green

dirt to some

riches to others

.

grinding away

what is left

to leave

.

more

and more

and more

.

we play

and learn

we play together

.

knees

teeth

home

.

home- county clare, Ireland © p ward 2016home: County Clare, Ireland © p ward 2016

The year began with family and friends in a rainswept County Clare, Ireland, my home for 10 years. Many of the places I wanted to revisit and share were beneath meters of water. Things, of course, had changed for better and worse but the spirit of the land still shone through.

home- lake vyrnwy, powys, wales © p ward 2106home: Lake Vyrnwy, Powys, Wales © p ward 2106

Then more mountains and lakes, family and friends, as my brother’s path shifts to the Welsh borders, an area I have not visited before but will visit again. This time snow, ice, fog and sunshine accompanied my journey. Lake Vyrnwy reservoir submerged a Welsh village to supply England with water.

home- Ilfracombe, winter 2016 © p ward 2016home: Ilfracombe, winter 2016 © p ward 2016

And at ‘home’ the winter lashes the coastline, reshaping and reforming. Ilfracombe was originally named after King Alfred and was gifted to two of his sons as a sheltered harbour on the western approaches to his kingdom. Before then an iron-age hill fort overlooked the natural harbour from, what is now, Hillsborough nature reserve. This part of the North Devon coast is formed predominantly from Devonian slates, sandstones and shales and boasts some of the highest sea cliffs in England. We have a new studio here that we hope will provide a base for our creative endeavours and space for others to enjoy.

home- Barnstaple Bay and Hele, North Devon © p ward 2016home: Barnstaple Bay and Hele, North Devon © p ward 2016

home- Holdstone Down, Combe Martin, North Devon © p ward 2016home: Holdstone Down, Combe Martin, North Devon © p ward 2016

let’s talk dirt! (White Moose Gallery, CCANW, Heritage Lottery Fund, Bideford Pottery, IGI Ltd, Roger Cockram)let’s talk dirt! (White Moose Gallery, CCANW, Heritage Lottery Fund, Bideford Pottery, IGI Ltd, Roger Cockram)

In May, as part of the CCANW Soil Culture project, I led a walk and talk with the White Moose Gallery and supported by the Heritage Lottery Fund, to celebrate North Devon’s relationship with its earth resources. “Let’s Walk and Talk Dirt!” involved local potters, Harry Juniper and Roger Cockram, geologists Chris Cornford and Andrew Green, and soil scientist David Hogan to present some different perspectives about our local resources. Participants really enjoyed the interdisciplinary nature of the events but were frustrated by the lack of time to explore the subject matter in more depth. We are now working towards a ‘summer school’ to further explore North Devon’s potteries, pigments, rocks and soils.

Sidmouth, East Devon © p ward 2106Sidmouth, East Devon © p ward 2106

Jacob’s Ladder beach, Sidmouth, East Devon © p ward 2016Jacob’s Ladder beach, Sidmouth, East Devon © p ward 2016

The Thelma Hulbert Gallery, Honiton, East Devon invited me in May, to run painting with earth workshops to accompany their ongoing Soil Culture exhibitions. The first workshop introduced the ideas to a small group of partially sighted children from the WESC Foundation, providing a space for us to enjoy the more than visual experience of the process and materials. I was also excited to be exploring a new area of the country, encouraging me to find new pigments and learn about their geology and history. The second workshop, for artists, included an invigorating morning field trip to Jacob’s Ladder beach in Sidmouth to gather small quantities of the iron-rich red and green mudstones, and whatever else took our fancy, followed by an afternoon of furious experimentation grinding and binding a selection of pigments with a variety of mediums. It was great to meet some new faces in such a lively and friendly gallery.

home- Wessex – Branscombe beach, East Devon, Hardy country (chalk and flint) © p ward 2016home: Wessex – Branscombe beach, East Devon; Hardy country (chalk and flint) © p ward 2016

Something that did surprise me was the presence of chalk in the landscape of East Devon. Having been raised in Portsmouth I am familiar with the chalk and flint of the South Downs and Isle of Wight but wasn’t aware of it so far west along the coast. The sedimentary Cretaceous beds at Beer, that I saw from Branscombe beach during a day of research, lie above Upper Greensand that then rests on the more familiar Mercian Triassic red mudstones of South Devon. Apparently there is an ‘unconformity’ here in that the interceding Jurassic layer is missing, the area being land during that era. The nodules of flint and chert present in the Chalk and Upper Greensand that make up the beaches are also apparent in the local architecture creating further similarities to the South Downs and other Chalk areas across Europe.

One such region, that I also feel an affinity with through my ancestry and boyhood cycling adventures, is the Wessex Downs. The ancient country of Wessex encompassed Hampshire, west to the Cornish borders, and Wiltshire, Dorset, Devon and Somerset. In more recent times its character and characters have formed the backdrop for the literary works of Thomas Hardy. I was recently contacted by a research fellow from Exeter University to collaborate in a project to explore the value to health and well being of arts-based environmental workshops. His previous research looked at the work of Thomas Hardy in relation to the Wessex landscape. We are now waiting to see if our initial funding application has been successful before embarking on a major AHRC project around a similar theme. It has been fascinating working with a complete stranger towards a shared goal.

Hele community group sculpture proposal sketches © eARTh 2016Hele community group sculpture proposal sketches © eARTh 2016

Meanwhile, closer to home again we have been working with the local community towards re-landscaping an unsightly patch of ground behind the bus shelter in our village. It was good to be invited, to meet some more of our neighbours, to learn about the history of the village and to think how to we might alter such a space to celebrate the area. It was recently discovered that the area is owned (rather than it being public space) which has put the project back somewhat!?

sketches in wood and stone © p ward 2016sketches in wood and stone © p ward 2016

And back in the studio I have been enjoying putting together some new work (see previous post) using old offcuts of wood, old pots of paint and some new pigments. After 9 months I finally feel like I am settling in, enjoying the space and making something new, as well as finding time for my other interests and beautiful family. With a new arrival imminent we’ll be working hard to keep it up…

jacob’s ladder, earth pigments on canvas © p ward 2016jacob’s ladder, earth pigments on canvas © p ward 2016

corn mill close, masonry paint on painted board © p ward 2016corn mill close, masonry paint on painted board © p ward 2016

offcuts – sketch in wood © p ward 2016offcuts – sketch in wood © p ward 2016

© P Ward 2016


simple tasks

.

as an artist experiencing cessations in the creative flow

or an utter lack of enthusiasm for making from time to time

it is heartening to experience how the most simple actions

no matter how difficult they may sometimes be

like folding and tearing paper

grinding some local earth pigments

and painting basic patterns

(with the intention of creating a set of cards for sale)

can enliven my spirits

get the mind ticking again

and lead to a bounteous plethora of new ideas and directions

earth dots (north devon pigments on paper) © p ward 2016earth dots (north devon pigments on paper) © p ward 2016

whether it is something particularly inspiring about the whole process

of collecting pigments in the landscape and making paint

or whether it is evident in all forms of simple creative actions

i’m not sure

but it feels good

and reminds me of how art has enriched and inspired my life for so many years

earth lines (north devon pigments on paper) © p ward 2016earth lines (north devon pigments on paper) © p ward 2016

i like my work

i like what I make

and i am eternally grateful to the universe for offering me these gifts:

the ability to perceive beauty

the aptitude to make beautiful things

and the opportunity to inspire others to do the same…

painting with eARTh day, Hele Corn Mill 15216, images courtesy Sophie Twisspainting with eARTh day, Hele Corn Mill 15216, images courtesy Sophie Twiss

© p ward 2016


a celebration 13116

.

at times

i really do not get Art

its place in my life

or the wider world around me

.

seemingly superfluous pedantic intellectual bickering

over aesthetic form and function

for some fashion or other

in the face of pressing global issues

.

not quite big enough

or loud enough

specific or far reaching enough

to make a difference

(although every whisper counts, I know)

.

baggy point from woolacombe sands, north devon © p ward 2015baggy point from woolacombe sands, north devon © p ward 2015

.

without it (some will argue)

life would be just an incessant instinctive struggle and movement

towards food, shelter and a mate

for nurture within our own nature

to survive within this wildness

.

and

for everybody else

this is quite enough

.

our innate beauty

our diverse evolving nature

our ecologically defined behaviour

in such abundant splendour

and complex contradiction

.

humbly seeking our place

within the heave and flow

of ever shifting forces

.

at times

I do not get art

but thank it once again

for bringing me to these conclusions

.

new year, east clare, ireland © p ward 2016new year, east clare, ireland © p ward 2016

© p ward 2016


Soil Culture: The Publication

The Soil Culture project led by CCANW and RANE will be drawing to a close soon with its final exhibition at Peninsula Arts in Plymouth from 16th January to 19th March 2016[i]. The project as has been documented in a 120-page publication with essays by prominent soil scientists and soil artists, along with illustrated accounts of residencies and other activities enjoyed during the 3-years.

soil culture – the publication (cover), images © p ward 2015soil culture – the publication (cover), images © p ward 2015

My involvement in the project began when I met CCANW director Clive Adams in 2009. I presented him with six small glass pots of ground earth pigments from North Devon. He suggested I meet soil artist Dr Daro Montag at Falmouth University who was just starting an MA Art & Environment Course, which I subsequently attended.

north devon landscape (ground earth pigments) © p ward 2008north devon landscape (ground earth pigments) © p ward 2008

I was invited to join the Soil Culture project development team in 2011. My contribution has also involved workshops, exhibitions and some of the imagery used to promote and support it. I was recently asked to write a short essay for the publication and retake a series of photographs of ground and raw earth pigments to be used for the cover and chapter/section headings…

Soil Culture - The Publication images © p ward 2015raw and ground earth pigments for soil culture publication © p ward 2015

The publication is available from http://www.ccanw.co.uk/ at a price of £15 per copy.

 

© p ward 2016

[i] Peninsula Arts Gallery, Roland Levinsky Building, Plymouth University, PL4 8AA.
Open Monday-Friday 10am-5pm, Saturday 11am-4pm

 


eARTh has MOVED…

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.

eARTh at Hele Corn Mill hele corn mill and eARTh studio © f owen 2015

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