invisible friends

musing upon the muse 91017

.

you warm me

encouraging and invigorating

my muscles, mind and breath

you are so close

yet not here

I long to share a meal, a drink, a show

a long slow walk home

valerian hapa-zome print © eARTh 2017

sometimes in life we encounter people

to whom we feel a deep attraction and connection –

a zap between the eyes

an undeniable pull towards,

unwarranted and unthought-of,

an often beautiful but emotionally inconvenient surprise.

whale shark on my doorstep © p ward 2017

yet circumstances mean our relationships are curtailed

or must take forms different from those we conventionally recognize.

contemporary communications may allow a frustratingly superficial contact,

hand written letters and gifts another, maybe more real,

sometimes even these are not possible

when we honestly crave a wholly physical means –

eye contact and the subtle nuance of body language

the time and space to freely exchange the energetic dynamic

that common interests and diverse histories reveal,

to share a meal, a drink and a long walk home

hands entwined

dragged through sand, woolacombe bay © p ward 2017

as an artist, such desire may act as muse:

a light in the darkness, a spark of imagination

exploring the unknown undiscovered spaces,

a chance to meet the familiar through another’s eyes,

or identify and examine new aspects of ourselves –

dreams undreamt , fears as yet unconfronted, renewed aspirations,

detaching oneself from the mundane,

an illusion or delusion

but inspiration all the same;

or fuel to intention

to communicate more wholly

through pathways beyond the visible

ground earth pigment rings © eARTh 2017

and for those of us who entertain such fantasies about a subtle sense –

who honour a telepathic connection,

like that between a mother and child

or soul-mates

or lovers,

then the distance between may become an ethereal whisper

a breath, a feeling, a warmth, a glow

a longing acceptance of fate

still not manifest

buoyancy aids and clamped wheel, hele © p ward 2017

so maybe this is ‘hope’

or merely wishful thinking

a means to find strength and courage in isolation

to believe in another way

in spirit

in love

.

I do

.

(with love and thanks to those who are not here)

© P Ward 2017

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Global Nomadic Art Project France 2017

Art Underground

Residency group photo © GNAP France 2017

In early September I was fortunate to be among 22 international artists (from as far afield as South Korea, USA, India, New Zealand, Iran, Australia, Germany, Italy and France) warmly invited to Doué en Anjou in the Saumur Region of the Loire, France, to live and work amongst the plethora of caves that sit just beneath the surface. During the 10 day residency we were taken to troglodyte habitations, sarcophagus workshops, a zoo, a farm, a quarry, a woodland lake, art galleries, champagne cellars, vineyards and restaurants as well as sites along the Loire to create site-specific nature-based works. Final installations and video works were presented to an audience of 900 sponsors, local school children, press, dignitaries and the general public at Les Perrieres cave centre as part of the national Heritage celebrations. The residency, part of a series throughout Europe organized by YATOOi during 2017, was a wonderfully rich and playful cultural exchange supported by local generosity and inspiring an outstanding depth and variety of work reflecting the diverse backgrounds and environments shared.

residency visits and hospitality © GNAP France 2017

residency site visits © p ward/GNAP France 2017

Magdelene Dolmen, GNAP France © p ward 2017

Despite the difficulties of language good friendships were established through common acts of work and play, through the joyful sharing of cultural peculiarities and through shared experience, all helped by a plentiful supply of local wine and champagne – we were in France after all! The generosity and openness of the local people, businesses and sponsors to a group of unknown artists descending into the area was quite remarkable. All events within the residency – openings, introductions, public presentations and the final exhibition – were all well and enthusiastically attended. Much credit should of course be given to the residency organizers (Olivier Huet and Magrit) who brought such bounty to the group and facilitated the residency in a wonderfully warm, relaxed and friendly manner. As you can see from the program we were kept very busy during the residency adding an enjoyable intensity to proceedings.

residency program © GNAP France 2017

Les Perrieres, cave visitor centre © Sally Kidall 2017

The work, framed within the residency as ‘Nature’ or ‘Land’ Art, was created during short ’workshops’ (visits) to places of interest or relevance to the theme of ‘Art Underground’. It was hoped that through simple introductions to the history, ecology and geology of the places we would build up a sense of the extraordinary dual (underground/surface) character of the region. Throughout the first week we all developed a better relationship to and sense of the materials prevalent and formative to the area. This knowledge allowed us to slowly form ideas for a final piece to be installed or shown within or near the cave complex at Les Perrieres where we were so comfortably accommodated. The cave complex is a fantastic attraction in itself, catering for public and school groups, having employed artists to interpret and enrich the network of caves carved from the earth for building materials over the last 500 years. The experience of spending such a lot of time underground, to emerge intermittently into the ‘light’, was at once quite disorientating and somehow reassuring, and also hard to describe. (Returning home to a small house in the English countryside, with windows overlooking a valley, certainly felt very strange.)

Seven Bodies, GNAP France © Atefah Khas 2017

peter ward, GNAP France workshop installations © p ward 2017

As an artist (maybe overly) academically acquainted with the various forms and history of environmental art it was fantastically refreshing to simply make – to spend time with others in an environment, to explore new and familiar materials in a different context and to enjoy the varied processes employed by the other artists. The care and attention both in making, recording and documenting that was adopted by many was an inspiration. An amazing skill for choosing sites for installations where they may be viewed and documented best was also apparent, as was an enviable dexterity with digital editing and animation among the group.

ombre, GNAP France © Valeria Codara 2017

Marc Avery, Majid Ziaee, Donald Buglass, Valeria Codara, Joël Thépault © GNAP France/Joël Thépault 2017

Pierre Guilloteau, Joël Thépault, Isabelle Aubry, Roger Rigorth © GNAP France 2017

Essentials Atefeh Khas/Roger Rigorth, Joël Thépault © Atefeh Khas/Roger Rigorth/Joël Thépault/GNAP France 2017

Gunjan Tyagi (and friends) © GNAP France 2017

Sally Kidall/Cherie Sampson, Pascale Planche, Soon-im Kim, Lee Sun-ju, Aarti Zaveri © GNAP France 2017

Ahmad Nadalian, Roger Rigorth, Pascale Planche, Patrick Tagoe-Turkson, Gunjan Tyagi, Ute Ritschel © GNAP France 2017

Public Presentations, Philippe Noiret Theater of Doué-en-Anjou © GNAP France 2017

martyr, objets trouvé, © p ward 2017

The lack of academic analysis and critique, whether by design or through language difficulties, was simply refreshing. While Land Art or Nature Art may be acknowledged within an art historical context it is often totally dismissed (for which I have been guilty) as a relevant form or practice by more ecologically/socially engaged contemporary artists. For example, Richard Long is often criticized for simply taking formal and conceptual ideas out of the gallery or bringing ‘natural’ materials back in, while Andy Goldsworthy overly-aestheticizing Nature, without acknowledgement of any political issues relevant to subject, material or space, and Robert Smithson for the use of massively macho machinery to make vast changes to a landscape without consideration for ecological consequences. I now personally appreciate all as parallel and historical aspects to all work of and about the environment – Art does not always have to be so overtly political after all, working intrinsically and subliminally within culture as a whole.

oP77, earth pigments, GNAP France © p ward 2017

The experience of GNAP France has given me a fresh perspective on my own prejudices, reiterating the value of personal tactile experience and expression within an environment, offering the opportunity to celebrate and share aspects of nature that may often go unobserved on both a minute and architectural scale, as well as space to develop a deeper sense of oneself within Nature. It is all a learning process. The residency offered such a space to the artists with little pressure to produce but simply to participate – to make contacts, to observe and to share within an international setting: something many of us seldom have the chance to enjoy. In the words of Italian artist, Valeria Codara, “It is only when we open ourselves to others that new ideas can emerge” (one of the few political sentiments expressed towards any of the work during the residency). Whether the individual works had ‘value’ in a social or ecological sense beyond the artists’ experience is always debatable, but it cannot be denied that the creation and participation in the whole experience was a rich and deeply transformative process.

portant un paquet de bâtons sur les bords de la Loire, GNAP France © peter ward 2017

peinture d’arbres, GNAP France © peter ward 2017

The group of artists came from quite different creative backgrounds, culturally and professionally. We were also at various stages in our careers, the GNAP France residency offering differing possibilities for each of us. International networking, including the chance to really meet people we were otherwise only aware of online, was a key element as well as an international flavour to add to our profiles. Work-wise, while many of us approached each site afresh, many brought signature themes and forms to their responses. French artist Pierre Guilloteau brought along his deconstructed ‘wooden ball’ to reconstruct at various sites to great affect as part of his ongoing Longitude 0° project. Others created simple animations or filmed and produced performance pieces – quite a feat in such short periods of time. Some work was monumental in scale some definitely quite ethereal. Some worked with others, some alone. Thankfully there was a fair share of humour too.

presse à la terre; bétail grotte, GNAP France © peter ward 2017

Despite a renewed appreciation of the craft, delicacy and aesthetic appeal of some of the more ethereal sculptural pieces my own work remained closely linked to a sense of our contemporary global situation. I certainly played within the aesthetics of unfamiliar materials but feel my stronger works expressed Nature not as a pristine, balanced, elemental world but as a turbulent shifting ecology within which humankind plays an often provocative and sometimes frivolous role (if we are willing to get the joke!?). During the week I began to recognize patterns emerging in my practice. Ways in which I become attuned to a landscape, such as gathering sticks or forming balls from soil, from which the work would develop. There was often a sense of ritual to my process, acknowledging elemental forces within each installation. There was a sense of passing to the final pieces, suggestions of something that had happened to which others were witness, often tinged with sadness and destitution, sometimes with joy. I started to understand the importance of narrative within my work (thank you Sally).

perdant un jeu, objets trouvé, GNAP France © peter ward 2017

For my own final piece, en passant par (passing through), I secured a large cave between two quarries. I was personally drawn to the combination of contemporary objects, surfaces and detritus as well as an abundance of usable natural materials in the space. My intention was to create an immersive experience using pigments, objects, imagery and ideas I had gathered throughout the residency. As an artist working with natural materials and pigments I am often forced to question or recognize the connection between cave art and graffiti. The space and residency offered an excellent opportunity to explore this more fully. I hoped to create a sense of the ‘artist’ passing through, a ‘nomad’, using the cave as a temporary habitation and workspace. Also to highlight the imaginative possibilities of the shapes, textures and structures already evident in the space through a minimal intervention of mark-making and objects. For me it was the largest and most ambitious project I have attempted to date. Thankfully it was well received by fellow artists and the public.

en passant par, cave installation (detail), objets trouvé and earth pigments, GNAP France © peter ward 2017

en passant par, cave installation (detail), objets trouvé and earth pigments, GNAP France © peter ward 2017en passant par, cave installation (detail), objets trouvé and earth pigments, GNAP France © peter ward 2017

GNAP France is certainly an event I will never forget: as a time of learning, living and working on many new levels and having loads of fun with some beautiful new friends, rejuvenating my confidence, ambition and motivation as an artist. I can only thank all those involved – artists, organizers and sponsors – for their generosity in creating such an incredible encounter.

Thank you all for welcoming me so wholeheartedly to the GNAP family.

© P Ward 2017

__________________________________________________________________

GNAP France 2017 was curated by Olivier Huet (association Cranberry) www.gnap-france.fr

List of artists: Isabelle Aubry (France), Marc Averly (France), Claudette Besnard (France), Donald Buglass (New Zealand), Karin Chopin (France), Valeria Codara (Italy), Pierre Guilloteau (France), Atefeh Khas (Iran), Sally Kidall (Australia), Kim Soon-im (South Korea), Lee Sun-ju (South Korea), Ahmad Nadalian (Iran), Pascale Planche (France), Joël Thépault (France), Roger Rigorth (Germany), Ute Ritschel (Germany), Cherie Sampson (USA), Patrick Tagoe-Turkson (Ghana), Gunjan Tyagi (India), Peter Ward (UK), Aarti Zaveri (India), Majid Ziaee (Iran).

sponsors, GNAP France 2017

(Images are from my own collection or made available to me by request or through Yatoo Gnab Facebook pages. All images and works retain copyright to the artist and Yatoo GNAP. I hope I have mentioned everybody? Apologies for so many pictures of my work but hey!…:-))

 


painting in croatia, june 2017

On a recent visit to the ‘long island’ of Dugi Otok on the Adriatic coast of Croatia I was taken by the unfamiliar marks of paint daubed on walls and buildings. Not graffiti as such or even nonsensical paintbrush cleansing ablutions but intentional spots and splashes of household paint. We thought they were maybe way markers or boundary signs. Whatever their purpose I enjoyed how they honed my vision both to the unfamiliar in such a rich but alien culture and also to another sense of painting in and of the environment.rocks and soil I + II, framed; dugi otok, croatia © p ward 2017

dockside paintings; sali, croatia © p ward 2017

Wherever we travel it is the unfamiliar colours, patterns, shapes, sounds, smells, tastes and materials that inspire and refresh our imaginations and remind us of the richness, diversity and potential of this planet that we share while also refreshing the ‘familiar’ in our own backyards. It only leaves us, as creative people, to show our gratuitude through sharing our vision and inspiration with others, hopefully continuing the cycle.

paint daubs; sali, croatia © p ward 2017

le citron de provence (Gonepteryx cleopatra) butterfly wings; dugi otok, croatia © p ward 2017

ant highway, roadkill toad, pink flowers, white admiral; sali, dugi otok, croatia © p ward 2017

festival procession flowers; sali, croatia © p ward 2017

a boat and three doorways; sali, dugi otok, croatia @ p ward 2017

confectionery constellation, casual installation, pink house; sali, croatia © p ward 2017

handprints and paint; sali, croatia © p ward 2017

urban sights I, II + III; sali, croatia © p ward 2017

pigment and paint I + II; sali, croatia © p ward 2017

playground moths; sali, croatia © p ward 2017

four colours; dugi otok, croatia © p ward 2017

sticks and stones; dugi otok, croatia © p ward 2017

unfamiliar shrub; sali, croatia © p ward 2017

red and yellow makes orange, walls; sali, croatia © p ward 2017

nature park telašćica, dugi otok, croatia © p ward 2017

flying; dugi otok, croatia © p ward 2017

With thanks to the people, animals, plants and places of Croatia for a most inspiring experience and to Francesca, Noah and Agnes for sharing it with me.

© P Ward 2017


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


BREATHING ART

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.

BREATHING ART Geumgang Nature Art Pre-biennale 2015, exhibition full view (courtesy YATOO 2015)BREATHING ART Geumgang Nature Art Pre-biennale 2015, exhibition full view (courtesy YATOO 2015)

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.

3 works

expressions of an intimate ecology:

BREATHING ART 1painted log, earth pigments and driftwood, westward ho! © p ward 2010

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

animalistic:

BREATHING ART 21 hour of feathers, fremington quay – bound feathers in antique case © p ward 2012; birdsong – compressed charcoal on paper © p ward 2015

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:

BREATHING ART 36 minutes to save the world – participatory stone painting with earth pigments, isles of scilly, shortcourse UK (cape farewell) © p ward 2011 (video still courtesy bryony stokes) 

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


Saying hello to the Faeries…

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.

manx dog by unknown artist, fired clay; carpets; crushed quartz pebbledash, Port Erin © p ward 2015Manx dog by unknown artist, fired clay; carpets; crushed quartz pebbledash, Port Erin © p ward 2015

Port Erin garden I-IV © p ward 2015Port Erin garden I-IV © p ward 2015

malachite and sea glass, Port Erin © p ward 2015malachite and sea glass, Port Erin © p ward 2015

found stick figure, Silverdale Glen © p ward 2015found stick figure, Silverdale Glen © p ward 2015

Mull Tomb Circle; Lochtan sheep; Manx thatch, Cregneash © p ward and f owen 2015Mull Tomb Circle; Lochtan sheep; Manx thatch, Cregneash © p ward and f owen 2015

The Chasms I-III, Port St Mary © p ward 2015The Chasms I-III, Port St Mary © p ward 2015

The Sugarloaf; Spanish Head, Port St Mary © p ward 2015The Sugarloaf; Spanish Head, Port St Mary © p ward 2015

Ramsey I-III © p ward 2015Ramsey I-III © p ward 2015

standing stones, Ramsey © p ward 2015standing stones, Ramsey © p ward 2015
discarded herrings, Peel; discarded scallop shells; bracken, Fleshwick © p ward 2015discarded herrings, Peel; discarded scallop shells; bracken, Fleshwick © p ward 2015

full moon, Port Erin © p ward 2015full moon, Port Erin © p ward 2015

from South Barrule © f owen 2015from South Barrule © f owen 2015

heather bundle, South Barrule © p ward 2015heather bundle, South Barrule © p ward 2015

from Bradda Head I-II © p ward 2015from Bradda Head I-II © p ward 2015

from Bradda Head III © p ward 2015from Bradda Head III © p ward 2015

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.

special people, IOM © p ward 2015special people, IOM © p ward 2015

© P Ward 2015


From love to nothing 21015

.

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

And you

To warmth

And purpose

I will

.
from love to nothing, feock, cornwall © pward 2015
from love to nothing, feock, cornwall © pward 2015

© P Ward 2015