there are some of us
who are accused
of being ‘grounded’:
perceiving the world and our actions
through a balanced, responsible and rational lens
rooted in practicality and common sense.
but then some of us have also been ‘grounded’ as punishment,
our freedom curtailed by a parent or guardian
for actions that often do not lie within preconceived moral boundaries,
boundaries of balance, responsibility and rationality,
often rooted in practicality and common sense
often according to Nature and her Laws
but how we wish to fly
to shed the shackles of good sense
for other and ourselves
in search of learning, perspective and sensual joy
defining new boundaries beyond our knowledge
or otherwise fleeting original experience
before our time is out
© P Ward 2019
this climate emergency, part 2
the sun and moon still rise and fall
everything is somehow in place.
despite imagery evocative of an abrupt demise,
despite rising popular opinion and attendant fearful frenzy,
despite the corroboration of a high percentage of scientific peers,
despite indicative physical, ideological and pecuniary global suffering and conflict,
despite a lifelong personal acknowledgement of our continuing abuse of Nature…
I do not sense
I do not feel
I cannot sense
I cannot feel
I do not, cannot
and will not accept
so what of instinct and intuition (the antithesis of science)?
what of individual response?
what of collective consciousness?
what of the uninformed, the common man?
are we, en masse, running from the ensuing fire?
and anyway, where can we run in this apparent global catastrophe?
if I do not feel it,
if I stand aside the mindful stampede,
am I simply burying my head in the sand
in denial of empirical objectivity,
in fear of the inevitable?
or is it that
I do not know within my power what more I may do?
as I stand on this excellent brink of oblivion, this ending of sorts,
with the knowledge, wisdom and capability of all I have before
there is opportunity
there is technology
and there is love.
I must either believe in the magic and wonder of the human spirit within Nature or not
like every day
like any day
I act according to (my) Nature…
© P Ward 2019
this climate emergency, part 1
in a climate of overwhelming societal and professional expectation as an artist and an earth being i have struggled to know how to meaningfully and effectively respond directly to this ever-present issue. here are some of my thoughts and feelings expressed through words and an ongoing visual project…
it is like being told I am dying
that I am in the final stages of a terminal disease
after a long chronic illness or complaint
and that if I live the way I always should have,
the way I always have,
the way I have always known I should,
the way I have always said we should,
then maybe, maybe, maybe
I will not die.
it is like being told I am dying
but that everyone else and every other life is dying too.
that we are all dying and that it is all our own fault,
well, maybe not allour own fault
but somebody’s fault, some system’s fault, some thought-form’s fault,
that this beauty, this wonder that we experience on a daily basis
will no longer exist (for us)
because of us
it is like being told that everything and everybody that we love
is going to die, to not be.
it is a just like dying,
my experience of dying and death
in normallife –
we are all dying.
we are all going to die.
we are all living with the knowledge that we are all going to die,
that everything and everybody that we love is going to die
and that we shall experience suffering (and joy)
it is still a shock when it comes.
when the reality of our imminent passing becomes apparent.
the utter enormity of it
combined with our inherent inability to conceive of such.
and who are we to talk to
other than those others similarly afflicted and condemned,
others who love and feel and care,
those who are afraid of what might become?
how shall we live?
how shall I live?
how shall I end this final sentence?
© P Ward 2019
further material responses to existential emergence, crisis and change
I was reminded recently, while gazing fleetingly into the shimmering turquoise green blue ocean here in West Cornwall, of my early art training based in the classical understanding of colour. colour as light. a systematic mixing together of homogenous materials to represent the colours that we observe in Nature from a set of ‘primaries’: reds, blues and yellows. no black. white in moderation. of hue.
our perception of colour, of light and shade, and hence of depth, size, form and materiality, is sometimes explained as the processing and communication of visual information created by the reflection, refraction and absorption of light in relation to materials. working with earth pigments has revealed ‘colour’ as more than just a visual ‘scientific’ process of perception. it is more a holistic appreciation of material presence which encompasses not just colour but texture, smell and a provenance of time and place, of formation and decay, of ecology, history and Nature itself.
we may often associate earth colours with a range of browns, reds and yellows. with this latest set of paintings I have been enjoying a more subtle selection of greys, greens, mauves and whites that I have found, gathered and mixed near my home.
I could say that the stories they tell are unique expressions of their own experience that I have been privileged to bring into contemporary form, but maybe that is for you to decide…
like chopping onions in a northwesterly gale (Cornish earth pigments on board; 56x38cm) © p ward 2019stones that stand in fields with swans and cows and geese: penwith (Cornish earth pigments on board; 70x68cm) © p ward 2019
© P Ward 2019
new paintings from Cornwall – early 2019
For many years I have exclusively used colours from the earth in my paintings, gathering and processing all the pigments myself. Each location offers a unique palette and quality of colour to work with as well as a deeper understanding of that place.
To some it may seem as if creativity is being limited. “How can I paint the sky or the trees?” are frequent questions when running workshops. Working with earth pigments has changed the way I work and my understanding of painting in many ways. It has enriched my perception of colour and the ‘material’ of colour. Black is no longer “an absence of light”. For me it allows a specific expression of place orientated, of course, by my own relationship to being there.
The paintings here respond to the nature of earth colours and experiences in West Cornwall…
© P Ward 2019
despite the wind
despite the weather
despite the winter
despite the sense of vulnerability
this raw and new found exposure
despite the twisting and turmoil of our times
despite it all
this earth still shines
Before I embark on a new phase of experimentation, combining different binders with the Cornish pigments, I would like to share a few paintings that I have made in my new home – a caravan on a dairy farm in the coastal hills of west Penwith, Cornwall.
Here, I am surrounded by the historic land markings of the ancient peoples who populated this extremity of the British Isles. Stone walls, reportedly demarcating some of the oldest working field networks in the world, built 5000 years ago. Iron age hill forts, burial mounds, settlements and wells set in the denuded coastal wasteland of heath and moor. It is at times bleak. After the rain and wind that lashes fresh from the vast Atlantic ocean, the colours of autumn shine. The constantly changing hues of the blue and grey and turquoise sea. Rainbows sitting in our laps. The sky heavy and clear and dark and brooding. Salt water permeating. The animals are exposed by their hunt for food, by the lack of cover afforded by the stripped land. It is a place of spirit and history and life, right now.
I am slowly learning to listen to the language of the colours here. The earth pigments, their qualities, their sources are unfamiliar. New to me. They are similar in colour to those of North Devon, that I have been using for a long time but very different in other ways. Their formation. Their nature. They have not been part of my own story, until now. The marks and stories they suggest are gradually revealing themselves. Their relationships unfolding. Their dynamic. And despite my attempts at integrity to their provenance and the spirit of this place in which I find myself, it is the freedom of my children’s paintings and drawings that are inspiring me…
Professionally, I am working on an Arts Council National Lottery Project Fund proposal in association with Geevor Tin Mine to research the creative and educational potential of the pigments. Through recent projects and contact with the staff at the Mine I have started to appreciate and become really excited by the rich historical, geological, chemical and social provenance that the colours carry. After the far-reaching and ongoing success that Painting with Earth – North Devon has brought, let’s hope I will get some real financial support to enable the continuation of this rich seam of work ;-).
© P Ward 2018
THIS TOXIC(?) BEAUTY
The 7 colours shown here have been gathered close to historic mining sites in west Cornwall. Some are waste products from tin and copper mining and may contain toxic minerals such as arsenic and cadmium, ironically both used historically in paint and pigment production. Despite being found alongside public rights of way until sufficient mineral analysis has been made of the samples I am unable to share them with the public.
However, I am comfortable enough to start using them myself (with care). Inspired by the milling process used to extract tin I have started to mix the raw materials with water before filtering with a fine sieve. This minimizes the grinding process and hence the possible inhalation of dust. So far I have only used PVA glue as a binder but enjoyed the difference in colour, provenance and nature of the pigments compared to the North Devon pigments I am more familiar with. As such the imagery has started to take on its own character relevant to the materials, the geographical space and my personal experience of Penwith and west Cornwall. I am currently working with Geevor Tin Mine Museum to develop educational workshops using the pigments. The mine itself and attendant museum is utterly fascinating allowing me to better understand the differences between pigments from natural landforms and those extracted from deep underground. In due time I will be able to better share my findings but for the time being here are some of my first paintings made using the wonderful, beautiful but maybe a little toxic Cornish pigments.
As yet the paintings are relatively small (up to 60x60cm) but I look forward to taking some of these ideas to a larger scale and context. If you are interested in any of the work shown here or would like to support or contribute to any further research please get in touch.
With thanks to the people and places of west Cornwall. In particular, the staff of Geevor Tin Mine, Fiona, Natasha and of course Francesca and family for your inspiration and support.
© P Ward 2018
discovering colour in west cornwall
moving home is always an exciting (if not somewhat stressful) time for discovery, for exploration, for new knowledge and for refreshment of life paths. I have recently moved with my family from North Devon to West Cornwall, as far south and west as one can go in the British Isles (apart from the Isles of Scilly, of course). The move was made to connect with the flourishing and historic arts scene in the area – Newlyn and St Ives on the Penwith peninsula being significant places in British art history over the last few centuries. The area is also remarkable for the globally significant tin and copper mining industries that flourished during the nineteenth century providing a wealth of metal ores and new technologies that contributed to mining knowledge around the world. The industry has now all but died out, due to cheaper sources elsewhere, but has left its mark ecologically and architecturally to this rugged, wet and windy section of Atlantic coast.
having spent the last ten years intensively researching the geology, history and uses of earth pigments found in North Devon, and establishing an international reputation through it, it is quite nerve wracking to up sticks and start again. Added to this sense of newness, is that of the unfamiliar. North Devon is my mother’s family home and a region I have known all my life. While the wild and austere beauty of West Penwith is visually and culturally inspiring it will be a while before I feel it as my home, despite feeling very comfortable here, nestled in a cosy old granite cottage close to the north coast. However, the process of taking root has begun and exploration to reveal the individual peculiarities of my new home, and especially those qualities that appeal to my own nature, have gripped my thoughts and actions.
within six weeks we have found four excellent and bold earth colours locally, associated with historic mining activities. We have revealed a dolmen in our living room as well as starting to visit the plethora of ancient megalithic sites in the area. The sea, the mist, the rocks and wind are ever present on this extreme peninsula, the most exposed place I have ever lived. Having studied for my MA in Falmouth and consequently visited the county on numerous occasions, I am vaguely familiar with the area and some of the sites of interest, but was unaware of the incredible natural and cultural richness it provides. The county of Cornwall is one of the few Celtic strongholds on the British Isles, with its own language and a pride in its unique history, both ancient and modern. This is evident in so many ways – its folklore, place names, wildlife, art and its connection to the sea and land. I am very excited to see how this feeds my own creative output.
the pigments we have gathered so far include red and purple ‘clays’, residues from the slag heaps at Levant Tin Mine, apparently deposited alongside, and hence coloured by oxides within, the seams of black tin (casserite) found in cracks in the 340 million year old granite mass that forms the majority of landmass here. The huge forces, pressures and temperatures experienced as the molten granite forced its way through weaknesses in the overlying Devonian sediment created a wealth of opportunities for metallic minerals ores to form alongside metamorphic rocks. According to one source the area has some of the most varied and mineral rich geologies in the world! We have collected a yellow ochre-like residue from mine waste heaps further northeast at Tywarnhayle Mine, Porthtowan. The yellow deposit also contains fragments of ‘green’ rock that will be interesting to separate and hopefully use. The oldest China Clay pits, formed in lakes as eroded granite deposits, can also be found near St Just in Penwith with a wealth of local history and national significance. We have been given access to this beautiful smooth white clay by the present landowner, whose father spent some time working in the drying kilns on site during his youth. We are experimenting with different approaches to processing the raw pigments, relying on water extraction, sieving and drying, similar to historic methods of extracting ore, rather than the more physical drying and grinding that we employed with the very different pigments in North Devon. This is partly due to the different nature of the raw pigments but also as a safeguard against inhaling potentially dangerous bi-products of the mining residues, such as arsenic! We are presently seeking geologists to aid in our research.
As you can see, it’s all really exciting stuff. However, as yet, we are still to find a suitable workspace, tubs of pigment being stored and worked on convenient window ledges and in the cramped garden shed. But time will work its magic and the right space will reveal itself. We have already been made aware of a possible arts space development in old buildings at the entrance to the mining museum at Geevor mine in our village, as well as studio spaces associated with the established art schools of St Ives and Newlyn. Work still continues elsewhere too with talks and workshops coming up in North Devon and further afield in East Sussex, so all is good with the world. And all this while juggling childcare priorities and other homemaking eventualities. So, thank you to family and friends for your support during our transition and also to the warm welcome and help we have received from the local community. I am certainly looking forward to seeing how everything unfolds…
© P Ward 2018
at times of loss and grief
we may turn to Nature for solace,
to water, wind, fire and earth
to rocks, soil, fungi and trees
to insects, animals and birds
we may immerse ourselves
in the mundane, in the everyday
in routine and simplicity
not to avoid the pain
but to live with it
to feel it without distraction
we may assimilate our feelings and thoughts
through our work
through creative activity
through cathartic acts
I sit in the flowing river
the cool water moves around my stationary working form
touching my legs, ankles and hips, hands and forearms,
I feel connected to life
or through physical activity
where the rhythm of movement,
of muscles and breath and heart working in time,
lift us to an alternate state
to see our situation anew
in a different light
not with mind
but with body
and in fantasy and dreams
the world becomes larger
not illusionary but more real
past present future revealed
through our actions we may sense
the wonder of each passing moment
of being alive with our pain
of feeling at all
and with thanks
we can move forward
and in love
© P Ward 2017