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
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
new works of a more temporary nature…
“Because things are the way they are, things will not stay the way they are.” Bertolt Brecht
what does one do when one is in transit, on the move, between stations, so to speak?
just how does one occupy oneself in a meaningful and creative manner when one’s foundations are all asunder, albeit temporarily?
it is a most unsettling situation indeed (quite literally), this moving about, this uprooting and replanting, this altering of, well, almost everything…
I am making ready for change
but unwilling to predict or control just how such changes may manifest.
they will more than likely simply emerge quite naturally,
not without a struggle perhaps,
but in an organic way.
in the meantime
there is the matter of packing away stuff,
clearing space for the new
both physically and emotionally,
and simply getting rid of that which no longer serves a purpose.
then there is of course the more mundane,
taking advantage of a lull or space to administer and catch up with paperwork and websites etc
and, of course, the constant reflection upon where one has been, where one is now and where one might like to go…
the studio, my place of creative refuge for two years is already dismantled
neatly stowed in a safe space, a strange sensation, a sense of detachment from my life vocation.
and yet all this has been done before.
and we adapt,
we make the most of what we have,
we continue to create, to cast our influence in the world
and the new situation inspires newness in all
it is rather exciting
this nomadic nuance
so here’s to new life
to new possibilities
to uncertain futures
isn’t it always this way after all…
with many thanks to family and friends, new and old…
© P Ward 2017
** Les Trois Galets de Marc Averly is a project by French artist Marc Averly (https://www.facebook.com/marc.averly) . He asks friends to photograph his hand formed wooden ‘galets’ in different places around the world and is compiling a fascinating and entertaining compendium of the images. Much of Marc’s work focuses on wood and trees, and he has a massive knowledge around the subject that he shares at interdisciplinary symposiums and workshops.
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.
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.
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.)
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.
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.
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.
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.
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).
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 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!…:-))