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…
“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).
© P Ward 2017
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.
drawing a line, coast to coast with skedge 13916 © eARTh 2016
with special thanks to francesca, noah, agnes, family and friends for your love, support and companionship 🙂
© p ward/eARTh 2016
My latest work combines using leftover bits of wood, a love of simple woodworking and an interest in the more everyday applications of paint. While, as artists, it is easy to focus on painting as an intellectually aesthetic discipline or as a means to test and enjoy our powers of observation, manipulation of materials and hand-eye coordination the majority of paints and pigments have been, and still are, used for decorating and protecting surfaces around the house and industrially.
For example, Bideford Black, a North Devon pigment that I have spent time researching[i], was used primarily in the shipbuilding industry as an anti-foul, as a household paint (Zats Black), to paint tank camouflage in WWII, for dyeing rubber and cement and even for making mascara, but I am yet to find evidence of it being commercially processed as an artist’s pigment. Despite recent local and national artistic interest it is, in my experience, a rather gritty, difficult and dull black material that is prone to sapping the life out of all the other colours it comes close to. So while Reeves of London may have considered another North Devon pigment, Berrynarbour Umber, ‘essential for any paint box’ I cannot see Leonardo sending for some Bideford Black (as he may have for yellow from Naples or green from Verona)! But then it has its very own nature and one that as artists and/or paint makers we can choose to embrace or at least take into account if using it.
Every pigment I have used has its own quality and spirit, and recognizing and working with this understanding is one of the primary and most exciting lessons I have learnt from gathering and processing pigments. They are all an expression of a place, of a geological process and may carry with them a provenance rooted in nature and social history, as well as qualities that lend themselves to one purpose or another. Similarly, while the colours I often use for display and educational purposes are quite bold (to impress and surprise people with the richness of colour under our feet) the subtlety and range of colours of soils, clays and rocks associated with any site is utterly sublime. This may often be seen when studying the colours of materials and paints used in architecture from region to region and the sense of place this inspires.
Another area of interest to me, through my alter ego as a painter and decorator, has been the fashion (albeit necessary) for ‘environmentally friendly’ household paint. While industry searches for new products to replace traditionally oil-based paints we are happy to accept (inferior) low-odour acrylic substitutes. I am not sure exactly how household paints are manufactured or what they are made from but do know that acrylics have an equally dubious environmental impact.
From my experience, traditional oil based paints work – they stay on the surface for a good while whereas contemporary substitutes tend to scratch off easily and attract dirt more readily, sometimes removing more of the paint when wiped! To my knowledge oil based paints have been made using plant resins and oils and cleaned and thinned with turpentine – another plant based product. The issue of pollution often occurs in production, cleaning brushes, in disposal and from fumes given off when applying. Whereas modern ‘plastic’ paints, while addressing many of the H&S issues of traditional paints, may stop plaster and stone from ‘breathing’ causing problems with damp and water retention[ii]. This is not to say that there is nothing wrong with good old traditional paint – that we should just ‘get a grip’ over a bit of casual solvent abuse and some dead fish – but that there is obviously still a lot of work to be done to reach a satisfactory conclusion both in terms of environmental impact, health and safety, and durability.
Maybe it is more our attitudes towards and understanding of such matters that need addressing!? Whatever, every circumstance and application is individual as are the solutions…
Rants and ramblings aside, it has been fascinating cobbling together old bits and pieces of wood to make new surfaces to paint on and seeing how the hand made paint works with the different surfaces. The pieces have taken on a more sculptural feel, playing the illusional 3D qualities achieved by painting off against the shallow relief of the structured surface. Thankfully some of the pieces have already been sold, the buyer commenting on the ‘Wabi Sabi’ quality of the work – a Japanese world view centered on the acceptance of transience and imperfection[iii], the principle of repair, making new from old, celebrating the beauty of decay and repurpose. While this was not necessarily my intention, I do like the association.
© P Ward 2016
(Note: Apologies for the slightly distorted imagery – the frames are actually square. I have temporarily lost use of my photo editing programme due to a systems upgrade. If anyone knows of a good free photo editing suite that allows you to rotate by degrees and adjust camera distortion, please let me know :-))
[ii] However, to the contrary, we have recently been experimenting with organic binders, such as rabbit skin glue and gum Arabic, and found that in certain environmental conditions, such as damp and cold, or through errors in preparation, they are prone to rapid disintegration – to mould and flaking. A factor not conducive to good business practice in the production and commercial distribution of fine objets d’art!
5 small earth paintings
Beaten by both the need for storage space for my work and, hopefully, a more commercially viable product I have resorted, and returned, to making a number of small earth pigment paintings on paper.
Originally I wanted to explore the layering and removal of water-based paint, similar to my past use of watercolour, using earth pigments. This worked well for one piece but I soon strayed back to the more recent pattern approach that working with earth pigments has inspired.
My method, as in the past, allows the pigments, the colours, textures and forms, to suggest and reveal the form of the finished piece. It can often take a while for the painting to evolve, employing a variety of accumulated intuitive, mark making and aesthetic decisions and skills to move forward. Working in this way is always fascinating, offering outcomes beyond my present understandings.
Each painting measures 21x21cm and is on 300gsm watercolour paper. The pigments, a selection of six hand ground, locally gathered colours from North Devon, have been simply mixed with water and then fixed with pastel fixative. I am now looking forward to making more simple paintings on paper of different sizes to develop this approach.
The original paintings are available for sale online or later in the year at our new studio space at Hele Corn Mill, near Ilfracombe in North Devon.
For more information please contact me at firstname.lastname@example.org
© P Ward 2016
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.
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.
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…
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
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
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