a journey of wonder down under…

february – march 2018

In February I was most fortunate to enjoy a holidayin southeastern Australia, although like all ‘holidays’ for artists it became an excellent and inescapable opportunity for some research. I travelled with my partner and two young children, adding a beautiful dimension to an already very special journey.

Royal Botanic Gardens, Sydney, NSW © p ward 2018

White Ibis and rock face, Sydney, NSW © p ward 2018

From childhood I have had a fascination with Aboriginal culture and part of our visit was to meet up with friend and elder Noel Butler of the Budawang people from the Yuin Nation (http://nuragunyu.com.au). Noel generously welcomed us to his land and shared some memorable, and not always comfortable, insights into native and contemporary culture that strongly influenced my sense of Australia during my visit. Spending time with Noel, in his own land, also inspired much creative ecological experience and thought that I aim to explore more deeply over the coming years.

Home for a while, Nura Gunya, NSW © p ward 2018

Barbecued clams from Burrill Lake, Ulladulla,NSW © p ward 2018

Being the furthest I have ever travelled I was not sure what to expect. I am quite new to international travel, spending my life so far enjoying and celebrating the wealth of experience and life present closer to home. I carried with me a glut of preconceptions of Australia that didn’t take too long to be completely pulled apart. Having spent a few days exploring (and recovering from Jetlag) in Sydney – on first impressions a fascinating, vibrant and multicultural city – we set off in a small, and somewhat temperamental, hired camper van.

Even before leaving the city the wealth and diversity of unfamiliar flora and fauna had sent my senses reeling. What struck me first was that I did not see one species of bird that I may have seen in Europe and as we travelled this became more and more apparent. Added to the wonderful heat and climate the flora cloaking the immense Pacific coast landscape brought me to realise how different this place was. The sun was in the North!? The wind was coming from the ‘wrong’ direction. The weather patterns were beyond my comprehension…

Bush (Murrumbidgee River, Canberra), ACT © p ward 2018

Playing in the water (Murrumbidgee River, Black Mountain Peninsula), ACT © p ward 2018

Fire, Flora and Fauna (Murrumbidgee River, Australian National Botanic Gardens), ACT © p ward 2018

Roadside, Namadji National Park, NSW © p ward 2018

Brayshaws Homestead, Namadji National Park, ACT © p ward 2018

Kangaroos, Namadji National Park, NSW © p ward 2018

Long Plain, Namadji National Park, NSW © p ward 2018

From Sydney we headed south along the Pacific coast as far as Bateman’s Bay before heading inland to Australia’s new and strange administrative capital, Canberra. From there we drove further south and up into the Kosiosko Mountain range where temperatures dropped to as low as 6C (in contrast to a pleasant 32C in the city). Staying with friends and family and then becoming familiar with the ‘free’ camping grounds in the country’s National Parks our travel was relatively inexpensive. It was so refreshing to be in a place that actively encouraged outdoor experience, with excellent facilities such as gas barbecues and compost toilets provided in the most remote places, although the road surfaces often shook us to our very cores.

Cooleman Homestead, Namadji National Park, NSW© p ward 2018

Blue Waterholes Campground , Namadji National Park, NSW © p ward 2018

Blue Waterhole, Namadji National Park, NSW © p ward 2018

To fully articulate or describe the depth and insights of the whole experience would need a book, with a great many pictures, even more than I have shared here, so I will spare you that for now. However, I know that over the coming years such experience will become evident in my work both in terms of further travel, sensitivity to my own cultural and ecological identity, and participation in Australian culture and the understanding communicated through it. I have already been invited back to explore local pigments and art with Noel and hope to take up that offer as soon as I am able.

Coast (Pebbly Beach, Nuggan Point, Pretty Beach), Shoalhaven, NSW © p ward 2018

Bush Walk, Nuggan Point, NSW © p ward 2018

Bush Shadows, Nuggan Point, NSW © p ward 2018

Coastal Forms, Nuggan Point, NSW © p ward 2018

Nura Gunya, Ulladulla, NSW © p ward 2018

Aboriginal earth pigments, Jervis Bay Maritime Museum, NSW © p ward 2018

With many thanks to Martin for making the journey possible and to Francesca, Noah and Agnes, Sally and Miles, Noel and Trish and Alex for making it such a rich and beautiful experience.

© P Ward 2018

Advertisements

terms of engagement

a conversation of sorts 121117

Q:

“What’s the difference between a social or educational project and an artwork?”

uncomfortable orchids, London © p ward 2017

A:

each may indeed have much in common and much to share.

it is the means and manner through which they communicate,

in which they engage, inform and sometimes transform that renders them effective or benign.*

.

an understanding of an audience, a demographic, an ecology

may encourage participation and transformation

reaching out and beyond those and that originally targeted.

.

the artist, teacher, social worker and ecologist intuit a means

to estimate, interpret, facilitate and hence empower (oneself and others)

literally, pictorially, intellectually, imaginatively, actively, physically, emotionally and most skillfully

.

the aesthetic that directs whatever intent motivated the craft,

that manipulates, interferes with and informs the intrinsic (or created) dynamic

towards a specific end or beginning or…

.

it is not necessary to determine how or when or what

those (or that) which experiences may take away

or if anything further does become

.

but it is in relationship that one may experience and affect movement

from one moment to the next

.

from one breath to another

.

so different too

that a tension reveals

swinging back and forth and around

.

we are all children in this world

vulnerable

unknowing

.

dancing under the stars

of this earth

that we share

.

pavement, London; pavement, Nantes © p ward 2017

© P Ward 2017

(* yet how we may quantify such effectiveness is another matter.)

 


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


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!…:-))

 


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


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