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.
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.
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…
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.
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.
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
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
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.
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
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
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
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
so maybe this is ‘hope’
or merely wishful thinking
a means to find strength and courage in isolation
to believe in another way
(with love and thanks to those who are not here)
© P Ward 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.
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!…:-))
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
water, air and earth
sticks and stones
and, somewhere, fire
as the year unfolds
to a new life
and you grow
and hold us rapt
in your emphatic personality
we deliberate upon Nature
and deafening response
there is red and black and grey and green
dirt to some
riches to others
what is left
we play together
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.
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.
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.
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.
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.
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.
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!?
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…
© P Ward 2016
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
just another day in the life of an earth pigment artist…
I was recently invited by the popular television property show ‘Escape to the Country’ (Freemantle Media) to help with a local interest article about Bideford Black. Despite very inclement weather for August we spent an enjoyable morning on the beach and cliff top near the outcrop of pigment, accompanied of course by a chorus of local ravens, oystercatchers, gulls and a single peregrine falcon. The presenter, Alistair Appleton, was completely surprised by the ‘blackness’ and quality of the pigment and became quickly absorbed in his brief painting experience. It was fascinating to see behind the scenes, work alongside the team for a while and also get an opportunity to share my work with a new audience – the show reaches about 16 million people! It will be broadcast on BBC2 sometime during the next few months.
on location at greencliff and paintings by the team © p ward and courtesy n wilkinson (www.nickwilkinsontv.co.uk) 2015
© P Ward 2015
To accompany our[i] recent exhibition, painting together, at the White Moose Gallery[ii] in Barnstaple, we offered three workshops to explore the possibilities of creative collaboration through painting with local earth pigments. The first two workshops consisted of morning visits to prominent pigment sites followed by afternoons making paint and painting together on a shared canvas in the gallery. The third workshop was spent entirely in the gallery and looked closer at paint making techniques before using rocks and soils gathered in the previous outings to work with.
North Devon has an extremely rich geology – a combination of Devonian, Carboniferous, Perma-Triassic and more recent glacial deposits – that has shaped the way we have and still relate to the environment. Glacial clays have provided excellent material for local potteries. Copper, iron, sliver and tin were mined on Exmoor. Culm grasslands have offered fertile grazing for beef, dairy and other livestock. And different earth pigments have been extracted for both industrial and artistic applications. Bideford Black (and anthracite) was mined across the region until 1969, while raw umber was extracted from locations around Combe Martin[iii]. But wherever we go there is always an incredibly varied spectrum of earth colours to be used, representing and celebrating sense of place however we choose to express ourselves.
Sharing a surface to work on – in this case a previously prepared canvas – was found to be a fun, if sometimes frustrating, but rewarding and liberating experience. Sharing the whole experience – gathering pigments, making paint, sharing lunch and conversation, working on a communal surface and finally reflecting on the day – offered new ways of working beyond the more often isolated practice we enjoy. It’s not for all but can help shift our practice as artists into new areas, seeing how others work, observing our own methods, habits and expectations from a different perspective and raising interesting questions of ownership, value and public perception towards communal ways of working.
fremington quay eARTh walk 27615
A first impression of Fremington Quay may be that of a fairly non-descript quay on the bend of a muddy estuary. However, when we look a bit deeper a rich history is evident. It was once one of the largest ports in the southwest, exporting iron, wool and clay, amongst other local products, around the world and importing coal and lime from South Wales. Until recently the Quay was a major railway siding, replaced now by the Tarka Trail cycle path extending from Barnstaple to the Ball Clay quarries at Meeth and Peters Marland south of Torrington. Its history is excellently displayed in the newly refurbished museum at the equally excellent café in the old station building.
The Quay sits broadly on the meeting of the Devonian (450 million years ago) and Carboniferous (350 million years ago) geological eras, a weakness in strata marked by the River Taw’s meandering intersection. The underlying carboniferous shales, slates and mudstones of the Crackington Beds, extend west to Hartland Point, and are capped on the southern banks of the estuary by glacial deposits from the Flandrian Ice Age 40,000 years ago. All this creates ideal conditions for the amazing array of pigments to be found along the low cliffs beyond the large disused stone limekiln west of the quay. A few miles inland Fremington clay pits provided fine red clay until 2013, helping establish and maintain the local potteries in Barnstaple and Bideford. The clays were laid down as sediments in glacial lakes and riverbeds. The folds, cracks and twists in the sedimentary carboniferous rocks allow for oxidization of minerals, offering an exquisite range of colours and textures. Some have said that in other countries the site would be considered a national heritage site. For now however it is protected as a Site of Special Scientific Interest.
I first came across the site when walking my dog many years ago, noticing the fantastic colours and rocks. However, it wasn’t until I started seriously researching earth pigments that I actually touched the rocks and found the colour. I have since visited with eminent geologists form the Ussher Society and Devonshire Association to learn more about it – although to be honest I wonder if I have not become just more confused, each ‘expert’ offering a different theory of the areas formation, age and make-up.
For the painting together workshop the participants were bowled over by both the area’s history and geology and the amazing array of colours available. The painting we made is, I think evidence, of the lively experience and the richness of the site. It was subsequently hung in the Create Centre in Bristol as part of the Soil Culture exhibition.
Greencliff eARTh walk 15715
Bideford Black has become popular among artists recently, after numerous projects focusing on its local significance and artistic potential. This workshop was therefore, not surprisingly, well attended with 10 participants and thankfully the weather was glorious. While the Bideford Black deposits exposed at Greencliff were the main attraction, there is a good range of other usable pigments easily accessible from the attendant sandstones and clays – white, grey, orange and pink rocks and clays were gathered, along with other beach detritus, and taken back to be enjoyed in the afternoon painting session.
There being more people made for a quite chaotic and crowded painting together experience, with two smaller canvasses being provided to take a specific place in the White Moose show. Limitations and parameters are an important aspect of any creative process and these were discussed at length within the context of the day’s workshop. Participants ranged from experienced artists and students to designers and other interested parties. Again the results and insights gained were an exciting reflection on the site, its history ad geology, the materials and the day’s events.
painting together, White Moose 25715
After a brief overview of previous workshops and introduction to the materials, the final workshop experimented with various methods of paint making including using egg tempera, gum Arabic and PVA glue as binders. As a theme we focused on water and the sea. The rocks, clays and soils we were using were predominantly sedimentary, being laid down thousands and hundreds of millions of years ago under the ocean, by rivers, in lakes or by ice in glacial times. This is an idea that Francesca and myself are both interested to investigate and participants were happy to indulge us.
The group shared their own experiences and relationships with water, and more specifically the sea, and continued to use this as a focus for mark making, imagery and discussion throughout the process. We thought of immersion, of healing, of play, of floating and sinking, of mysterious and murky depths and of a power wild and untamable. We painted creatures and waves. We blew bubbles. We wallowed in mud. One of the challenges was to paint the sea without the colour blue! The paintings success for me lay in its obscurity, its vagueness and shifting focus. Were we beneath the sea or floating in primordial swamp, part of it or separate? Its hard to tell, but we had a great day making it.
Many thanks to Karen and Stella and to all those who took part in the workshops, to all who visited and enjoyed the exhibition, to all who contributed to the work and especially to the White Moose for hosting the exhibition. Unfortunately, we didn’t sell any work and had to cancel the ‘in conversation’ event through lack of interest but maybe that is a sign of the times or of a prevailing attitude in North Devon towards more contemporary/conceptual art forms but also an interesting reflection on people’s response to communal work. But whatever each time we entered the space we felt extremely proud and pleased with the show, with the work we had done together and the experience we had offered all who took part. We have thoroughly enjoyed it and hope to take the show further afield in due course.
But for now, all good things must come to an end…
© P Ward 2015
[iii] According to local sources “no paint box was complete without Berrynarbour umber.” The pigment was mined until the 1790s and ground with ochre from East Down before being sent to London to be included in Reeves paint boxes. I have taken umber from the River Umber that runs through Combe Martin but as yet I have not located the quarries where it was mined.
Many thanks to those who joined us for a splendid morning in the company of ex-Bideford Black miner Ron Pither, as we slowly walked the length of Mines Road in East-the-Water recalling days-gone-by, and for an expressive afternoon painting together with Bideford Black and white Peters Marland Ball clay onto a shared canvas at the old Bideford Art School on the Quay, as part of the first Tales of the Riverbank event organized by Bideford Bay Creatives. The events – workshops, walks and talks – spread throughout the summer, explore the natural and social history surrounding the River Torridge in North Devon.
As we walked, Ron’s vivid and joyful recollections of his time as a miner and young man growing up in East-the-Water the 1950’s, laced with other historical details by myself, brought greater depth and colour to a seemingly non-descript lane on the outskirts of town. Mines Road, as the name suggests, used to lead to the Chapel Park pigment mines that finally closed in 1969 – there is little physical evidence left today to reveal its not too distant past. I had met Ron as part of the Story of Bideford Black project for the Burton Art Gallery in 2013 and he jumped at the opportunity to share more of his memories today.
After lunch the small, but select, party of artists and others interested in local history worked together to create a painting that somehow responded to the memories shared during the walk and to the specific local materials provided. Decisions were made as a group at critical stages of the process regarding the definition of parameters and as to how the painting should progress, revealing individual and collective ideas about the creative process in general and the specific nature of the materials involved. The painting produced will be exhibited as part of Soil Culture at create in Bristol from July 8th.
Many thanks also to Learn Devon for providing such a great space to conduct the workshop.
- For more information about further Tales of the Riverbank events please visit http://www.bbcdevon.org/2015/05/11/book-for-tales-of-the-riverbank/
- For more information about Bideford Black please visit http://bidefordblack.blogspot.co.uk/
- For more information about painting together workshops please visit http://www.whitemoose.co.uk/site/events-at-white-moose-gallery-north-devon/
- For more information about Soil Culture at create please visit http://www.ccanw.co.uk/create.htm
P Ward 2015