THIS TOXIC(?) BEAUTY
The 7 colours shown here have been gathered close to historic mining sites in west Cornwall. Some are waste products from tin and copper mining and may contain toxic minerals such as arsenic and cadmium, ironically both used historically in paint and pigment production. Despite being found alongside public rights of way until sufficient mineral analysis has been made of the samples I am unable to share them with the public.
However, I am comfortable enough to start using them myself (with care). Inspired by the milling process used to extract tin I have started to mix the raw materials with water before filtering with a fine sieve. This minimizes the grinding process and hence the possible inhalation of dust. So far I have only used PVA glue as a binder but enjoyed the difference in colour, provenance and nature of the pigments compared to the North Devon pigments I am more familiar with. As such the imagery has started to take on its own character relevant to the materials, the geographical space and my personal experience of Penwith and west Cornwall. I am currently working with Geevor Tin Mine Museum to develop educational workshops using the pigments. The mine itself and attendant museum is utterly fascinating allowing me to better understand the differences between pigments from natural landforms and those extracted from deep underground. In due time I will be able to better share my findings but for the time being here are some of my first paintings made using the wonderful, beautiful but maybe a little toxic Cornish pigments.
As yet the paintings are relatively small (up to 60x60cm) but I look forward to taking some of these ideas to a larger scale and context. If you are interested in any of the work shown here or would like to support or contribute to any further research please get in touch.
With thanks to the people and places of west Cornwall. In particular, the staff of Geevor Tin Mine, Fiona, Natasha and of course Francesca and family for your inspiration and support.
© P Ward 2018
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
at times of loss and grief
we may turn to Nature for solace,
to water, wind, fire and earth
to rocks, soil, fungi and trees
to insects, animals and birds
we may immerse ourselves
in the mundane, in the everyday
in routine and simplicity
not to avoid the pain
but to live with it
to feel it without distraction
we may assimilate our feelings and thoughts
through our work
through creative activity
through cathartic acts
I sit in the flowing river
the cool water moves around my stationary working form
touching my legs, ankles and hips, hands and forearms,
I feel connected to life
or through physical activity
where the rhythm of movement,
of muscles and breath and heart working in time,
lift us to an alternate state
to see our situation anew
in a different light
not with mind
but with body
and in fantasy and dreams
the world becomes larger
not illusionary but more real
past present future revealed
through our actions we may sense
the wonder of each passing moment
of being alive with our pain
of feeling at all
and with thanks
we can move forward
and in love
© P Ward 2017
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.
today time returns
and darkness drags us home, amidst swirling russet leaves,
to its familiar solstice resting place
as another year quietly slips away.
losing their resemblance to matter
and we descend into that underworld
of ancestors and past deities,
to industry and wonder,
to miraculous machines
and steam and noise –
hell for some, power for others –
weaving what was once made by hand
beneath clear open skies lit by a million stars,
connecting us to all that has been
and will ever be.
and the Sisters still sit
sharing their charms,
weaving mystery and fate
beyond our control or simple understanding.
Last weekend I visited Dunster, a charming Medieval village in West Somerset with my family. We ‘watched’ stars inside an inflatable dome as part of Exmoor National Park’s Dark Skies program celebrating the unpolluted ‘darkness’ of the area and stayed at my brother’s cottage amongst the massive oaks and rich red soils of the Brendon Hills. On our way home we stopped off at Coldharbour Mill Museum in Uffculme, Devon, for one of their regular ‘Steam Up Days’. This restored working woollen mill is powered by water and steam engines (and electricity) and gives a fascinating insight into the ingenuity and industry involved in the production of wool and woven cloth over the last few centuries when Devon and Exmoor were one of the main centres for the wool trade in Britain. And all this on the days the clocks are turned back to solar time again and the Celtic New year begins – quite a brew for the imagination…
© P Ward 2017
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
of a place in time
we look we see we touch
breathing just beneath the surface
I fall in love
to climb out
again and again and again
© P Ward 2017
Great Torrington Bluecoat C of E Primary School Workshops 27917
After flying high in the caves of France with some wonderful fellow artists, it was back to the ‘day job’ running a series of painting with eARTh workshops for 8-9 year olds at a local school in North Devon. The school was studying the ‘Stone Age’ and invited me in to share how people would have made paint in the long distant past and learning a bit about local geology.
After getting through the space age security system, face recognition cameras and all, deemed necessary at schools these days, I was, to my surprise, confronted by a school (teachers too) dressed as stone-age people! Whether bad hair, bad teeth and an abundance of nylon leopard-print was apparent in the caves of our ancestors (or whether the people of Great Torrington always dress like this) I would not like to say, but we all had a fantastic day making paint and painting (and messing up the carpet). Sadly, the teachers were surprised by how the children handled paint, art activities being totally side-lined in our present education system for more ‘vocational studies’ (at 8-9 years old ???!!!). However, it was great to offer the opportunity to do some thing environmental and creative. I asked the children to paint pictures of local wildlife – the prevalence of mammoths and sabre-toothed tigers was again a bit of a shock!? I will have to be more careful when walking on Torrington Common in the future.
The results were fantastic – thank you to the children for working so hard and teaching me so much…
© P Ward 2017
On a recent visit to the ‘long island’ of Dugi Otok on the Adriatic coast of Croatia I was taken by the unfamiliar marks of paint daubed on walls and buildings. Not graffiti as such or even nonsensical paintbrush cleansing ablutions but intentional spots and splashes of household paint. We thought they were maybe way markers or boundary signs. Whatever their purpose I enjoyed how they honed my vision both to the unfamiliar in such a rich but alien culture and also to another sense of painting in and of the environment.rocks and soil I + II, framed; dugi otok, croatia © p ward 2017
Wherever we travel it is the unfamiliar colours, patterns, shapes, sounds, smells, tastes and materials that inspire and refresh our imaginations and remind us of the richness, diversity and potential of this planet that we share while also refreshing the ‘familiar’ in our own backyards. It only leaves us, as creative people, to show our gratuitude through sharing our vision and inspiration with others, hopefully continuing the cycle.
With thanks to the people, animals, plants and places of Croatia for a most inspiring experience and to Francesca, Noah and Agnes for sharing it with me.
© P Ward 2017