painting in croatia, june 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

dockside paintings; sali, 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.

paint daubs; sali, croatia © p ward 2017

le citron de provence (Gonepteryx cleopatra) butterfly wings; dugi otok, croatia © p ward 2017

ant highway, roadkill toad, pink flowers, white admiral; sali, dugi otok, croatia © p ward 2017

festival procession flowers; sali, croatia © p ward 2017

a boat and three doorways; sali, dugi otok, croatia @ p ward 2017

confectionery constellation, casual installation, pink house; sali, croatia © p ward 2017

handprints and paint; sali, croatia © p ward 2017

urban sights I, II + III; sali, croatia © p ward 2017

pigment and paint I + II; sali, croatia © p ward 2017

playground moths; sali, croatia © p ward 2017

four colours; dugi otok, croatia © p ward 2017

sticks and stones; dugi otok, croatia © p ward 2017

unfamiliar shrub; sali, croatia © p ward 2017

red and yellow makes orange, walls; sali, croatia © p ward 2017

nature park telašćica, dugi otok, croatia © p ward 2017

flying; dugi otok, croatia © p ward 2017

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


coming of age

more new paintings (and thoughts about my practice), summer 2017

“I am no longer sure of what I am doing. But then, quite simply, I am painting. I am putting together objects from materials that I gather locally, here in North Devon. Materials that are significant to me. That have stories to tell. That connect me to this place and to my being. The objects created are celebrations of this life. They are explorations. Simple, intuitive journeys of making in the here and now…” (Artist statement, summer 2017)

burrows (earth pigments on board) © p ward 2017

At the tender age of fifty I am finding it harder to define exactly what my artwork is about. In the past I might talk about the power of art as an agent of change but no longer feel this is my main inspiration. Its power is now subtler both within my life and in the world. No longer do I work obsessively, searching for meaning and understanding – indeed my life does not allow it – but see it as a means to share my sense of wonder with the world, through both the materials I use and the approach I take to making. It is a space for myself, to come to terms with life, to find balance and peace. For whatever reason art and making has become a central aspect of my being, like a good friend. Whether this has a positive value to society as a whole I am not sure but in society, art is always there, in whatever form, quietly infiltrating the rigid constructs of our existence.

sea wall (earth pigments on board) © p ward 2017

However comfortable I may personally feel with my artistic practice I still feel a need (and this is where an issue/dilemma arises) to verbally justify and explain it to others, both for the sake of art historical context and as an aesthetic anchor within the art market – people seem to like to know what they’re buying into. To say that I enjoy mystery or the process seems simply not enough. Intuition is very important to me – to make, to work with the materials, until a piece ‘feels’ ‘right’ is essential to the process.

particular I-IV (earth pigments on board) © p ward 2017

To approach work not necessarily from any literal or narrative starting point, beyond the constraints of my chosen materials, but simply as an act of trust or sense of belief in the creative process and in my simple intent – to share my sense of wonder and beauty in existence. I have been slowly building my own language of marks and forms in response to the process of gathering and making paint with earth pigments. As such I feel the work is a celebration of our connection to place, and the physical matter of place, and our evolving relationship with them.

offcuts in an offcut frame XI – factual (earth pigments on wood) © p ward 2017

The titles I enjoy as a poetic response to the work, often with reference to personal experience, and as a means for others to access the work.

drawing on obscurity XII – surprise party (earth pigments on board) © p ward 2017

Politically and spiritually the work I do is significant through its lack of ‘control’, through its trust in simple processes and its respectful empathy with natural materials – it is made in mindful contradiction of the current worldview of human superiority, of ‘power over’, in denial of our supposed ability to know what is the right thing to do – we have already endangered existence through our arrogance, maybe it is time to step back a little before we create more problems. To live simply, in peace with ourselves, with others and all of existence is maybe all we can do…

standing by the river, beneath the trees, watching rain fall (earth pigments on board) © p ward 2017

drawing on obscurity XII – if I move slowly enough will I become a tortoise? (earth pigments on driftwood) © p ward 2017

drawing on obscurity XIII – infiltration (earth pigments on board) © p ward 2017

tree (earth pigments on board) © p ward 2017

Infiltration is the process by which water on the ground surface enters the soil. Infiltration rate in soil science is a measure of the rate at which soil is able to absorb rainfall or irrigation. It is measured in inches per hour or millimetres per hour.[i]

© P Ward 2017

________________________________________

[i] https://en.wikipedia.org/wiki/Infiltration_(hydrology)


is an artist’s worst fear selling their work?

sense to non-sense: new paintings 2017

A friend was recently horrified when her painting sold at a gallery before she could “say goodbye to it”!? Of course, she was pleased that someone (a complete stranger) liked her work and could see themselves enjoying it for a while to come (enough to pay a decent amount of money for it) but the fact that we become attached to our creations is hard to deny. We may often feel that our work isn’t finished or good enough, and even wonder why anyone else would see any value or sense in what we do. But is this simply a manifestation of our own lack of self worth or the influence of the present societal disregard for the value of art and culture to our spiritual wellbeing? Fortunately I seem to not suffer too much from any of the above ‘ailments’ and cannot rightly understand why my works of pure creative genius and beauty are not snapped up the minute they leave the easel??!! I am more often overwhelmed with wonder at the shear scope, skill and diversity shown in my humble paintings and offered at such a reasonable price too!

Anyway, here is a selection of my latest work for exhibitions I will be participating in over the next few months and years…

revisiting dreams I (earth pigments and gum arabic on paper) © p ward 2015

revisiting dreams II (earth pigments and gum arabic on paper) © p ward 2015

offcuts in an offcut frame vii – looking out to sea (earth pigments on wood) © p ward 2017

i am not alone (earth pigments on driftwood board) © p ward 2017offcuts in an offcut frame viii – quite small (earth pigments on wood) © p ward 2017

berrynarbor preschool mural (north devon earth pigments on board) © eARTh 2017

drawing on obscurity II – yoga (north devon earth pigments on board) © peter ward 2017drawing on obscurity III – fox running (north devon earth pigments on board) © peter ward 2017drawing on obscurity IV – recline (north devon earth pigments on board) © peter ward 2017drawing on obscurity V – the light over lundy (north devon earth pigments on board) © p ward 2017drawing on obscurity VI – i close my eyes (north devon earth pigments on board) © peter ward 2017drawing on obscurity VII – moorland (north devon earth pigments on board) © peter ward 2017drawing on obscurity VIII – marrakech (north devon earth pigments on board) © peter ward 2017drawing on obscurity IX – a conversation between flowers (north devon earth pigments on board) © peter ward 2017sequential II (earth pigments on canvas) © p ward 2017jump! (earth pigments on canvas) © p ward 2017offcuts in an offcut frame – displacement (earth pigments on wood) © p ward 2017drawing on obscurity X – race (north devon earth pigments on board) © peter ward 2017The work on show at eARTh studio during Ilfracombe Art Trail 2017 © eARTh 2017

Peter Doig: “We don’t always have to know what our painting is about”[i]

A recent visitor to our studio asked me to explain my work. I said I didn’t actually know what I was doing. That there was no particular symbolism invloved! I am not telling stories. Simply making marks with and on the materials I use. (She was horrified and went on to tell how she only liked pictures of horses!!??) However, I am interested in making things with the materials I gather – natural materials or things we might otherwise throw away – learning about them and how we can put different things together through making. I enjoy nature, history, geology. I like not knowing how a work may turn out. I am inspired by the results and where they may lead me next.

May they fill you with awe and wonder too :-)…

© Peter Ward 2017


[i] http://www.huffingtonpost.com/entry/peter-doig-we-dont-always-have-to-know-what-our-painting_us_58e4b461e4b09deecf0e1bd0?ncid=engmodushpmg00000004


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


simple tasks

.

as an artist experiencing cessations in the creative flow

or an utter lack of enthusiasm for making from time to time

it is heartening to experience how the most simple actions

no matter how difficult they may sometimes be

like folding and tearing paper

grinding some local earth pigments

and painting basic patterns

(with the intention of creating a set of cards for sale)

can enliven my spirits

get the mind ticking again

and lead to a bounteous plethora of new ideas and directions

earth dots (north devon pigments on paper) © p ward 2016earth dots (north devon pigments on paper) © p ward 2016

whether it is something particularly inspiring about the whole process

of collecting pigments in the landscape and making paint

or whether it is evident in all forms of simple creative actions

i’m not sure

but it feels good

and reminds me of how art has enriched and inspired my life for so many years

earth lines (north devon pigments on paper) © p ward 2016earth lines (north devon pigments on paper) © p ward 2016

i like my work

i like what I make

and i am eternally grateful to the universe for offering me these gifts:

the ability to perceive beauty

the aptitude to make beautiful things

and the opportunity to inspire others to do the same…

painting with eARTh day, Hele Corn Mill 15216, images courtesy Sophie Twisspainting with eARTh day, Hele Corn Mill 15216, images courtesy Sophie Twiss

© p ward 2016


back to basics

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.

back to basics 1 – earth pigment dreaming (earth pigments on watercolour paper) © p ward 2015back to basics 1 – earth pigment dreaming (earth pigments on watercolour paper) © p ward 2015

back to basics 2 – black form dreaming (earth pigments on watercolour paper) © p ward 2015back to basics 2 – black form dreaming (earth pigments on watercolour paper) © p ward 2015

back to basics 3 – joyful exchanges (earth pigments on watercolour paper) © p ward 2015back to basics 3 – joyful exchanges (earth pigments on watercolour paper) © p ward 2015

back to basics 4 –  unctuous burnt umber (earth pigments on watercolour paper) © p ward 2015back to basics 4 – unctuous burnt umber (earth pigments on watercolour paper) © p ward 2015

back to basics 5 – grey and cream earth (earth pigments on watercolour paper) © p ward 2015back to basics 5 – grey and cream earth (earth pigments on watercolour paper) © p ward 2015

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 earth.northdevon@gmail.com

© P Ward 2016