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
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)
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.
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.
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.
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.
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…
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
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…
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
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
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
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
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…
© p ward 2016
5 small earth paintings
Beaten by both the need for storage space for my work and, hopefully, a more commercially viable product I have resorted, and returned, to making a number of small earth pigment paintings on paper.
Originally I wanted to explore the layering and removal of water-based paint, similar to my past use of watercolour, using earth pigments. This worked well for one piece but I soon strayed back to the more recent pattern approach that working with earth pigments has inspired.
My method, as in the past, allows the pigments, the colours, textures and forms, to suggest and reveal the form of the finished piece. It can often take a while for the painting to evolve, employing a variety of accumulated intuitive, mark making and aesthetic decisions and skills to move forward. Working in this way is always fascinating, offering outcomes beyond my present understandings.
Each painting measures 21x21cm and is on 300gsm watercolour paper. The pigments, a selection of six hand ground, locally gathered colours from North Devon, have been simply mixed with water and then fixed with pastel fixative. I am now looking forward to making more simple paintings on paper of different sizes to develop this approach.
The original paintings are available for sale online or later in the year at our new studio space at Hele Corn Mill, near Ilfracombe in North Devon.
For more information please contact me at firstname.lastname@example.org
© P Ward 2016
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