– art-interventions on and off canvas: Ever since living by the sea at the Solway – which
includes a lot of dimensions:1.) north-west coast; 2). where England meets Scotland, 3). where England meets Irish Sea 4). behind the Lake District. 5.) Cumberland-cum-Cumbria; 6). Hadrian’s Wall-land – my art -practice has expanded.
It has done that both collaboratively and individually: working together with Simon Bradley being inspired by his sound-art-practice, and delving into more art dimensions than I had previously done when my travelling land-and-place practice was mainly writing and photography.
I had been on the verge of things I do now: I had spotted sheep-wool in a tree in Sanquhar, Scotland, and was inspired to what it did to the view. I played with shadow and light, to identify moving lines, and shifting spaces, I collected pebbles on beaches and I was inspired by seaweed forms, as well as the accidental patterns and shapes that leaves would make on streets, or how signs could have an artistic impact on a certain scene inside or outside of a town. Through all this, my writing and thinking became more abstract, more experimental.
Since moving here to the Solway however (7 months ago now), I engaged in all these and more practices more consciously and more deliberately. I started picking up more and different kinds of little found objects, and take them to nearbyplaces for art purposes. I took my found sheep-wool from the previous year in Ilkley Moor to the sea, and carried on from there. I called these interventions: So a line of artistic production emerged, and then a network – i.e. a development of one thing leading to another, and then several things interacting and happening at the same time. I often say it all started with the Ilkley Moor wool, but in a way it started with with Octy, my little soft-toy-mascot octopus – which I then hadn’t called interventions, so it had been an inadvertent thing!
After Octy (subconsciously) and the wool (consciously), I used pebbles and bottles, then I drew circles on stones, then I used nets, which let to using packaging – and thus the use of rubbish that we produce. My bottles so far had been glass bottles, and now, with using packaging in mind, I used plastic bottles, and that opened up the whole field of plastic, and eco-art! Taking them out in public for photos was another adventure, as I could play with the shapes I found on different kinds of ground, once again: a bottle photographed from the bottom looked like a mandala, and one bottle in front of a crack in a wall made the crack look like it was holding my bottle!
By early April, things had already expanded so much that I made this diagram:
Ephemeral interventions to canvas collages
Then, in a further movement (the movements were coming like waves, but instead of receding they stayed, as if I am a collector of water, making my own ocean!) my collages developed. Partly because I always wanted to bring something onto a canvas – and also because I had found and collected so much wool left by sheep on fences and on the ground – that I wanted to bring them onto another platform which would be less ephemeral than my interventions. On a canvas I create ‘landscapes’: either oceanic collections with seaweed-simulation, or landscapes as in imaginative and abstract maps.
I also still had some old acrylic wool at home, and thought it would be interesting and kind of comical to bring the sheep-wool and the acrylic wool together on a canvas with acrylic paint on! Then I expanded the series with my nets collected from tomato- and onion packaging: I had by then realised that the nets I had strung together (I wrote about them two posts before this one) always got tangled up, so I had to do something else with them. In my typical continuous expansion and merging of ideas I added further layers: feathers, limpets etc.
In the first instance, I produced 5 canvasses – and I call this the original Pentatych – i.e. a triptych plus 2.
As for my canvas: they aren’t all traditional canvases, they are often the hardbacks of old notebooks, which are in perfect order and I felt I didn’t want to throw them away. So there’s another recycling-theme there too – let the cycle be unbroken and continue.
Interior and exterior psychogeography
Public and personal spaces merged in my art too, when I continued assemblages at home: clementines on my breakfast place surrounded by wool and pebbles. Unlikely combinations made great constellations.
Just like the personal is political, psychogeography is everywhere – even the word itself speaks of the two: psycho- as an interior space, and -geography as an exterior space.
Feather – raise one!
Carnival came to town and I picked up some carnival feathers afterwards, and found some on the ground.
They added to the feathers that can be found here on the ground on a daily basis –
mostly seagull-feathers. I’ve never seen as many feathers in a town as here, they are lying about all over the pavements. Picking some of them up and using them in art means to incorporate the objects of this town in my work. So it’s site-specific in that sense – or a sense of it – as well. At the moment I am in a feather-phase. I have also developed the thought of raising a feather instead of raising a flag. The idea of replacing flags with feathers! “Imagine there’s no country…” – and imagine there are no borders! Not in art nor in the form of countries. Let’s find different forms (of living) perhaps.