Walking in the Newe Forest near Ashurst this morning I came across this colossal uprooted tree. To give you an idea of the dimensions, I am about 5′ 8″, and standing next to it, my eye level was roughly at the centre of the root system. Paul Klee often used the tree as a symbol or analogy….I am beginning to understand what he means.
‘….the descent into the earth has to do with unearthing,
however provisionally and intermittently, structures and hieroglyphs
‘constituting the archaic ground and pulsating heart of phenomena, sustaining their ongoing change. It involves remaining more intimately true to nature than naturalism,
which treats the surface superficially, failing to understand its depth.’
i.e., non-simplicity and metamorphic vitality
My residency in the New Forest is in one of the most amazing places, I will be working above a blacksmiths workshop alongside skilled craftsmen who produce some of the most wonderful and beautifully designed metal work. From an artists point of view, the machinery in the workshop is an absolute treasure trove of hard edged shapes , structures and surfaces. Now I have a problem, do I continue to focus on the forest and nature or try to incorporate elements of the machine and the man made?
Below are a few shots I collected on a brief tour early this morning. All images taken on a Canon eos M Mirrorless with 22mm lens….unfortunately my Fuji X100S was dropped on the floor and is away for repair at the moment.
I have just started a 2 week artists residency in the New Forest in Hampshire and I feel energised by the possibilities. I will be posting a series of images based on my day to day experience of being here, in this ‘place’. My main intention is to produce a series of paintings that say something about the New Forest; not a new ambition by any means….but I will also be using photography to document my thoughts and ideas. I just need to allow myself to be absorbed by what I see and feel, to literally just be here… Let’s see what happens.
Painting: Oil Cold Wax and Mixed Media on Canvas
Size: 80 x 80 x 2cm
This is a cold wax mixed media painting on a high quality canvas frame. It is based on my experience of the Fenland landscape. It is not a visual record of a specific place, or a celebration of a well known structure or familiar location. I am interested in surfaces and textures and the way materials can be combined to create tactile qualities. Cold wax can be applied in thin layers or heavy impasto. It can be scored, scoured and burnished like a rich stoneware ceramic glaze; it can left dry, broken, fragmented and uneven.
“Bones are patient. Bones never tire nor do they run away. When you come upon a man who has been dead many years, his bones will still be lying there, in place, content, patiently waiting, but his flesh will have gotten up and left him. Water is like flesh. Water will not stand still. It is always off to somewhere else; restless, talkative, and curious. Even water in a covered jar will disappear in time. Flesh is water. Stones are like bones. Satisfied. Patient. Dependable. Tell me, then, Alobar, in order to achieve immortality, should you emulate water or stone? Should you trust your flesh or your bones?”
Tom Robbins, Jitterbug Perfume
Close up detail of the painting surfaces
I am now the second Little Van Gogh artist to have been awarded this New Forest residency. Really looking forward to the opportunity!
‘As an artist, I see visual ‘reality’ – the external world – as only a part of our understanding and perception. We see in relation to ourselves, our past, and the events that shape us as individuals. If my paintings have an uncertain quality it is because I feel that the world within us and around us is in a constant state of flux and transformation. During my residency in the New Forest I hope to produce work that reflects aspects of the location and environment but I don’t envisage that it will be a direct visual replica of what I see’.
I stumbled across this ready-made Christo in the grounds of Anglesey Abbey, near Cambridge. I think they would be delighted.
‘When Christo began to wrap objects in 1958, he used everyday objects such as shoes, telephones and empty paint cans to make his sculptures. Once wrapped, the objects would take on a new identity. By wrapping them, he would reveal some of the most basic features and proportions of the object by concealing the actual item. Christo and Jeanne-Claude later expanded this idea in projects such as The Pont Neuf Wrapped and the Wrapped Reichstag, but on a much larger scale. While the intricate details of the structures are hidden, the essence of the structures are revealed all the while making the imposing and solid structure seem airy and nomadic’.
‘The use of real fabric also gives the work a fragile, sensual and temporary character while wrapping objects is definitely an important part of their œuvre, Christo and Jeanne-Claude have done very few wrappings in comparison to their whole portfolio of artworks. It is easier for some to grasp the wrapping concept and refer to their artworks entirely as “wrapping,” but the work is more about altering an environment than wrapping – which is only one way to do that. The last time the artists had an idea for a wrapping was in 1975, when they had the idea of wrapping the Pont-Neuf in Paris, ten years before they realized the work of art.’