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.’
Coveney is a village north of Cambridge in Cambridgeshire in the UK. It is part of the Cambridgeshire Fenlands, an extensive flat terrain of fertile agricultural land once flooded but systematically reclaimed with the help of Dutch drainage engineers. I frequently cycle along these narrow and uneven roads, avoiding the pools of water and stretches of mud churned up by fleets of farm vehicles that criss cross the fens at this time of year. When I see something of interest, I stop and capture the scene with my camera.
This morning the low sun cast long shadows on the road to Coveney. The farm vehicles were busy churning up the heavy clay soil and making new tracks along the lane. My road bike with limited tyre tread added to the precarious nature of the journey. It is a beautiful time of the year in the Fenland.
Each image in this Fenland Landscape collection has been created using a series of texture layers with additional editing in Adobe Lightroom.
‘Even here, we go carefully, for cartography itself is not a neutral activity. The drawing of maps is full of colonial echoes. The civilised eye seeks to view the world from above, as something we can stand over and survey. The Uncivilised writer knows the world is, rather, something we are enmeshed in — a patchwork and a framework of places, experiences, sights, smells, sounds. Maps can lead, but can also mislead. Our maps must be the kind sketched in the dust with a stick, washed away by the next rain. They can be read only by those who ask to see them, and they cannot be bought’.
“Deep down, all the while, she was waiting for something to happen. Like a sailor in distress, she kept casting desperate glances over the solitary waster of her life, seeking some white sail in the distant mists of the horizon. She had no idea by what wind it would reach her, toward what shore it would bear her, or what kind of craft it would be – tiny boat or towering vessel, laden with heartbreaks or filled to the gunwhales with rapture. But every morning when she awoke she hoped that today would be the day; she listened for every sound, gave sudden starts, was surprised when nothing happened; and then, sadder with each succeeding sunset, she longed for tomorrow.”