I have recently taken a new studio, just round the corner from home, which means I can make better use of my working day. It is above The Butterfly Rooms in Saltaire and there are a few of us with studios, which are open to visit during shop opening hours and when the residents are there.
I still have a space at the Keighley Art Studios but this is mainly to store things (as the new place isn’t very big) and I am now working day to day out of the Saltaire studio.
This weekend Keighley Art Studios are opening the doors to visitors between 10am and 4pm, Saturday and Sunday. I will be there on Saturday afternoon and all day Sunday with my studio open and it will be lovely to welcome visitors there. I have lots of framed work up and there will be a variety of studio holders’ work to see: paintings, upholstery, ceramics, sculpture, prints . . . and no doubt there will be plenty of tea and cake.
The studios are in:
Unit G8, Keighley Business Centre, Knowle Mill, South Street, Keighley, BD21 1SY.
Anyone who has followed my work for a while may remember that I have collaborated on occasion in cross-discipline projects bringing music and visuals together.Fifteen Imageswas the first of these projects in 2010, which resulted in a kind of graphic score based on colours and textures from a garden, which the performer could use for improvisation (along with defined ‘tonalities’ and a conventional score). This week sees the first performance of a group of works called Fresh Yorkshire Aires. Four different composers/artists have produced graphic scores to be performed by piano duet.
Mapping Yorkshire, with composer Nigel Morgan, takes photographs from four locations in Yorkshire as starting points for our four scores. You can find out more about the scores we produced here. All the Fresh Yorkshire Aires scores are on show in Leeds 14-17th June and the first performance is on Thursday 16th June in the gallery. Later in the month the scores and performance will be in Sheffield. Information and tickets to the performances are available at Fresh Yorkshire Aires.
When I was in Italy a few weeks ago we explored the nearby lanes and land, collecting plant material and objects that we could make use of in the studio through various printing, mark making and construction techniques. Most of what we used then went to the tip when we’d finished with it. There was a lot of rubbish on the lanes, so I feel that we did quite a good litter-picking job, making use of things before they went in the bin.
There was charred wooden debris amongst the olive trees, presumably as a result of tree pruning, the brash being burnt on site. I used a piece to draw with on my first walk around the fields. There was also the smell of bonfires in the air all week as neighbouring farms and small holdings cleared the land ready for the growing season ahead.
There were a few objects that I picked up in the olive grove around the Masseria and these came home with me to the studio. I have since been playing with them and forming new structures and surfaces in response. These will form part of Findings, which I will be showing later in the year. There were various nut shells: walnut, almond and acorn cups. The acorns from the majestic Macedonian Oak, which we saw in various places are huge in comparison to the ones I’m used to here in the UK.
I’ve been making small vessel structures from paper yarn and once the surface of these is rubbed with mud they take on a really interesting quality. These structures are made with a looping stitch, sewing with a needle but building up a three-dimensional form. I used the same looping stitch but with a pliable linen thread on the burnt olive wood, encasing and wrapping the forms, getting to know each line, crack or subtle change in the surface as I work my way round and round the wood. And as I handle the wood the aroma of smoke takes me back to the place that they were found.
I’ve been back to Spurn for the first time since my residency ended 3 1/2 years ago. It felt so good walking the whole peninsula again, some parts very familiar and some bits significantly changed by the elements since my last visit. Some great wildlife encounters made the day really special too: a dolphin (sadly dead, but fascinating to see), a short-eared owl, a lizard, curlew, deer, butterflies…
The lighthouse is now spick and span in its newly re-furbished state, with a new coat of paint inside and out. It is now open to the public regularly and there is some sensitive interpretation inside to help the visitor understand the history of this wonderful heritage building and the unique location it overlooks.
Luckily it was a beautiful day, although with a cold wind, so the views were long-ranging and at their very best. As ever there was all sorts of weird and wonderful (and not so wonderful) stuff washed up on the beach, including various balls of fishing line caught up into bundles with other debris attached, like un-natural tumble-weeds.
I took along some of the work I made during my residency and have donated a piece to The Wildlife Trust, who manage Spurn. This will go up either in the lighthouse or in one of the other visitor spaces. The other pieces I took with me are now on display in the Bluebell Cafe in Kilnsea. It’s lovely to have some of my work back there, where it came from and where it belongs.
Earlier this month I was fortunate to be in Southern Italy, teaching at the wonderful Masseria della Zingara. We had a great week exploring the land around the Masseria, walking the lanes, collecting things to use in the studio and using various techniques to record our experience. We collected, printed, stained, wrote, stitched, wove, folded . . . and ate!
Spring was in full swing (which it certainly isn’t yet here in the UK!) and we were surrounded by fruit trees in blossom, beautiful wild flowers and a green lushness that I’m sure will have gone once the temperatures rise later in the year. The wonderful red earth in that part of Italy provides a striking foil for the colours of growth. And of course my travel reading had to be The Enchanted April by Elizabeth von Arnim, which provides the story for one of my favourite films, a must-see at this time of year.
I have some work in this exhibition, which opens today at Bradford School of Arts & Media and runs until 27th April (Monday – Friday, 10 – 4). All are welcome to the Private View on Tuesday evening, 4 – 6.30pm.
Sunny, bright blue sky. Light wind. We walk across the beck and up the steep road, following the Cleveland Way. Fenced-off cliff-tops and a road that disappears into the void beyond the cliff edge. We follow ‘a line made by walking’ through a field of winter wheat, then on up the hill, climbing all the time, past cottages precariously positioned near the cliff edge. Last year’s bracken is bright, singing in the sunshine, contrasting against sparkling blue sea and sky. Up a steep bank with wind-sculpted hawthorn and a robin. Round the back of a dis-used quarry and up to a trig point, then on past noisy, shaggy cows and a communications mast. Turning down a steep lane with a pond to the side, an owl appears silently, flying low over the pond. We stand absolutely still, breath held. It turns and flies towards us, then suddenly off across fields to the right, and it’s gone. A flock of lapwings swirl around then disappear too. On we go, enlivened by our encounter, down the steep lane, past interesting farm houses and out-buildings. Back onto the footpath and we join the muddy line through the field. An owl pellet lies on a rock by the path: A perfect waste disposal package of hair and bones with jaws and pairs of teeth protruding from the tightly packed mass, not unlike the fossils embedded in stone down under the nearby cliffs. The shape and darkness of the pellet is similar to some of the pebbles I collected on the beach earlier in the week. We are almost back at the village and the owl re-appears and I see clearly now that it is a barn owl. A bonus second sight, this time prolonged as it flies low over a patch of rough cliff-top grassland. It cruises up and down, around, back and forth, hunting for quite some time. Suddenly it turns and comes too close, our eyes meeting for a split second, then it thinks better of it and flies off towards the sun setting behind the smoking potash works. Light fading. It occurs to me that the pellet I found was probably from this very same bird and the whole encounter feels very special indeed.
A long time ago I was taught how to dissect pellets and identify all the different small mammals, amphibians etc. that the owl had eaten. I haven’t decided yet whether to do that with this one. It is tempting to investigate all those tiny little jaw bones and skulls but there is something rather wonderful about this tightly bound bundle as it is.
Last week was a working week away from home on the North Yorkshire coast: a week of walking, reading, thinking and developing work towards my Findings exhibition; a week of changing weather, windy cliff-tops, cold fingers on the beach, fossils and falling cliffs, stunning views…
upside-down limpets, marks on rocks left by limpets, pebbles and pellets…
mud underfoot (and half way up the trousers), mud on woven thread, mud trails left by periwinkles at low tide…
I’m now half way through my drawing project 40 Sycamore Keys. Each time I go to the studio I start the day by doing a couple of these drawings. The latest 10 are now listed on my shop. I’m really enjoying working my way through the collection, studying and recording each one in turn.
This week I haven’t managed to get to the studio. I’ve had a great deal of administration to do, so I’ve concentrated on that and done research and reading. I find it depressing to spend a week staring at the computer screen rather than doing what feels like ‘proper’ work. However, it is all relevant stuff and next week will involve much more making.
Once again it is the time of year when Craft & Design Magazine run their Selected Makers Awards. Voting is open until the end of March. If you would like to vote for me (here) your help would be much appreciated – thank you!