Intervention is about the groynes on Bexhill beach that run to Groyne 121 and I have photographed them since 2002, both fascinated and amazed by their change over time.
This work forms the primary source for a solo exhibition `WAVEWORN‘ to be held at Martyrs Gallery, Lewes, from Saturday 3 March to Friday 23 March 2018.
Intervention 2018 will see me back on the beach, finding and recording what has changed and rediscovering what remains. The work on this project continues, photographs are being taken, notebooks and charts filled in, files organised and backed up.
Lost in Execution is about the importance of process and this exploration continues into 2017. A plan is just one element of a process: a movement from an idea sketched on paper to that which is physical. However, the item produced from the plan is never final or finished. It changes over time as it is extended, altered or decays.
I am working on an idea for some sculptural work in Highwoods, a local woodland. A woodland is a dynamic, natural, system with a human process imposed upon it. It is neither natural nor wild in its wider sense – it is man-made. This woodland is the product of earlier pre-industrial use. The form and shape of the woodland are managed by human intervention and with determined outcomes for that intervention, such as coppicing for wood. It is our use of the landscape that creates our idea of a `natural’ environment. Current management of the woodland is to support and encourage biodiversity
A recurring theme in my work in the woodland has been `lines in the landscape’: the lines that mark the edge of the woodland, the paths through the wood, the power lines that force a clearing through the wood. In 2016 I produced work that involved making marks in the landscape that had both a functional and artistic purpose.
The Woven Path – September 2016
Time is a recurring theme in my work. As I reflect upon the growth cycles of the different trees, all of which have to been coppiced at different times for best yield, I think about how different pieces I could produce will have different time frames – hours, weeks, months, seasons. Seasons seem to be most apt when thinking of this growing and changing environment.
My previous intervention in the ecosystem of the woodland has been part of woodland management to encourage biodiversity. The trampling of the bracken to form a spiral was part of an essential cutting back of the bracken to allow a wider diversity of plant life to take hold in an area that was being overwhelmed. However, the spiral mark was consumed by the natural environment as the seasons changed.
The Woven Path (digitally enhanced)
In this new work, I want to involve material and processes that form an integral part of managing the woodland. I want to do this in such a way that the work itself integrates into the natural processes of the woodland. Some of the artwork may only last for hours, others may last for weeks, months or seasons.
Fascinated by change, what better way to spend time than photographing groynes of the inter-tidal zone of Bexhill beach.
These images are of one post top, situated in Groyne 76.
This piece explores intervention on our shoreline, using two temporal distortions. Compressing time, I present one post top, photographed over six years, with seven images. Slowing time, I concurrently present the same post dealing with the waves of a bi-diurnal and lateral tidal flow.
Much of our landscape exists in its current form as a result of our intervention. Groynes are an example of this, existing in the rigours of the splash and inter-tidal zones.
This exploration has only just begun, the more I look the more I see and the more I want to know. Exploring and recording both for its own sake and for the metaphors it gives me with which to consider our relationship with this planet – our beautiful, powerful, fragile, life support system.
Click here to see a collection of prints showing the changing face of a post top.
An animation idea. I have photographed and recorded the changing faces of the post tops for many years and, I admit, I am struggling to find a suitable way of presenting these portraits to illustrate their change over time. So, as well as presenting collected images of individual post tops (shown here) I am now working on an animated series of images.
I start with a view of the sea splashing against the groyne (and my boots). It will be interesting to see where this goes, but, at the moment, I am enjoying exploring the process.
Using digital space and objects, in a digital 3D environment, I am exploring its potential to weave a narrative to examine the sense of self in a portrait. The images enclosing the bust present aspects of personality, while camouflaging and then influencing our perception of the image. The face is disrupted, but not excluded – it is a faceless portrait.
Inside looking out.
I collect, make, and see.
My face is not me.
Me meditation Kinaesthetic centring. Ignoring the boot
I have produced a number of these portraits to cover different aspects of `self’ and have shared them on YouTube and my Facebook page.