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 to be held at Martyrs Gallery, Lewes, in 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.
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.
I will be presenting `Faceless Portrait: Me Meditation’ to members of the De La Warr Pavilion Crit Group on Thursday 29 June. I am looking forward to discussing this work with the group.
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 am working on a number of these portraits and will post them on YouTube throughout June.
The main collaboration of this work is that of an agreed starting point with a sharing of images produced and regular discussions carried out via SKYPE. This sharing is allowed to influence any work produced as we discuss our methods of process and production, new paths are chosen, visited paths are redefined.
My working process is to move naturally between the production and manipulation of physical and digital media. Therefore I applied this process to some of the physical work produced and shared by Nigel Bird, the other artist in the collaboration, with his agreement of course.
And so another production path reveals itself where the physical media is not my work, but I apply my repertoire of digital processes creating new images in response his comments, his production techniques and our discussions of process.
My exploration of the divergent paths involved the production of a video which traces the creation and removal of paths of salt. The base was a dry point Intaglio print produced using other elements created during the exploration of process.
The flow of table salt forms opaque white lines that follow and then intersect elements of the base image. These lines form patterns and cross-hatching until they obscure the image while presenting echoes of the structure.
The video progresses with the salt being intersected with lines; first using rubber-tipped shaper that create furrows in the patterns in the salt. Brushes are then used to remove salt and reveal more of the underlying image: sometimes clearing narrow tracts to the image below and other times to leave thin, translucent layers of salt through which tints of the image are glimpsed.
The rhythmic movement of covering and then revealing the image moves towards the hypnotic and suggests parallels with the methodical revelations of archaeological digs.
The coastline of Bexhill on Sea, East Sussex, consists of a shingle beach maintained by a series of T-shaped, wooden piled groynes. This is a photographic exploration of a community of groynes that co-exist on the beach, next to the promenade from West Parade to Channel View. The photographs examine the individual characteristics of the post tops. Using photo montage, the ferrule was manipulated to create the number which links the post top to the groyne in which it exists. This series of blogs presents a small selection from work that started in 2002 and continues to this day.
The photograph used to create the groyne post number was taken in 2014. The post images beneath were taken in 2012, 2014 and 2015. The ferrule has eroded and then broken away on the seaward side of the post.
The water fountains on the promenade, next to The Colonnade, above Groyne 68 have created an area of play, laughter and soggy clothing.
If you come to see the groyne post please take care and check the tide times.