Today was to have been the finale of the Hart Of the Woods Project. Instead, the project is on hold until we are all able to get out and about, and people are able attend Outdoor events again. Instead, we are sharing images and films from the project. Check out https://www.instagram.com/hart_of_the_wood We are: to Ben Wigley (Artdocs) , Nathaniel Robin Mann, Lisa Knapp, Martin Sommerville, Sian Allen and the National Trust folks at Comer Woods, Dudmaston, Shropshire.
These are the finished Red Deer Headdresses I have made for the project.
Started back in March, these three have been my principal companions over the past three months during the CV19 lockdown. And fine companions they have been to sooth my soul. They have inspired me to make archeological and folkloric investigations, drawings and prompted dreams.
Looking forwards to the time when they will be able to leave the studio and take their place out there, in the magical world of Art and Nature on this Midsummers Day.
Embarking upon a new line of enquiry. This continues my meditations on the human impulse to create, to make, to alter and adapt materials. To imbue material objects with meaning beyond their practical usage.
The starting point this time comes from this Jade Axe , found near Canterbury, U.K. Now a part of the British Museum collection. See Chapter 14, in ‘The History of the World in 100 Objects’ by Neil MacGregor.
What I am intrigued by is the fact that this was never a practical axe. Its purpose was inherent in its beauty, its meaning, its geographies and its biography. Add to that mix now, it’s antiquity (Between 4000 – 200 BC).
The stone has been identified as coming from a specific boulder in the Italian Alps, then was probably fashioned in Southern Brittany before travelling though to the British Islands. Extraordinarily, there is another axe, found in Dorset, which comes from the same boulder but maybe made at a different time. The two art objects made centuries apart, evidence of the longevity of a tradition.
Is this an indication of a trade being a way of maintaining relationships between distant peoples, of cementing obligations, ideas and culture?
I shall be drawing, and carving wood. The wooden versions will have to be beautiful to touch as well as to look at. To engage all the senses.
I am thinking already about the planned exhibition at The Willoughby Trust Gallery in 2021.
I have just found this tiny pot which I made in about 1976 as a student. Probably the best thing I created at that time as it holds much of what still concerns me in current drawing projects. The Square, The Circle and a playful response to the world I live in.
What I like most of all is its ‘pot-ness’ whilst at the same time its ‘bird-ness’. I remember that I had seen an image of some ancient clay toys, which inspired the painting scheme. Hand-built porcelain at just 6 c.m tall, with brushwork in iron oxide. This bird with four legs still makes me chuckle.
My current work still has the same archeological connections as I continue to ponder on the ancient impulse to ‘make’. I am still obsessing with geometry in conjunction with natural forms. My choice of materials is still governed by a perception of ancestral connections. Clay, minerals, charcoal. The sense of touch is still as important in 2D work.
Making a mask / head-dress for ‘Hart of the Wood’ . This is to be a stags head with intimations of Green Man.
Film making in collaboration with ‘Artdocs’.
All will be revealed in due course.
Today I have been looking at Gaps between Trees.
Pine, Beech Birch, Ash
And my dear friend the Oak Tree in my local Park.
Dark Day. Looking forwards to more light