"To draw is to look, examining the structure
of appearances - a drawing of a tree shows not
a tree, but a tree being looked at."
My approach to drawing is all about looking intently at my subject: the starting point for all my artwork is a meeting with a tree and a dialogue with it through mark-making. So when I was invited to take part in this year’s Kelburn Garden Party it seemed like a great opportunity to start that dialogue with some of their amazing trees.
For the duration of the festival I plan to be working around the estate and Glen, creating a collection of drawings on the theme of ‘A tree being looked at’. If you’re at the Garden Party over the weekend, you can find me in the afternoons under the Weeping Larch in the area known as ‘The Gardens’ where I’ll also be doing short drawing workshops.
If you feel like a wander through the Neverending Glen, you can also discover and use the viewfinders I’ve placed along the way. These have quotes on them which relate to my ‘tree being looked at’ theme, and all are from books, artists and writers who have been inspiring and eye-opening for me and my work which I really wanted to share. I’ve hung the viewfinders so that they can be handled and used to frame your own views of the natural world – it’s all about looking!
Here are the quotes and their sources, with links...
“To draw a tree, to pay such close attention to every aspect of a tree is an act of reverence not only toward the tree, but also to our human connection to it. It gives us almost visionary moments of connectedness.”
Alan Lee from Drawing Projects, Mick Maslen & Jack Southern
“We see our world through the kind of questions we are able to ask about it, and by asking ‘more interesting questions’, we will discover more interesting ways of seeing it.”
Drawing Projects, Mick Maslen & Jack Southern
“One must always draw. Draw with the eyes when one cannot draw with a pencil.”
“Woods have come to look like the subconscious of the landscape”
“To enter a wood is to pass into a different world in which we ourselves are transformed. It is where you travel to find yourself, often, paradoxically, by getting lost.”
Wildwood, Roger Deakin
“I have learnt that what I have not drawn, I have never really seen, and that when I start to draw an ordinary thing, I realise how extraordinary it is.”
The Zen of Seeing: Seeing drawing as meditation, Frederick Franck
“Which bits of our aesthetic or emotional consciousness do rot-holes and calluses touch?”
“What deep-rooted associations do old trees conjure up? Are they some kind of portal to understanding the deep relationship between wildness and time? “
Beechcombings, Richard Mabey
“It is motionless yet it oozes energy.”
Henry Moore at the British Museum, Henry Moore
“To walk through an ancient wood is to tread in the footsteps of the ghosts of those who once lived and worked in the medieval and early industrial countryside.“
Ancient Woodland: History, Industry and Crafts, Ian D. Rotherham
“...trees are wildlife just as deer or primroses are wildlife. Each species has its own agenda and its own interactions with human activities.”
Woodlands, Oliver Rackham
“I found the poems in the fields,
And only wrote them down.”
‘Sighing for Retirement’, John Clare
“Our habitual vision of things is not necessarily right: it is only one of an infinite number.”
The Living Mountain, Nan Shepherd
I'll be posting more news and photos from the weekend on my facebook page whenever I can get a signal, so you can follow my progress there.
This weekend I'm heading west to the wonderful Kelburn Garden Party where I'm doing a mini residency entitled 'A tree being looked at', involving drawing some of the amazing trees on the estate and running some drawing workshops for festival goers.
There will be another blog post soon with more details about my work there and you can find all the information on the artists and contributors to the Glen experience here>
Opening tonight at the Newave Gallery, Aberdeen.
Kelburn Castle - it's a Scottish castle like no other...
I've had two recent visits with curator Sophia Lindsay Burns, to plan my contribution to the Trail.
It's a glorious location, overlooking the Firth of Clyde across to Arran - here are some of the other artists admiring the view.
I will be doing my best to capture on paper some of the riotous energy of this incredible tree, Kelburn's famous Weeping Larch, which is noted in Donald Rodger's Heritage Trees of Scotland as a kind of botanical freak due to its weeping branches which have taken root to become new trees themselves.
I'll also be doing some short drawing workshops for festival goers and visitors to the park over the weekend, most likely underneath this very tree.
There are plenty of other impressive, interesting, intriguing and magical trees around the Glen itself which I'm keen to encourage visitors to look at with fresh wonder, so I'll also be installing some viewfinders in strategic places to add to the inspiration - there'll more on this in the next blog post.
While you're waiting, here's some amazing beech architecture for you...
The Kelburn Garden Party runs Friday 3rd - Sunday 5th July 2015.
The 'Neverending Glen' Art Trail opens on Thursday 2nd July - tickets and booking info for both here »Tags:
What better place to be heading? The particular wood I was heading for last Friday was Ecclesall Wood, Sheffield and I had all my arty stuff with me to share some ideas and techniques in the second Tree Stories workshop.
The venue was absolutely perfect - the Woodland Discovery Centre had it all, the friendly staff, lovely room, decking in the sunshine, ponds, beehives and most importantly of all it was situated right in the wood itself.
I took the group on a tree graffiti expedition first, looking for different kinds of examples (there were loads), photographing them, doing some rubbings and just generally wondering about how the marks got there, who made them and why.
It was surprisingly difficult to get a good image from the rubbings, as the bark was actually much more textured than it first appeared, but one member of the group had previous experience which she generously shared with the others.
We discovered a group of sweet chestnuts, which we learned would have been planted there as a faster growing alternative to oak, destined to be pit props and fencing during the wood's industrial past. The bark made beautiful patterned rubbings.
Then on to the messy stuff - back in the centre we reviewed our photos and gathered our ideas, then made our own interpretations of tree graffiti in charcoal and crayon. I love how concentrated people become when they are absorbed in the act of making. One minute they are telling me they are "not really very creative", the next they are totally in the moment, expressing themselves with such focus and energy.
After a relaxing lunch in the sunshine we moved on to printmaking, using a simple technique as used in the first Tree Stories workshop.
You get such quick and satisfying results with these polystyrene tiles that it's easy to get carried away and the group made lots of prints in the afternoon, some of which will hopefully be on show in the project exhibition later this year.
At the end of the day my fellow Tree Stories collaborator Sally Goldsmith arrived to say hello to the group and to enable the two of us to share our plans for the new work we'll be making - it's over to us now. I have a busy summer ahead...Tags:
It's officially Spring, though you wouldn't know it today with the horizontal snow, and the race is on for me to get back into the woods for some decent drawing days before the leaves break through.
I recently bought some Conté crayons and spent some time in the studio playing with them to see how I might use them in the woods. I was looking for some softness and delicacy to develop in my line drawings done directly from the tree. From a practical angle I was hoping that they would be the perfect combination of lovely smudginess when I need it and stability when I'm transporting the drawings across the fields.
Paper on board, ready to draw some ancient oaks after a drop of coffee...
Happily, some of my newest Conté drawings made it out of the woods and into Time around trees last month...
A selection of these drawings will be heading for the Buy Design Gallery when they're framed and hopefully the wind will calm down enough for me to get a few more productive outdoor days soon.Tags:
I'll be in the gallery to talk to visitors Fridays, Saturdays and Sundays during the run of the show and, when it's quiet, reflecting on the work so far and where to take it next...
Well this is a first for me – I have work currently on show in three different parts of the country...
Time around trees is showing at Edinburgh’s St Margaret’s House. I have my studio on the top floor of this wonderfully creative, yet admittedly ugly building and I’ll be taking over Gallery 2 between 6th and 22nd March to show a selection of my work and that of friends Eoin Cox and Catherine Lilley. Don’t be put off by its exterior though - if you are in the Edinburgh area it’s well worth visiting its three galleries, the busy workshop spaces and creative businesses. There are also regular Open Studio events if you want to see what goes on behind all those doors.
The Harley Gallery Open Exhibition is a biennial open submission exhibition in the beautifully refurbished Harley Gallery on the Welbeck Estate, Nottinghamshire. It’s the second time my work has been selected for the show and it was great to be able to attend the opening this year, which coincided with a trip south to work on the Tree Stories project. The standard of works was very high and I was pleased to see that the judges had chosen quite a few drawings, my favourite being Barbara Clayton’s Flow II. You can see the prize-winners here and the show runs until 12th April.
The farm shop is also pretty impressive, with the best cheese and onion pasties a hungry vegetarian artist could wish for.
This is one of three specially created drawings for React-Reflect-Respond, showing now at Perth Museum and Art Gallery, which accompanies a touring exhibition celebrating the work of Tim Stead, in particular his sculpture.
All of my work relates to the themes of trees, woodland, natural forms and the dialogue between man and nature, exploring the vitality and complexity of tree forms made in response to their environment. The new works for this exhibition are specifically inspired by Tim Stead’s love for, and celebration of, the wayward nature of wood. I fell in love with his furniture in Cafe Gandolfi when I first came to Scotland in the mid 1990s, in particular the way he combined powerful design with great sensitivity towards the natural beauty of the wood.
Tim Stead said that “a man can make an input which reveals nature in an altered beauty”; my ‘input’ as a visual artist consists of searching out the striking and sculptural aspects of living trees and creating images which try to capture the sense of movement in their static forms.
React-Reflect-Respond continues at Perth Museum and Art Gallery until 6th May.
Street art by Phlegm
I was back in Sheffield last weekend, to get together with my Tree Stories colleagues, to view potential exhibition space and discuss what we’ll be making for the project.
We met at the Workstation, a 1930s built former car showroom and garage which now houses lots of creative businesses. This whole area of the city, known as the Cultural Industries Quarter has a vibrant, creative feel, with a huge variety of street art, artist studios, silversmiths and metal workers and the lovely Showroom cinema.
The Tree Stories website is starting to take shape and we’re keen for people to send in their own Tree Story images. There’s also a new facebook page which will mean we can gather images and stories there too.
The following day, despite the soupy weather and the dimmest of light, I went out to Ecclesall Woods to immerse myself in the stories and atmosphere of this Ancient Woodland site.
Its history goes back many centuries – there are prehistoric carvings, Romano British remains and ancient field boundaries, as well as charcoal pits, trackways and even a Wood Collier’s grave from its more recent industrial past.
There are already quite a few photographs from Ecclesall on the Tree Stories website, so I went in search of some of those known but hoping also to discover some of its history myself. I wandered through the mist towards an area of big beeches which shows up clearly on Google Earth, since these are a favourite place for people to make their mark.
Although the damp and dingy weather made my photographs quite poor (I didn’t have a tripod with me so apologies for the blur!), it did mean that the trees were dark and glossy from the rain, which dramatically highlighted their forms.
Once I’d ‘got my eye in’ I found that almost every large beech I looked at had markings of some sort – many very distorted and indistinct, some letters clearly legible, some obviously old and some very new. I found a strong sense of place here, with recently made dens and graffiti layered over older carvings and even older charcoal pits and chunks of gritstone.
The idea of marking trees as a way of attaching yourself to a special place came to mind – the organically created paths, smoothed stones and modified trees all combined to give a sense of belonging, that this was a territory that generations of people had felt part of.
I came back to the studio with a good store of new material and ideas for the series of drawings I’ll be making for the exhibition – here’s a sketchbook snapshot of some of them...
Many eminent people have marked the recent passing of Oliver Rackham, widely regarded as the country’s foremost academic and writer on the interrelated subjects of trees, woodlands, landscape and history – Professor Ian D Rotherham’s blog and the Woodland Trust do it very well.
For me, Oliver Rackham’s books (and his wonderful illustrations as pictured above) were an eye-opening introduction to a new way of looking at my subject. After reading his work, an interesting tree was no longer just interesting for its form, its texture, its colour: it was something that could be read almost as a historical document. The tree’s physical properties were not just a result of its own nature, but were intimately linked to its environment and the people who interacted with it over its lifetime.
That concept of dialogue between tree, human and place has been crucial to the development of my creative process, and I have Oliver Rackham to thank for that.