Natural and Man-Made Thorns

Bramble thorns and barbed wire – both are effective means of protection!

Barbed wire has been both a feature and a theme in my work as an artist for many years now. The idea to try including barbs within the weave of my tapestries came from my need to represent something of the tension I felt whilst listening to the peace talks in Northern Ireland back in the late 1990s. Having grown up in Belfast during the 60s and 70s, it seemed to me to be the perfect material to represent conflict as my memory is of there being so much of it around at the time.

The first people to see the first tapestries I wove that incorporated barbed wire, did not think of it as representing conflict except in terms of texture – the soft wool of the weft and the hard sharpness of the barbs. They were living in the local rural community of SE Wales and only thought of barbed wire as a material for use in farming.

Metaphor or not, for me the barbs still represent conflict and although that theme in my work has broadened over the years, it is still a fact that the hard, sharp material of spikes, either man-made or natural, are there to protect one thing against another where there is a conflict of interests.

I have included a photo of one of my earlier tapestries from this thematic period – if you would like to see more examples of my work, please visit Design Fibre ICT at www.acmd.co.uk

Bramble Thorns

barbed wire

Tapestry Weaving and barbed wire

Tenses 4 – photograph by David Wibberly

More examples of my tapestry weaving can be seen at www.acmd.co.uk

Sand, Sea and Wind

On a windy day in Swansea Bay, watching the movements of the top layer of dry sand getting blown across the seaweed and other debris on the beach is as entertaining as watching the sea itself.

The action of waves in the sea can be mesmerising, but so too can the patterns created by the wind on dry sand as it catches the various objects and undulations of the beach. The sculptures created can be fascinating but watching them be created is even more so.

The camera does not see in the same way as the eye but in these images I think there is some advantage to the relatively narrow depth of field. The areas of blur seem to me to emphasise the atmosphere and effect of the conditions at the time. The textures that show through in the areas of sharpness combined with soft foreground / background, feel much more like it physically was than if everything was clean and crisp and static.

I hope the second sound clip from this photo shoot helps to “put you in the picture”. Even my home made wind shield could not handle the strength of the wind on the beach, but I decided that the distortion and break up of the sound was all a part of the character of the scene.

High Winds in Swansea Bay

High Winds in Swansea Bay

High Winds in Swansea Bay

You can use the new Donate button below to help StillWalks. Pay how much you want and receive a high quality download of this week’s featured StillWalks video – “Moss Wood Walk” which is from Gnoll Park in Neath, South wales. Click the image below to watch the video.

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Thistle in the Sand

These thistles are naturally designed for this environment. More than that, they look as if they have been designed full stop! Their colour, pattern, shape, form, texture – all fit  perfectly with other aspects of the area, particularly the spikiness of the grass and, of course, the contrast of the soft sand.

You wouldn’t want to sit down on one! Those spikes are mighty sharp and I guess this may be a hazard to be aware of during the Summer months in the Millennium Coastal Park at Llanelli. All photos taken on my iPhone.

Llanelli Beach Landscape-3

Llanelli Beach Plants-1

Llanelli Beach Plants-2

Llanelli Beach Plants-3

You can use the new Donate button below to help StillWalks. Pay how much you want and receive a high quality download of this week’s featured StillWalks video. Click the image below to watch the video.

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Landscape Photography – A Personal View

Still enjoying the short journey home over the hills from Felindre, the local Welsh landscape is beautiful and it’s got nothing to do with the current good weather, honest!

My work over the years has taken me all over South Wales and although this has meant a lot of driving, it has also given me the opportunity to see different aspects of the landscape in all sorts of conditions. Whether it is local or more distant, you have to be there to really appreciate it. Photography can do only so much. Artists can capture moods of a scene with which you can best identify if you have been there or somewhere like it.

I do not describe the photography I do as landscape photography. Although much of it involves the landscape, the photography I do for StillWalks, I describe as environmental – natural and man-made. If you google landscape photography, you will be presented with any amount of spectacular photographs produced by a range of more or less well known photographers who have done all the “right” things in terms of framing the shot and finding the right angle, waiting for the light, etc.

Some of the scenes from around the world (both near and far) are truly amazing . . . yes, there is a but coming . . . but, some of the shots I see seem to me to be almost unreal or super-real, a bit like photo-realism in painting – it’s almost beyond belief. It seems as though there is no texture in the scenes and texture is something I am interested in, no doubt due to my other life as a tapestry weaver. It may be that in these textureless images, there has been some over-use of pixel smoothing techniques but I know of one photographer who does not make this mistake, if it can be called that.

Victor Rakmil is a photographer whose work I greatly admire and he writes an excellent blog much of which I would entirely agree with and learn from regarding technique. Take a look to see the texture that remains in his landscape scenes as well as the other photographic genres he covers.

I took the shots below on my way home over some of the lower lying Welsh hills. It was a hot a hazy day and for me, give a true (photographic) representation of the landscape as it was at that time in those conditions. Tomorrow I’ll have some more!

These and more photos can be seen and purchased at StillWalks PhotoShelter.

Bont Hills Bont Hills

Blind Textures – taking a closer look

This is like one of those “guess the object” games you used to see on TV where they would gradually zoom out from a close up shot of a familiar object.

Whilst the post title (and the previous post) is perhaps a give away, if you were looking at these shots out of context, they might have had you guessing. I deliberately left the section on the right of the first shot as a clear clue for anyone who thinks it is not immediately obvious what the the image shows.

The last shot is in a higher resolution so that you can get a good close look at the pattern of texture in the fabric. Click on the image to enlarge.

Blind stripes Blind stripe
Blind Texture

That Old Freezer – why I like it?

So, back to the canvas, or at least, the place from which that “Metallic Canvas” came – the old burnt out freezer that provided me with so much colour and texture for my camera and sound for my recorder. I said that I would try and explain my interest in metal and my weird liking for the sounds it can make and these are the clues.

Over this last week I have shown something of the ways in which I have used metal in my work but perhaps I have not explained why I use and like it.

Synesthesia – This is not how I would describe my visual, aural or linguistic experience of the world. However, from the moment I started tapestry weaving at college many years ago, I was excited by the touch and texture of the materials I handled.

Old Freezer

It took many years of weaving to reach a level of expertise with which I was happy and confident. A part of this development was my deepening understanding of how my body, my fingers, interacted with the structure of warp and weft. For many years I used strong bold colours and blends in my tapestries and this too helped me to gain a clearer understanding of how colour interacts in different ways in different circumstances. Tapestry weaving is unique in its absorption and reflection of light – hence its generosity with colour.

These things are key to my approach to photography, sound recording, StillWalks and my “Interventions”. I have carried out workshops in the past where I have asked people to close their eyes and listen to the sound of an instrument or an everyday kitchen object and think about what colour the sound might be or what it would feel like if they could touch the sound as it travels through the air around them. Music, too, is often described in terms of colour, texture and form. This is not synesthesia, I do not see numbers as colours or whatever the crossover of senses might be for an individual experiencing synesthesia.

I find the relationship of one sense to another exciting and I am thinking more and more these days in terms of how everything in this world is interconnected in one way or another. The texture and colour of an old burnt out freezer relates precisely to what has happened (or been done) to it. The sounds it makes in this state are unique to its condition and the circumstances of the space that it occupies.

Sounds are very important to me and whilst it may just be a matter of personal taste in the end, the fact that I like those (some would say harsh) sounds that metal can make, is relevant to StillWalks. I specifically do not like the soft, ethereal music that is so often used on meditation disks and it is this fact that led me to explore field recording and its use in StillWalks. The sounds in StillWalks are unique to the time and place of the walk, and the photography, and therefore, what you hear in each walk is entirely the result of the conditions at the time.

I find it fascinating how little these conditions need to change in order to create a different sound – it may be wind strength and direction or simply atmospheric pressure, time of day or year or how many people, birds and other creatures are around . . . and those thing too, only exist as they do because of the conditions and circumstances at any given time and place.

Everything is interconnected and it is this that I try to impart to project participants when out in the field. How we interact with our surroundings has an influence on everything that is a part of those surroundings and as a species that is in the privileged position of being able to make conscious choices about what we do and how we act in relation to everything (and everyone) around us, we have a responsibility to consider the effect we have on all those things to which we are connected directly or indirectly.

Oh dear, now I’m getting preachy – sorry about that folks 🙂 Comments welcome!

Suffice it to say that it is the colours and textures both visually and aurally that attracts me to metal. This says nothing of the symbolism that it can have in different forms and conditions, but that is something that perhaps should be left to the audience to interpret.

 

Dialogue

Dialogue is essential – no argument an ever be resolved without it. No matter how much fighting goes on, the argument will always be resolved through dialogue.

The peace talks in Northern Ireland 14 or 15 years ago were the original inspiration for my work with barbed wire in weave (see yesterday’s post).

“Dialogue” is another piece of work I made using the contrasting textures of wool and steel. The rods on which the weaving and barbs are suspended, wobble and waver if touched, and represented for me, the delicate, no, precarious nature of the situation in Northern Ireland at the time. It could be said that that precarious situation has continued to exist there, albeit to a lesser extent.

This work is available for sale – anyone interested should contact me.

Dialogue

“Dialogue” 215 x 211 x 45 cms

Dialogue detail 1

“Dialogue” detail 1

Dialogue - detail 2

“Dialogue” – detail 2

Metallic Canvas

This metallic canvas is Turner-esque in the violence of the storm – but I did nothing, just took the photo!

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The texture . . .

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. . . and vibrance of the colour amazes me.

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I love it but . . .

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. . . it’s just . . .

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. . . an old freezer . . .

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. . . destined for the scrap merchant.

Of course, it should never have been burnt, but it has provided me with some interesting material to play with and add to my collection of metal (weird, I know). I shall be recording some of sounds it can make soon. Anyone interested can listen to my metallic sound collections on SoundCloud here and here or click below. If you can’t see the sound files below, please visit the blog page.

The last clip in this first set is the best!