Tag Archives: Maps

Hitting the ground running

“You can’t just turn on creativity like a tap(sic).  You have to be in the right mood.  What mood is that?  Last minute panic.”                     Bill Watterson

I like making plans much more than I like putting them into action and it’s great to find out that I’m not alone in this tendency – Bill Watterson (the American cartoonist responsible for Calvin and Hobbes) obviously feels the same.   Lots of creative people thrive  the closer they get to a deadline, happily procrastinating until there is no alternative except to put pen to paper, thread to needle or whatever equipment and medium needs to be employed.  Dilly-dallying is not a particularly stressful approach for them; the same can’t be said for friends and family members whose emotional state ends up shredded.  The reason I don’t get bothered by a ticking clock is that I know that sooner or later the creative bit of me will get out of bed and hit the ground running.  That said, I’m going to add a “however”.

Abandoned Art on the Pembrokeshire Coast Path

However, this only works for me when my fingers are fit enough to deliver the level of skill my creative idea demands.  What with gardening, writing, holidays, working and all the other calls life has made on me this year, I haven’t actually got a lot of stitching done.    Now that I’ve finished the first draft of my next book (possibly being called ‘Integrating multiple strands of creative practice in an ethos bound portfolio approach’, possibly not – I leave you to make your own mind up on that), I’m ready start work on my next project.  This will be a journal of creative maps in the form of travel writing, poetic exploration and artistic interpretations of walked journeys through ancient landscapes.  You’ll be pleased to know that I already have a snappier title in mind for this one but I’m keeping it to myself for the moment.  I have spent many happy hours planning this project; in my mind’s eye I can see the pages of the book, the typesetting and the illustrations of my work.  It’s going to be a combination of all the things I love doing – walking, Wales, stitching, composting poems and – I’m not going to excuse this  – making maps that look like maps!

Cardigan to Poppit Sands (in the style of Arthur Ransome)

Last month I decided to help the creative me along a bit by doing a test run along the Pembrokeshire Coast Path.  I’ve always disliked getting anything started – particularly sketchbooks.  Only recently have I overcome this reluctance to destroy a perfectly good piece of white paper by convincing myself that whatever marks I make – written or drawn – will be a sort of resource for further work rather than a finished article.  There, in one sentence I’ve excused the standard of the images which follow.   I started my journey by helping a Canadian lady called Enid,who was struggling to manage her bags at Carmarthen.  As we staggered from the train station to the bus station and then back to the train station (checking times of bus services to Haverfordwest and then deciding that rail was the best option after all), I found out that she was celebrating her retirement from nursing by touring Wales and Scotland to see where her great grandparents had lived before emigrating to Canada in the late 19th century.  Having left her waiting for the next train I made my way back to the bus station to get the 460 to Cardigan.  With 5 minutes to kill it seemed a perfect opportunity to put my journal of creative maps test plan into action.  I scrawled down all the information she had given me and did a super fast doodle which will, I hope, act as an aide memoir for me and encourage everyone else who sees it to feel a bit better about their own drawing skills.

Enid and me

You can’t – or at least, shouldn’t – visit Cardigan without trying Cawl which is a slow cooked Welsh stew.  Mine came with a hunk of cheese, 4 slices of toasted, buttered sourdough bread and cost £3.50.   Bargen!  Os byddwch chi yn Aberteifi, awgrymaf ymweld â Chaffi Carn Alw yn y farchnad.  Yn ogystal â bwyd hyfryd  ac er bod ro’n i heb y ci, maen nhw’n gyfeillgar i gwn – mor bwysig i wybod!

Cawl – bwyd Cymru

I left Cardigan via the bridge over the river Teifi and walked out to St Dogmaels.  This was partly to see the abbey but mostly because I wanted to see the Sagranus Stone at the nearby St Thomas’ church.  The Sagranus Stone is one of the few standing stones which has both a Latin and Ogham inscription.  It is monuments like these which enabled scholars to translate Ogham (an ancient Celtic/Irish alphabet where letters are formed by straight lines carved against a vertical).

Abertiefi/Cardigan

Near a place called the Teifi Net Pools, the Blessing Stone stands close to the river.  This was the spot where the Abbot of St Dogmaels traditionally blessed fishing boats before they left for sea.  In Welsh it’s known as the Carreg Ateb (the answering stone) supposedly because if you stand on it and shout across the water, you will be able to hear an echo of your voice.

Blessing Stone/Carreg Ateb

I didn’t try it but I did experiment with the next bit of my creative plan – that of using in situ clays and pigments to colour some canvas which I then embroidered.  I rubbed the fabric with sloes, blackberries and the local mud to get the background colour and then applied a few stitches.  If a map is a visual representation of a place, then I’m happy to say that this is a map of the Blessing Stone/Carreg Ateb.  

Stitchery on naturally pigmented canvas

By the way, a lot of the sloes, blackberries and mud got under my fingernails which explains their grubby appearance in the next photograph.  Apologies if you are over-fastidious by nature.

Stitching on the path

On the way to the curiously named Poppit Sands, I stopped long enough to begin my scrolled and stitched map of the journey.  This will be more mixed media incorporating found objects as well as textural interpretations of place.  Because doing this sort of thing takes more time that pressing the button on a camera shutter or icon on a mobile phone, it means whatever I create is much more a reflection of being in the place rather than recording an image of it.

The scrolled & stitched map.

From the lane to to the Poppit Sands Hostel , I did take a couple of pictures however, just in case anyone reading this has got a  thing about blue flagged beaches where the golden sands seem to stretch on for ever.

Towards Gwbert from Poppit Sands Youth Hostel

I spent the evening doing some field sketching around the Teifi Estuary and next morning I carried on with my scrolled and stitched map.  I’m pretty happy that I think I’ve got a template that works for recording features of the walked journeys, building a collection of information which will act as a valuable resource for the project itself.

Poppit Sands field sketch

It has also reconnected me with the practice of stitching on a daily basis.  On my return I decided to embroider a reflective map of October, with some time devoted to sewing every day.

Mis Hydref/October

There’s a well known saying in Welsh – Deuparth gwaith yw ei ddechrau (two thirds of the work is getting started) -which should mean that this time next year I will have finished my journal of creative maps because I’m already more than half way through!  Meanwhile I’ll leave you with another pearl of wisdom from Bill Watterson – something to bear in mind when you are next putting off starting your next project!

“Shutting off the thought process is not rejuvenating; the mind is like a car battery – it recharges by running.”

 

 

Mastering an MA in Contemporary Crafts

“I am told that there are people who do not care for maps and find it hard to believe… here is an inexhaustible fund of interest for any many with eyes to see or tuppence worth of imagination to understand with.”

R.L.Stevenson

Back in October 2016 one of the first things our MA group did was visit the Hereford Museum Learning and Resource Centre  for a behind the scenes tour.  (Many museums, galleries and cultural venues will offer guided tours for small groups that book in advance.)  Hereford Museum LRC has an eclectic range of artefacts from archaeological archaeological bits and bobs (flint arrowheads and Roman glass beads) to agricultural paraphernalia (Victorian carts and farming tools).  Between these two extremes is a conservative collection of art and ceramics and some slightly more difficult to categorise exhibits that I suppose you could call folkloric – curse dolls and Celtic stone heads, for example.  Incidentally these traditions are alive and well in all parts of the country.

Head of The Keeper of the Meadow at Bryngarw Country Park

On a normal day any of these (except perhaps the ceramics) has enough to pique my interest but all paled into insignificance when I discovered that Hereford Museum LRC also keeps the research archive of one of my heroes – Alfred Watkins.  I was first introduced to Watkins back in the 80s when  Mrs B  gave me his book (The Old Straight Track) as a birthday present.  Watkins was one of those purposeful Edwardian gentlemen who wandered the countryside with a camera, notebook and walking stick.  Whilst you may not have heard of him, you may be familiar with one of his theories: in The Old Straight Track Watkins introduces his belief that places in ancient Britain were linked by intersecting and invisible tracks that he called ‘leys’.  These could be identified by noting the existence of certain features both on maps and in the landscape.  Using a ruler, he believed it was possible to track a ley by drawing straight lines that linked standing stones, barrows, early churches and groves of Scots Pine trees growing on hilltops.

Carn Ciwg Standing Stone

Leys got a less than enthusiastic welcome from more conservative archaeologists and Watkins’ theory took another knock in the academic validity stakes when it was suggested by some esoteric thinkers that ‘ley lines’ were actually invisible energy fields and conduits of earth magic.  Nevertheless I am nothing if not loyal to my heroes and from the very outset of the MA in Contemporary Crafts course at Hereford College of Arts Alfred Watkins and The Old Straight Track were influencing my thinking.  The first project involved selecting 50 words and 50 images which would refine and underpin all the subsequent creative practice.  My collection clearly indicated that I wanted to look at something to do with landscape or time or poetry or Alfred Watkins or spirituality or Wales or folklore or toponomy (place names) or maps or walked journeys.  I wonder what I would have added to the list if I hadn’t been limited to 50 words and 50 images!

An early incarnation of the 50 words and 50 images board

The early part of 2017 saw me abandon my intention to use felt making as the major craft technique.  That may sound calm and considered but let me tell you it was anything but at the time.  Casting around for other ways to make ‘stuff’ – what the ever-patient course leader Delyth Done called ‘craft outcomes’ – I tried everything from papermaking to pressing flowers.  By the end of term I was drifting into a state of panic which only receded when over the Easter break I returned to my default setting.  I put on my walking boots and headed out to the hills.  April saw me back in Hereford quietly confident that I was – quite literally – on the right track.

The MA project takes shape

I suspected however that quiet confidence wasn’t going to be enough.  Luckily, in June I was given the directions to find the next stop on my journey.  Reading Pete Mosley’s book The Art of Shouting Quietly and having four days tuition from him made a massive difference to the way in which I approached the rest of my time as a student at Hereford.  You can read more about my thoughts in the previous blog and eventually in the book which I intend to write about integrating multiple strands of creative practice (I bet you can’t wait!).  Perhaps I should have spent more of the summer months making ‘stuff’ – I know a lot of my fellow students did.  Instead I walked, ran and generally explored the ancient tracks of Glamorgan, subconsciously developing the ideas, theories and concepts which would form the basis of my final project.

Carn yr Hyrddod

In The Hitchhiker’s Guide to the Galaxy by Douglas Adams, Ford Prefect tells Arthur Dent that “time is an illusion, lunchtime doubly so.” I beg to differ.  October 2017 was more doubly so.  I don’t think I’ve ever known time disappear so quickly as the autumn months of last year.  Having got my panic and stress out of the way in the Spring and having had a shot of self-belief and confidence in the Summer, I strolled calmly through the tempest which passes for the final term of an MA.

‘Stuff’ aka mixed media postcard

I sketched, I wrote poetry, I stitched and best of all, I researched and wrote.  Even though photography is an anathema to me, I took advice from the talented and generous Ruth and Oli Cameron Swan on things like light and framing the landscape.  I got up early one morning to take some snapshots of my chosen location and considered them good enough to use them as illustrations for my dissertation.

Mynydd y Gaer

The last hurdle to overcome was to convince lecturers Del and Lisa that my work would need to be exhibited in a very particular way.  Thanks to the blind faith of them both, this was done and my final project ‘Lingering Fragments’ combines all of the 10 original ideas which were on my 50 words and 50 images board back in October 2016.  It was then that I first announced that I intended to use the MA to “map both the physical and the metaphysical landscape”.  At the time I had absolutely no idea what I meant but somewhere down deep inside, the creative bit of me knew exactly what needed to be done.

Photograph by Oli Cameron Swan

If you want to see more of the MA in Contemporary Crafts exhibition, it’s open until 31st January 2018 at the College Road Campus.  Details of opening times here .