Spirals

25 09 2009
Stone spiral, Millook Haven, Cornwall

Stone spiral, Millook Haven, Cornwall, 2009

Unlike circles, in which we perceive stillness and completeness, spirals suggest dynamic movement springing out from a centre in ever-larger arcs. Spirals only end when a barrier interrupts their progress towards infinity: the hard casing of a shell, the top of a thermal, the edge of a sheet of paper. Making spirals is about encountering these barriers – stones too heavy to carry, the encroaching sea, or the edge of a beach. Spirals provoke reflection on limitations, in nature and in ourselves; we long for unimpeded movement but are all around confronted by enclosures of one kind or another. Perhaps it is why we often dream of flight, sailing up in spirals on a thermal as the falcon does so effortlessly.

Pilsey Island spiral, West Sussex, 2008

Pilsey Island spiral, West Sussex, 2008

Y Maes spirals, north Wales

Y Maes spirals, north Wales, 2009





Towers

25 09 2009
Five sisters, Scotland, 2006

Five sisters, Scotland, 2006

Towers are perhaps the most elemental of architectural forms – one of the first ‘building’ activities of young children, who take as much pleasure in destroying towers as in building them. Towers might be the products of infantile ambition, doomed to be knocked down by the vengeful; yet, they might also simply reflect on what is already there – a castellated mountain ridge, the undulations of waves in the sea, or a valley enclosed by high cliffs.

Millook Haven towers, Cornwall, 2009

Millook Haven towers, Cornwall, 2009

Rocky Valley towers, Cornwall, 2008

Rocky Valley towers, Cornwall, 2008





Circles

24 09 2009

Stone circles, Crackington Haven, Cornwall

Stone circles, Crackington Haven, Cornwall

When we see a circle, we immediately perceive a sense of completeness – not because of its mathematical properties, but because that completeness is already inherent in the shape itself before any analysis is brought to it. The circle is also a container for a number of powerful metaphors: enclosure, the womb, heaven, sky, safety, security, unity, infinity, return. More concretely, certain places suggest circles or roundness, particularly mountains and beaches. In these places, the making of a circle with found materials provides an opportunity to ‘contain’ the overwhelming scale of the natural world, to enclose its endless horizons, to trace unseen centres; in the words of Gaston Bachelard, in his celebrated book The Poetics of Space, ‘images of full roundness help us to collect ourselves … and to confirm our being inside’.

Stone and driftwood circles, An Teallach, Scotland

Stone and driftwood circles, An Teallach, Scotland

Driftwood circle, Hole beach, Cornwall

Driftwood circle, Hole beach, Cornwall





Victor

10 09 2009
Victor, 2006, pencil, acrylic and watercolour on chalk and ink

Victor, 2006, pencil, acrylic and watercolour on chalk and ink

The area around Cripple Creek in Colorado is filled with the remains of buildings put up during the gold rush at the end of the nineteenth century. Nearby, the small mining town of Victor, around 10,000 feet above sea level, is a place frozen in time and is now marketed as a heritage tourist attraction. Out of season, the place feels like a melancholy failure because mining still carries on in the surrounding hills, the nineteenth-century town now barely affected by these retrieved riches. On the slopes above, the old mine buildings are staggering pieces of timber construction that now appear on the verge of collapse. Stacked up on the hillsides, these simple buildings, strewn with abandoned pieces of machinery, each have their own distinct sense of personality: some stand proud and aloof, some are warm and homely, others are eccentric or outlandish. At 10,750 feet, the highest mine is a simple shack, looking out over a vast panorama of snowy peaks and surrounded by the new open-cast mines that seem distinctly inhuman by comparison.

An abandoned shack in Colorado

An abandoned miner's shack in Colorado





Ladhar Bheinn

9 09 2009
Ladhar Bheinn, 2004, oil on canvas

Ladhar Bheinn, 2004, oil on canvas

The Knoydart area in Scotland exerts a fascination for walkers. Undisturbed by roads and virtually uninhabited, this rocky peninsula is only reached by boat (from Mallaig) or by foot. Walking in, after reaching the end of the longest single-track dead-end road in Britain, one enters a lush world of Caledonian pines, high bracken and fjord-like valleys. Rounding the headland before reaching the hut at Barrisdale, Ladhar Bheinn (Larven) comes into view – a great castellated semicircle rising high above Loch Hourn. Its remoteness lends a magical quality to this first view and in the subsequent days of walking and resting, I revisited it many times.

This scene indelibly prints itself on the memory, at once a place of openness and freedom and also a place enclosed, a circle of walls, a secret place. The hidden centre of the mountain offers a stable, still point around which turbulent forces coalesce: the unceasing movement of the sea, the rapid shifts in weather. Colours delineate the relationship between stillness and movement, between hidden centres and unseen continuities expanding out beyond the field of vision.

Ladhar Bheinn circle

Ladhar Bheinn circle





Liathach

9 09 2009
Liathach, 2008, glitter, pen & watercolour on chalk and ink

Liathach, 2008, glitter, pen & watercolour on chalk and ink

Liathach – the grey one – is a mighty and imposing mountain in the Torridon region of Scotland. From all sides it appears impregnable, especially from the north, where a succession of rock buttresses tower above the surrounding moorland giving not a glint of access for the walker. Only by one unrelentingly steep path on the south side can the ordinary walker get to the ridge and, once there, must negotiate a series of rocky towers, a narrow ridge path and vertical drops on either side to reach the two main summits. Like its giant neighbour Bheinn Eighe, Liathach’s summits are topped by quartzite, a pale rock that glitters in the sun like snow.

A mountain is always perceived differently after it has been climbed. Before, it exerts a powerful hold, a beckoning that challenges and excites, perhaps for many weeks – even years – beforehand. Once climbed, restlessness gives way to reflection and the view from below is personalized, where ones own encounter with the mountain is now bound up with its larger being, no longer remote or impregnable. Climbing a mountain offers the opportunity to be part of a reality that exists undisturbed without us, one that irresistibly draws us into a world beyond ourselves.

Liathachs pinnacle ridge from the south

Liathach's pinnacle ridge from the south








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