Coronavirus/Covid 19 and the Crowhurst Art Garden

I am kind of enjoying Covid 19. In fact I feel better than I usually do. Crisis? Excellent - I know exactly how to behave in one of those. No choice? Excellent - I know exactly what to do without a choice. Official sanction for doing nothing has removed my normally intense anxiety about not having enough to do while feeling I really should be doing something which, combined, render me incapable of doing anything anyway! 

So this period has given me pressure and anxiety free time in which I am getting things done. Creative things. I am particularly pleased to have two new additions to the Crowhurst Art Garden. This garden is a project created on a small piece of land adjacent to my house.  It was started in 2017 with 'Bonehinge' which was a pillar of stone, topped with a bone and a rusty hinge, all of which we found when we were digging over the space. These finds and the fun of putting them together gave us the initial idea for the garden. 
A call went out to friends and we then received the generous donations of Mantis by Martin Adams and Julie by Esther Neslen. Mantis began as golden plywood in 2017 but underwent a metamorphosis to forest green in 2019. 

Beautiful Julie is weathering wonderfully, displaying various mottled shades of moss and algae in the winter and then returning, more or less, to her original colour in the summer. 

The next addition was in 2018. Three cast iron radiators removed from the house during a new boiler installation were given an entirely new life as Sheepish.  

In March 2019 we received Jolyon Dupuy's Duchamp's Step- Ladder. Not only does the wheel spin but it also has its own original music video put together by Jolyon and Peter Schofield.  Thanks to Tim Vine for photos of this. 

Now here we are in April 2020 and I happy to present 'Flying Fish' and 'Still Life'. In the course of doing the 2019 Crowhenge project,  I met 92 year old master carver Ian Gordon. As well as contributing the carved title piece to the Crowhenge Project, he also gave me this piece of found wood which has now become 'Flying Fish'. The shape is just as he found it so all I did was sand and oil it and give it some eyes.

'Still Life' consists of an empty picture frame suspended between two trees on thin wire. This gives the illusion that the frame is floating in space.  What you see through the frame changes as you walk around the garden and will also change throughout the seasons. I found the frame dumped in the street in Hastings several years ago so am delighted to have finally transformed it into a less random public artwork.

(Lucky photo taken just as sun started filtering through trees). 

(Guest Photo from Laura Cecil)

I guess it's ironic that in this weird, pandemic period I have been busier than usual and it's not just the garden. I was also part of a team that set up a Coronavirus Support Group to match volunteers with people needing help. The community response here has been great, so I’m very happy that the time I’ve had to work on the garden means it can now be open to visitors. I am leaving the gate permanently open so no one will have to touch it and am sure visitor numbers in a village make it unlikely I will need social distancing queue markers! I may put a note on the gate asking people not to fall over, break their legs and sue me though because I don’t have public liability insurance.    
Despite my normal moaning about how much I miss London (I still do), I know it is a privilege to be living in a place like this at a time like this  We can go for walks without seeing anyone else and should the tanks eventually roll onto the lanes of Crowhurst we can jog round our garden and subsist on dandelion leaves and wild garlic. We also have a veg patch. It is also beautiful to see nature in its eternal cycle, regardless as always, of human affairs. The weather is wonderful, the birds are singing, trees are coming into blossom and leaf and there is a riotous abundance of spring flowers and colours. I am very grateful that this didn’t all kick off in November. So... thanks for that universe! 

Crowhenge - A Community Art Project

It is an unavoidable fact that I am a bit morose living in a village after 3 decades of international city life, however, the drive to convince myself otherwise has at least resulted in a project. So ladies and gentlemen I give you.... CROWHENGE! 

The project began as an adjunct to the Crowhurst Neighbourhood Plan (NP) a community strategy which emerged over the past 3 years to give the village influence in how local housing development quotas are managed. In an earlier attempt to convince myself I belong, I volunteered to build and manage the substantial NP website. In the lead up to what was a very successful NP referendum, I was asked to submit ideas for an art project to represent the village and reflect the community ethos that had underpinned the NP. 

This was the basic proposal: 

Crowhurst sits in an area of outstanding natural beauty in which trees are one of the dominant features of the landscape. 'Crowhenge' will use local woods to create a 7-piece structure linked to key elements of village life: Community, Environment, Heritage, Youth, Business, Farming and Sanctuary. All community groups, businesses and organisations in the village can then contribute something that represents them.  

One of the woodland trusts in the village RSPB Forewood generously donated the wood for the project. I had Oak, Sycamore, Silver Birch and Hornbeam. Stage one was trimming, shaping and sanding. 

The project began in March and was installed in July. It is ongoing in the sense that people can still add things to it at any time. It is the first time I have done a project of this nature from concept through to completion on my own. It was tough but I am pleased with how it turned out in the end. It was also great to meet people like the 92 year old master carver in the village who created the title sign and to work with the school and various other youth groups in the village. Working with kids is great. They have none of those adult insecurities about 'art' so you don't have to constantly reassure and cajole them into getting involved and then (often) have to do it yourself anyway. 

Full details of the project and how it unfolded are on the website and the Crowhenge Facebook page so will just post some project images here. 

Festival 15 - Jean Davey Winter

Jean Davey Winter: About the work:

A fascination with travel and the concept of the journey provide me with an ongoing source of inspiration. Over the years this has included a microlight flight over the volcanic island of Lanzarote; a road trip through New Mexico, Arizona and Utah and more recently a visit to the island of Cuba, the starting point for this new work.

Cuba has an extraordinary culture, a dense web of associations and contrasts which conjure up words like: seductive, poetic, alchemy and magic. There is a constant awareness that this vibrancy, colour and energy combine and conflict with reminders of a darker past.

Many diverse elements from these experiences are now coming together as the work continues to develop: glimpses of colours and textures and the fragmented memories of travel. It is intentionally ambiguous, hopefully to allow sufficient space for the viewer to bring their own interpretations to it.

Working practice:

Coming from a textile background I enjoy the freedom of working with mixed media. The opportunity to build up surfaces, to combine this with collage plus the fluid qualities and mark making potential of paint; I love the feeling of anticipation – that anything can happen, as a new piece begins.

What I find most difficult is the ‘letting go’, that moment of realisation that some of the bits you have become most attached to have to be sacrificed if there’s any chance of making the painting work – that’s the hard part….

Future hopes for Hastings Arts Forum:

Hastings Arts Forum has been transformed over the ten years since I first exhibited there. There have been major structural improvements to the gallery itself and the whole ethos and ambition of the Forum has become very much more ambitious and professional.

Whilst maintaining it’s commitment to the community I hope it will also continue to thrive and develop with the emphasis on curated shows, both group and solo, and maybe create a series of major annual exhibitions following on from the precedent set by Festival 15.

More about Jean and her work can be seen on her website

Jean Davey Winter

Festival 15 - Matthew Burrows

'Painting is not born out of intelligence but the fine balance between confidence and surrender.' 

Matthew Burrows 

Wall (2017) 
Oil on board 152.5 x 124.5cm 

1. Can you tell us something about your work in this show and something about how your work has developed over the years. 

I am fortunate enough to live and work in the rolling hills of East Sussex, my studio, on the site of an old wind mill, is firmly perched on a ridge between valleys. Despite the beautiful views and clear vistas, my relationship to place is not one of description or nostalgia, but one of dwelling and ritual. It is a process of mythologizing, of drawing meaning from the particularities of the environment, of realising its wilderness and ours.

I’ve always considered myself a painter of people and places, and yet, it's rare to find these fully articulated anywhere in my work. In one sense this is about the problem of metaphor - a picture of a landscape is not the meaning of a landscape and can easily lead to trite illustration. My painting ‘Oasis’, on show at HAF, is a painting of absence, it depicts a structure in a barren landscape that could be an alter or building, a means of display or container of sorts. Beyond the suggestion of a ground and horizon there are few clues to construct a narrative, instead one is left with the density of pigment and colour, the movement of mark and tension across its hard yet porous surface. The title suggests hope in the harshness of the desert, it is the mystic’s landscape of solitude and temptation, a paradise of emptiness and rage, a country of madness and silence.

Single and Divided (2017) 

Oil on board 122 x 94cm

2. What you find most enjoyable and/or difficult about the process of creating art? 

The most enjoyable part of making art is that it asks so much of you, it asks everything, no stone left unturned. Of course, that’s what makes it difficult too. It’s a hard task master, mostly it leaves you frustrated and despondent, months can go by with little or no joy. But there’s something compelling and surprising in its mystery that keeps you moving on.

3. What would you like to see the Hastings Arts Forum do in the future?
HAF plays a significant part in the artistic fabric of Hastings, it gives a sense of place and purpose to artists who live and move to Hastings. Moving forward it would be really exciting to see HAF look again at how it shows work, perhaps taking a more creative approach to the design, layout and structure of the walls etc. It maybe a step too far but an open competition to ask for design solutions to this may create some refreshing and surprising outcomes.

Eclipse II (2016) 
Oil on board 77.5 x 59.5cm

More about Matthew and his work can be seen on his website 

Matthew Burrows Website

ELEGY - AN OPEN PROJECT ABOUT DEATH AND DYING

Elegy is a project I have been thinking about for some time. It now has its own page on the website and all submissions and ideas are welcome. 

Death looking into the window of one dying 
Jaroslav Panuška, 1900

Elegy - An Open Project about death and dying

Life's only certainty is its end. The manner of that end is unknown but the universal consensus is that it be quick, peaceful and painless.

Such a luxury does not correspond to the facts of human ageing and prolonging life medically, as an end in itself, is an increasingly double edged sword. Nor does it correspond to a contemporary environment where violent death as entertainment merges into 24 hour media cycles of violent death as reality.

Death defines life. The extent to which it is an abstraction is dependent mostly on where and when one’s life is located. It can also be choice as well as no choice.

It is always present
It is often welcome.
It is often feared.
It is also mostly ignored.

This project is an entirely open platform for people to communicate about death and about dying. This can be in the form of video, audio, text, poetry, images, animation, playlists or a combination of these things. Each submission will be given its own page and the only stipulation is that videos do not exceed 5 minutes and playlists do not exceed 5 tracks.

If you would like to contribute to this project please send an initial email with your contact details and a brief outline of your idea. New and existing work can be submitted and in some cases I may be able to help facilitate new projects

Please send messages via website: Elegy Project