My first step was to walk. For some reason the thoughts flow easier when walking. The process of the development of thoughts seems more fluid when the body is in the repetitive action of one foot in front of the other. The Sidney Nolan Trust is based at a 250 acre organic farm called The Rodd and it is set within the beautiful hilly landscape of the Welsh border town Presteigne. As I moved through the landscape, which is similar to the landscape where I live, I contemplated how it is manipulated by man. The battle for man to try to create order in nature to benefit agricultural farming. This ideal picture postcard vista is one that has been manipulated for hundreds years. I realise as I type that the word ‘manipulated’ could be perceived to be negative; but this is not how it is intended. It is hugely impressive to stand within these vast surroundings, whilst recognising man’s ability to work the land. It sounds so obvious as I write it, but I think that it is quite easy to take this for granted. Particularly as this is often a landscape witnessed whilst in motion, travelling from A to B, (for the non farmers amongst us!). There is also a romantic view of this landscape that is that we are looking at a natural landscape- and so whilst looking through these rose tinted glasses we are in fact removing man completely from the picture. This myth of the untouched land diminishes our connection to the land by removing man from it. And so, it is this strange connection that intrigues me.
In response to this I decided to do a series of small interventions within the landscape. I decided to collect stones and fallen wood from alongside a stream that runs through the site. I intended to paint these objects using bold man made colours that would interrupt the view. The bold unnatural colours would bring the human presence to the forefront of the mind of anyone who would encounter them. I find that my experience of this landscape is that I usually view it whilst walking or driving through it, and so it is seen as a continuous vista. The problem with this is that little time is spent standing still and noticing the detail. By disturbing the view with my small interventions I hope that attention will be drawn away from the path and down to the finer detail.
I realise through the act of collection, painting and returning these objects I am developing a connection to the landscape. It becomes a pilgrimage which thrives on the investment of my time in the space. The more I move between the site and the courtyard space I have been painting in, the more I feel a connection to the environment I am working in and also the objects I am working with. Through this experience I am drawing thoughts and connections which help me to better understand the concepts I am exploring- maybe it is the experience of the repeated journey and action?
