I think the idea of journeys within my subject work was heavily influenced by the work I did from my experience of field – particularly in Morocco. As the road was often a bit dirty with animal body parts lying around from the butchers stalls etc, and because I was generally too anxious to make eye contact with anyone – I found myself always following someone else in front , becoming fascinated by their movements, footstep and my own. From then on I’ve been more aware of the interactions between my feet and others with the ground and nature on ground level which often gets over looked.
Recently I’ve been documenting my journeys when I come into contact with grass (when I remember) , looking back on these videos I am reminded of the how it felt to be there by the way the grass touched my legs, when it was wet how it made my shoes damp,and how the wind moved through the grass.
When I was back at home in Northern Ireland for Easter I made the same twice a day through fields and along hedgerows, I really enjoyed the evening walk home. The sun has set but it’s not quite dark yet and everything is flooded in a faded blue as the last of the light draws away. When the visual aspect of the moment was lessened I became more aware of my other senses.
I decided to document this journey taking a few photos each night of the experience i had of the hedgerows.
My first Field project this year was ‘Things Behind the Sun’ , which involved a trip to Pembrokshire over a few days and a day trip to the Neath Valley Water Falls and Port Talbot. Both these trips taught me primarily about the landscape and the different ways of recording what I see , but more than this we were discussing what the sublime meant to us. What I found was confirmation that to me wild grass and nature in general is what brings me those feelings, whilst I was there I took photos and I think these captured the things I was feeling quite well . I also began to incorporate natural material into my work from this point and have continued to do so in my studio practice, more recently it has become very important in my work.
I think a lot of people are against the idea of photography in how they think because you aren’t physically doing anything with like drawing then you cant capture how it felt to be in that moment as effectively, but I want to challenge this idea – because to be honest it is so wrong, and I am fed up of hearing it. When I look at the images above in Pembrokshire and those below in Morocco I remember exactly how it felt to be there taking that photo, so I have been inspired to appreciate the images I take more, with the attitude that they are valid and they are art and not just a photo.
The second field project was looking into the Material Culture of Morocco, were we visited Marrakesh for just over a week. This was an incredible experience I learnt so much about the culture of the place and again I took loads of photos which i think accurately depict how I felt whilst there. I think my photos tell a narrative of what myself and the small group I spent time with there felt. This project has effected my studio practice mainly through the idea that everything can be linked with some sort of story , a line which runs through everything, or a journey. In a physical form I found the electric cables which ran through the city to be a representation of us walking through the city as a group, and these lines can be spotted almost every where.
I am also more aware of the impact that different lighting and colours can have on the mood/ aesthetic of an environment.
Being in such a busy crowded place made me so much more aware of myself, the way I look, the way I walk , the things I touch and the impact this has on other things. I found myself especially aware when we weer drawing in a garden one day and tourists were literally photographing us as if we were some sort of attraction. This in turn made me consider what it must be like for nature I often photograph it even when its not doing anything out of the ordinary – so this lead me to be more conscious about when i was doing this and made this the focal point in some of my images.
A group of around 30 people built and worked a hydroponic garden in a shop front in the north of Chicago. They grew a variety of vegetables like kale, and other theraputic herbs for people with HIV.Over several years Flood provided meals every other week, educational workshops , a meeting place and information on alternative therapies for those suffering from HIV – creating an HIV/AIDS service within Chicago, nutrition and horticulture, as well as a place to garden.
I really like the community aspect of this project, how nature can have such an impact on so many peoples lives both by their biological compounds and healing properties but also just in there physical presence. The project relates to my work in the sense of how it indirectly questions how and where it is appropriate to grow things.
Meg Webster primarily works in sculpture and installation, she is most well known for her art which features natural elements
” I guess man can’t live in a forest but he could live in a different way with the ecosystem, where he is delighting in the and furthering all the creatures, thats one of the main ideas of what Im trying to do”
VOLUME FOR LYING FLAT
SOLAR GROW ROOM
The artists concepts are something which really correlate with my own work. I love the use of natural materials and the idea of things growing and their need to be loved/cared for. The artist understands the connection between humans and the natural world an the importance of this.