Tag Archives: installation

A Year and a Day

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Several years ago I visited Cheeseburn in Northumberland on the Solstices and Equinoxes and Cross Quarter days, spending time in the gardens and grounds.  It was a sanctuary for me after Moorbank, Newcastle University’s Botanic Garden, had closed.  I struggle with my own semi-wild garden, high and wind-ravaged, with a very short growing season, wedged between a field of sheep and a strip of woodland, never quite managing the sense of luxuriance I long for.  So I enjoy visiting other gardens and luxuriate there.

Cheeseburn was a perfect place to witness the changes that happen over the course of the seasons – a mixture of the natural, the elemental, and the man-made.  It was also going through major changes in preparation for housing more sculptures and opening to the public on a more regular, formal basis.  I was privileged to be there, on the sidelines, able to watch this transformation.  Since then, as a result of the dedicated and enthusiastic work of Joanna Riddell and Matthew Jarratt, the place has become very popular, much-loved, and an important site in the region for supporting new artists.

The knowledge I’d gained of the setting at Cheeseburn informed Compass, a sound installation with Chris Watson, commissioned by Cheeseburn in 2015, and shown in 2016.  Because Cheeseburn’s early summer opening this year has been curtailed, a new version of Compass is being released online over the next five weeks.  As well as the original four pieces set in different parts of the garden, reflecting the points of the compass and the seasons of the year, Chris and I have created a new compilation piece, A Year and a Day, spanning the entire year.  You can listen to these works on Cheeseburn’s Facebook page, YouTube and Sound Cloud.

Revisiting my various notes for this piece, I came across the earlier monthly blog pieces I wrote for Cheeseburn from my initial visits as Poet in Residence.  I’ve added them here, in a new Archive space on this site, for those who’d like to read them alongside listening to the recordings as they are released.  It’s good to be reminded of the long arc of history as well as the passage of the seasons at this particular time.  This too shall pass.  But some things, the important things, we hope, will endure.

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Sculpture by Joe Hillier

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A yard of sunlight

 

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A Winter Solstice Renga

at Fair Hill, Haltwhistle,

on 22nd December 2019.

 

A yard of sunlight

 

4.19, licked awake

by the dream fox

skulking across the fells

 

midwinter mist

unwraps the river

 

remember the arrow on the map

this could be the place

where old timbers revive a door

 

her shadow sharpens

blurs, doubles

 

new earth being made

from this year’s leaves

the fluff of jumpers

 

Picasso-like bird’s wing –

plaster flying

 

outside the December dusk

firelight inside

I warm my hands

 

how many footfalls

on these bare boards?

 

Aesica was built by the legions

left dry

aqueduct unconnected

 

impossible now

to not have you

 

presently the character

of his adoration

became clear

 

we are eight

circling the red box

 

if only words

were only air

rising

 

a yard of sunlight

at the north end of the garden

 

the little tree

sings

in the rusty bucket

 

stamped on thin ice

a thousand fragments of starlight

 

sonata gathered in

to one dense sound

above the rooftops

 

bulbs turn

from waiting to watching

 

empty fields

left to the rooks

snow is coming

 

tomorrow is the shape

of a leaf.

 

 

Participants:

Birtley Aris

Jo Aris

Matilda Bevan

Linda France

Sharon Higginson

Liz Kirsopp

Christine Taylor

Clara May Warden

 

Light Sculptures by Michael Seal/Lumicube

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Solsticity

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It was very good to spend a couple of days with friends up on the Northumberland coast in glorious sunshine, walking, talking, flower-spotting and bat-detecting with a clever little machine lent me by Chris Watson, who I’m collaborating with on a sound piece for Cheeseburn (it’s called Compass – come and listen over August Bank Holiday weekend). Someone told me later that bats could ‘turn their ears off’ to tune out their own vocalization, which might confuse the echolocation process. They too clever little machines.

IMG_0672The bloody cranesbill were an astonishingly vivid pink on the shoreline, the burnet roses and thrift just going over. Dunstanburgh Castle looked majestic, especially in the stillness of evening, and we remembered the wonder that was the Peace Camp installation in 2012.

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I came home via the Tyneside Cinema to listen to Chris’s audio piece in the Gallery – a wonderful sound surround evocation of the Town Moor. My favourite moment was the thunder and the rain – it felt as if the temperature suddenly dropped a few degrees. The circus and the model train were a surprise – sweet and funny. Good to hear bats in the mix too.  Everything about the piece gave a strong impression of this ancient green space, the ‘lungs of the city’ in all its various incarnations. I could feel my Geordie heart swell with something like pride, a powerful sense of belonging – all distilled through the ears. So much happened in a totally dark space, so many pictures behind the eyes. As usual when I concentrate on listening rather than looking, I emerged feeling rinsed clean and bright – back into beautiful sunlight.

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Unlike today when the sky is heavy and grey and what it and the time ahead hold anything but clear.  I am busy preparing for a month’s Residency in Sofia.  Last time I was there, eleven years ago, Bulgaria was just about to join the EU.  Now it is a member and we are about to leave…Interesting to see how that will affect us both and what folk over there think about it all.  I’ll keep my ears open – and look forward to posting glimpses here of Sofia’s Botanical Garden.

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