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200cm graphite and compressed charcoal on wallpaper

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Extracting the route of a walk in West Dean gardens with subtle and interesting results.

Keeping the hand loose using Indian ink on a long stick enabled another way of recording the journey being mindful of left and right turns, streams, waterfalls, ups and downs of the land.

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Edward James is seen here as a little baby along with his four older sisters and mother.

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Mapping skills and prints in this column were influenced by tuition from Melanie Rose and Mary Dalton

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Mapping skills and prints in this column were influenced by tuition from Melanie Rose and Mary Dalton

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https://search.app/CNvxKtnRLd2YXcbr7

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The photo shadow of his face looks through the image, much like his legacy remains in the house and garden.

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A2 Indian and intaglio inks on cartridge paper with hand printed ferns and leaves

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This map to the West Dean Gardens has a Monochrome monoprint of an Edward James inspired face with fern and leaf relief prints layered on top.

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Edward James in his latter years in Mexico

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Edward James in his latter years in Mexico

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The garden of the Asylum at Saint Remy 1889

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Van Gough: Poets and lovers lecture from the National Gallery

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Van Gough: Poets and lovers lecture from the National Gallery

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This lecture was on the bi-centenary exhibition dedicated to Van Gough at the National Gallery. I've chosen one example painting. In this painting Van Gough creates a beautiful view of the garden of his asylum in late spring. He uses sensitive mark making to produce jewel like rose bushes and other plants growing in great profusion. The dappled sunlight dances on the iris leaves in the foreground. Later paintings of the same garden depicted his deteriorating state of mental health and are dramatically different.

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Transcription from "The Secret Life of Edward James" available on YouTube 

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Transcription from "The Secret Life of Edward James" available on YouTube 

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My starting point was when I was gripped by Edward James narrating a subconscious vision which took place in Spring 1934.

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Enlarged map of journey to West Dean. Leaves and fauna from West Dean gardens used for mark making. Originally sold to the Lewkner family 1588-1737, the house was a gabled mannor house facing a different direction but by 1679 there was a new E shaped house on the land with hop fields and orchards. By 1871 it was sold to a Quaker tea merchant, Frederick Bower and the gardens were opened to the public.

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10 x10cm Aquarelle water coloured pencils in cartridge

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“And the flowers, which I remember were Nymph Gladioli”, quote from Edward James 1934

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38cmx28cm natural petals on black cartridge

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Made from my own dried orchid flowers and rose petals. In the semi autobiagraphical book 'The Gardener who saw God' by Edward James, he describes orchids growing in the hot houses of the big house.

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Fresh orchids as seen in the tropics using tropical flora and fauna (as seen in Miami) which is similar to that which Edward James would have immersed himself in further south in Mexico.

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Mind map inspired by You Tube video of the secret life of Edward James

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Mind map inspired by You Tube video of the secret life of Edward James

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From the description of Edward James’ vision the question arose, “What makes West Dean a place of Restoration and Vision?”

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A2 oil based black ink on rice paper. Hand print.

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Ferns were very popular in the Edwardian period and many wealthy homes and gardens would take delight in cultivating extensive fern collections using the delicate fronds in art and design. Edward James would have grown up under the influence of their natural beauty.

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A2 oil based black ink on rice paper. Hand print. 

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The upper side of hearts tongue and dicksonia fern. When West Dean house was refashioned in 1905 the 'Orangery' became the 'Palm house' which reflected the fashionable style of the period.

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A4 Aquarelle coloured pencils on white cartridge paper

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Iris were popular flowers in the art nouveau period due to their striking form and variety of colours. They became iconic in the gardens of grand houses in the Edwardian period.

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A4 x 2 Intaglio oil based ink on somerset paper and mulberry paper

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Using a plastic sheet the iris design (on LH side) was etched onto the surface and a dry print was made. The left hand print was a monoprint onto mulberry paper. The hand coloured iris was completed with aquarelle coloured pencils.

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26cm x 26cm Leister* paper backing the monoprint on mulberry paper nd hand coloured iris print.

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* The Leister paper was inspired by a wallpaper designed in 1911 by John Harvey Dearle (1860 - 1932) for Morris & Co. Produced for the National Trust. The original wallpaper can be seen in the Morning room at Wightwick Mannor.

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A simple floral Lino print  and embroidered ghost print inspired by flowers from West Dean Gardens

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A simple floral Lino print  and embroidered ghost print inspired by flowers from West Dean Gardens

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The gardens of West Dean maintain their variety and vitality and their restorative powers! The ghost print on the right had added collage grasses and was then embroydered when dry.

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A4 Oil based black ink on somerset paper….. and ghost print

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An actual ‘love in a mist’ flower and callandula petals from West Dean Gardens

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An actual ‘love in a mist’ flower and callandula petals from West Dean Gardens

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These flowers were collected from West Dean Gardens and pressed onto an inked perspex sheet before printing under the press onto somerset paper.

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Relief print of Robin on branch with brambles

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Relief print of Robin on branch with brambles

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This lino cut was created previously, but I was keen to see it printed using a proper press onto quality Somerset paper. The robin appeared again in my walks in West Dean Gardens!

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Focusing on the stream through the West Dean property these fish were created with a softcut polymer sheet. The block was rubbed with water-soluble graphite onto handmade paper.

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Drawing the route from each of the four corners gave a different perspective.

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Graphic images of the surfaces under my feet 

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Graphic images of the surfaces under my feet 

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As I walked through the wet grass and onto other harder and more resistant surfaces I recorded the movements with a graphite pencil.

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The research and development in this column was inspired by a course called “Walking the Line”, with Matthew Harris.

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The research and development in this column was inspired by a course called “Walking the Line”, with Matthew Harris.

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The poem bellow was written by me, then crafted further using Chat GPT.

In the gardens of West Dean I walked,
Where tulip leaves rustled as I talked
To the wind that tinkered through silver birch,
A dance of sound in the quiet search.

The plants, wild and free, grew in their own way,
While man’s hand shaped some in geometric display.
But then, from the skies, a drone did call,
A light aircraft’s hum disturbed it all.

Yet calm returned, as the high planes soared,
And crows crawled while blackbirds soared.
The bell from the clock chimed a ring of ten,
Marking time in the garden again.

A flat incline, then a steep climb,
Around a corner, a tropical rhyme—
Banana leaves, and Canna lilies bright,
Gave the gardens a tropical delight.

A soft shuffle of breeze through the pine,
Then a robin’s shrill song, sharp and fine,
A warning cry from a branch close by,
Before a beech branch fell with a sigh.

It dropped in the water, creating a swirl,
Ripples expanding, like life’s gentle whirl.
In the garden, all was both calm and bright,
A symphony of nature, a peaceful sight.

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Using a 110 x40cm vertical grid of fine polyester thread the route was mapped into a three dimensional form

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A this stage torn cartridge paper was used which I had previously dyed with Indian ink. The movement of the paper gave the shape a natural fluidity.

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Inked shapes recreated in different textiles

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These three shapes were each created in a different ink dyed textile, one a woven cotton fabric, one using silk and one using a felted polyester interlining fabric. Each took the dye in a different way and each reflected light differently. The ribbons of fabric had to be hand sewn onto a net template as paper templates tore and were not flexible.

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100 x40cm Net with hand dyed silk, multi coloured printed cotton lawn and cord.

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Using the learned practice and studying Mathew Harris's 'Trace Elements' work, I moved into folding coloured fabric. Using four different lightweight lawns I created the ruffled effect of leaves being wafted by the light wind and the rippling movement of water.

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Multiple strips of silk, net, cord, interlining, and woven fabric

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A variety of fabrics were torn or cut into strips and dyed with Indian ink in preparation for creating a tree dimensional map.

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120cm x 40cm net with dyed silk and cord ribbons

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120cm x 80cm vertically suspended net mapping 

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120cm x 80cm vertically suspended net mapping 

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Replicating the previous paper map in dyed textile ribbons enabled the shapes to be suspended. Some ribbons were stitched to into specific forms to give texture. Some ribbons and cords were stiffened using wax which was painted on and then ironed to remove excess wax.

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120cm x40cm vertical grid with woven and stitched cartridge paper

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Incorporating some of the denser inked parts of the journey added depth to the paper sculpture.

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Two shapes, the upper stitched on the machine, the lower by hand

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Stitching the shapes by hand or machine!

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Stitching the shapes by hand or machine!

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Although painstakingly slow the hand stitched shape gave the ethereal texture desired without the clumsy interruption of machine stitches.

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Replicating the shapes, lacing the cords through the net and weaving the silk ribbon in and out of the net created the final piece. Much was learnt though the project which could be applied to other projects although initially I found the lack of colour frustrating.

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“The Secret Life of Edward James” (1978) Presented by George Melly https://www.youtube.com/watch?v=0oosdgHLTGY&t=1296s

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Artwork in this column was initially inspired by work with Matthew Harris

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Artwork in this column was initially inspired by work with Matthew Harris

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Jane, a resident on one of the short courses told me that she felt, "The place has a monastic calm about it with no planes or cars. There is a peace here which we tend to loose in these modern times. It is wonderful to be in this space rather than the urban environment. It just feeds the soul!"

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Edward James

This is a semi auto biographical novel in which the main protagonist, Joseph is the young Head Gardener at fictitious Wooton Hall, a illustrious mansion on a huge estate. Through this thin disguise James describes the poignant moments of his life, from the loss of a wife, his experiences of showing lilies at Chelsea flower show, his passion for gardening and his deep love of music. His bewilderment at the callous and fickle behaviour of others comes across clearly as does the deep hurt of his own mother's unloving and hard hearted manner to him as a child.

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Deep mapping of West Dean as a place of restoration and vision

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Deep mapping of West Dean as a place of restoration and vision

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Map to show the multiple layers of of information to include historical records, oral history, culture, landscapes and gardens, archival evidence and personal experiences. All these aspects create a rich, multidimensional portrayal of West Dean.

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I wanted to reflect the raspberry ripple effect of the nymph gladioli which Edward James mentions in his vision.

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A stylised abstract painting influenced by the work of Suzanne Allard in floral tribute to early autumn flowering of sunflowers and rudbeckia.

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A2 Acrylic Paint with water-based ink and collage

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Floral tribute to sustainability of West Dean gardens

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Floral tribute to sustainability of West Dean gardens

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With increasing diversity and natural habitats butterfly’s flutter amongst the flowers.

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Inspired by the pink and white nymph gladioli, as referenced by Edward James in his vision, combined with prints of ferns and leaves from West Dean gardens. Music from last movement of Beethoven’s ‘Eroica’ symphony.

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Taking the next step, from a wrapped stick to a woven wall hanging required collecting a series of different textiles which would reflect the texture and colours seen in the autumnal gardens of West Dean. These could then be woven onto a card loom with thirty three warp treads of wool and paper twine. These were grouped in threes to add contrast and provide opportunity for smaller weaving at points in the tapestry. For the weft, I aimed to find materials with a reflective quality to symbolize the water, along with dark moss green for the paths and steps, and mustard yellow for the lichen. I was particularly keen to capture the winding vine as seen around the pillars of the pergola the and deep red of the cornus shrubs. The latter was made possible with long strands of twisted linen thread which was wound across the surface. I was eager to preserve the dynamic quality of the other three hangings.

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The first image of the flower is made using hand dyed felt and silk.

The second image shows folded and cut cotton lawn fabric alongside platted lawn giving movement to the work.

The third image shows the ink dyed cord and hand dyed silk ribbon against the folded lawn.

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Inspired by the work of Rachel Johnson I wrapped a stick from another walk in the grounds of West Dean. It was a captivating walk in which I saw the ornately intricate fan trained fig tree, the heavy branched chestnut tree, the Gertrude Jekyll pergola entwined in vine, the moss path and steps, lichen on the walls and tree bark, swirling hellebore seedheads, rust red unfurled fern fronds, bright yellow, orange and russet red cornus shrubs, tiny cherry crab apples, glistening stones shining through the crystal clear water, seed tassels hanging from the redwood tree, and the huge magnolia leaves. What an inspirational garden!

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The first image details the texture bark of a tree with silken clouds and blue sky above the crenelated edge of the West Dean hedge.

The second image captures the russet red unfurled fern leaves nestling beside the shiny blue pond.

The third image shows the brick wall, swirling seed head and trailing creeper around the Jekyll pergola.

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How to suspend the hanging textiles was an issue. Temporarily suspended on snooker cues was not a long term option. I rescued long bamboo canes from my neighbours garden which had to be washed of black fungal dust and transported to the college.

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Woven Cornus twigs from West Dean Gardens

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In order for the art work to hang successfully I need to find a method of weighing down the bottom edge of each textile. By chance I was able to use some Cornus twigs that were available from the West Dean Gardens. I platted the different coloured twigs which were then treaded into pockets at the bottom of each hanging.

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The final ensemble of the five panels form in themselves a pleasing landscape effect with the dominant coloured weaving at the front framing the more muted lawn and silken coloured pieces with the single monochrome hanging at the back.

Light which moved dynamically to music from the last Movement of Beethoven’s Eroica symphony danced underneath this three dimensional work.

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The Wilton Diptych, c. 1395–1399. Each panel is 53 cm × 37 cm. painted for King Richard II of England.

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National Gallery: Stories of Art 1250 -1400

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National Gallery: Stories of Art 1250 -1400

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A six week course using different themes to understand the production and approach to art within this period with the course tutor Sian Walters. The course explored masterpieces of painting, sculpture and the decorative arts by artists such as Cimabue, Giotto and Claus Sluter. Individual paintings such as ‘The Wilton Diptych’ and Duccio’s ‘Maestà’ were given as case studies, alongside thematic examinations of topics including the painter’s studio, the Black Death and the role of women.

Parts of the course were a little over historic such as the section on the black death, but the understanding of not only the art itself, but also of the work that the National Gallery does to care for, present and interpret it was interesting and educational. I particularly enjoyed a livestream visit to the art studio of Marco Caratelli in Sienna. Marco specialises in replicating the work of the great Sienese masters. He demonstrated how the base layers were made before applying gold leaf. He revealed techniques such as punzonaterra, in vecchiatura, and scraffito.

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Use of Tik-Tok in promoting art practice

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Use of Tik-Tok in promoting art practice

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This was a course held at the Farnham Maltings in which the pros and cons of Tik-Tok were clearly laid out.

The artists present were encouraged not to see it as a sales outlet, but more an awareness platform. With a supersmart algorithm behind it, brand awareness can be generated; it is an emerging platform for creative people. However, currently it is hard to track cash on this platform and for new brands to break through.

The take away from the morning's course was to recognise your own goals and ambitions and don't feel that you can't talk about your art form. Just share what you are doing without giving the whole game away.

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Antonello da Messina c. 1476	Oil on wood	45 cm × 34.5 cm

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National Gallery:Stories of Art 1400 - 1500

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National Gallery:Stories of Art 1400 - 1500

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A six week course using different themes to understand the production and approach to art within this period with the course tutor Jo Walton. The course looked at the increase in individualism in portraiture. I particularly enjoyed learning from the paintings what furnishings, devotional objects, and household items were used everyday Renaissance life. It covered how the different states in Italy jockeyed for position with courts on the European stage, and how, by the end of the century some artists, such as Leonardo Da Vinci had reached star status.

Both courses enhanced my trip to Sicily in November where I was able to view a considerably amount of renaissance artwork in the cathedrals and churches with the Messina's Virgin Annunciate being my favourite. This shows Mary interrupted at her reading by the Angel of the Annunciation.

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Exhibition Obsolescence and Renewal by Neil Brownsword

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Exhibition Obsolescence and Renewal by Neil Brownsword

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This was an interesting exhibition which was poorly curated!

See Review submission.

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Introduction to the Edward James Aldous Huxley Correspondence

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Introduction to the Edward James Aldous Huxley Correspondence

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Two papers by James Sexton and Sarah Hughes gave an insightful view to the thoughts of Edward James which led to him giving over his estate at West Dean for the teaching and learning of Arts and Crafts.

Edward James engaged in an extensive correspondence with James Huxley, discussing the ideas presented in Huxley's book Ends and Means. Huxley argued that social reform could not emerge from a centralized government grounded in hierarchical structures. Their exchange touched on topics such as sustainability, the allotment movement, and examples of self-sufficient communities that had united with shared ideals to achieve meaningful and virtuous goals.

At the outset of World War II, James, who was in America at the time, was influenced by Huxley's pacifist stance, though he was not fully persuaded by it. Nevertheless, he believed his efforts would be more impactful in post-war reconstruction. This belief led him to establish West Dean College. His vision for the institution was to inspire visiting artists and to teach traditional crafts that were at risk of being forgotten.

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Exhibition of the Magical World of Cicily Mary Barker at the Watts Gallery.

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Exhibition of the Magical World of Cicily Mary Barker at the Watts Gallery.

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Cicily Mary Baker was the artist behind the iconic Flower Fairies paintings. As a child she was unable to attend school as she was frail and had epilepsy. Her drawings and paintings were influenced by the Raphaelite movement and as such always depicts the flowers and fauna within them accurately. If she was unable to find a specific flower locally she would ask Kew Gardens to help.

Cicely was also influenced by the huge popular interest in fairies which developed from the turn of the century enthusiasm for fairy stories; epitomised by J. M. Barrie's Peter Pan in the early part of the 20th century. Published in 1923, Flower Fairies of the Spring was well received by a post-industrial, war-weary public who were charmed by her vision of hope and innocence, which seemed to evoke a less aggressively modern world.

Queen Mary did much to encourage the vogue for fairy paintings during the 1920s by frequently sending postcards depicting fairies to her friends. In 1926, Queen Mary purchased one of her religious paintings, entitled “The Darling of the World Has Come”.

This was a well curated exhibition with external and internal interactive exhibits to engage children and adults.

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60cm x 69cm Acrylic painting on gesso board with paper and pen collage.

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Inspired by the motley collection of items which were piled up on my doormat this spread into a fantasy piece for my grandsons bedroom wall.

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This colourful lady sat in the tube quietly listening to her phone.

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A2 Expressive paper dry point and intaglio ink on somerset paper

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Ink is forced into the marks made here with the use of an electric dremmel and simple crumpling of the dry point paper. "The print matrix is a flexible piece of grey card (approx. 0.5mm thick), with one side white covered in a very thin layer of clear plastic." (Description from Expressive printmaking guide by Mary Dalton).

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Waiting in the green room

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A6 Water-soluble graphite on cartridge paper

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Instruments sit in the corridor back stage at the Royal Albert Hall ready to be wheeled on for a specific piece of music

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A6 water- soluble graphite on cartridge paper

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Condiments and menus on the cafe table

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Taken all over the world this bag has been a constant companion

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On a recent trip to Miami I was able to visit the Little Havanna area where the Cuban immigrants adopted the cockerel as their emblems in Cuban culture most houses keep hens and cockerels. These large painted images are on walls, doorways and street corners.

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Much work in the Little Havana area of Miami was updated for the recent Art Basel festival in Miami in December, however the steeet artist Entes was in full flow when I visited the area last week.

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C15 metres x 4metresa relic painting concrete

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Incredibly colourful and dynamic painting which captures the movement and colour of the Little Havannah area of Miami.

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On the side wall of the best bakery in Little Havana’s Miami 

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The work of Didi Cymo for Art Basel

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This was completed for Art Basel. The contrast of colours and shading of the face provided a striking image.

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Even some of the people were works of art!

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Even some of the people were works of art!

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With the final movement of Beethoven’s Eroica’s symphony playing, light dancing to the music, the textile hangings

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This video was taken on the day of presentation