Archive for the 'Work in focus' Category

Memories in clay

March 14, 2019

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There’s a lovely article by Mark Palmer in this week’s Country Life about my work making small-scale house portraits in clay, and my aim to capture the spirit of the place –  the heart of a house – by means of a meticulously detailed likeness. The whole edition is devoted to ‘Smaller country houses’, so my miniatures fit charmingly. I’ve been making these little sculptures for 30-odd years now – I made my first in 1986 – and I’ve been lucky to have hundreds of fascinating commissions, each one for a portrait of a place that’s individual, interesting, and loved. And not just people’s homes: I’ve also made portraits of churches, theatres, log-cabins, pubs, shops, schools, hospitals, banks, restaurants, town halls, Greek temples, a library, a fire-station, and (only once) a dry-cleaners – all special for one reason or another – oh, and some grand National Trust houses too. As for beloved homes, I’ve done a gypsy caravan, one or two log-cabins, terraced town-houses and Elizabethan manor houses, some thatched cottages and the odd castle, and always it’s the detail that I love – the quirkiness and the unique characteristics that each subject brings. I haven’t yet done a lighthouse or a windmill – but I do enjoy a challenge, so who knows…

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I’ve often exhibited these little sculptures – I showed a dozen or so in my first ever exhibition about a hundred years ago it seems, all portraits of houses and buildings local to the show in the Wisbech and Fenland Museum – including one of the museum itself – and I’ll be continuing the tradition in an exhibition next year (2020) in Hampstead’s beautiful Burgh House. There I’ll be showing a collection of portraits of London’s small historic houses – among them, of course, Burgh House itself, celebrating again the beauties of the vernacular. But for now, I’m looking forward to my next commissions – and who knows, maybe even that windmill.

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There’s a gallery of some of my favourite commissions on my website Potters’ Yard House Portraits – as well as information about commissioning. And you can read more here on Daughters of Earth, on the page called Architectural reliefs and house portraits.

Snow in feathers

January 23, 2019

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Last evening we had a beautiful snow storm here in North London – huge snowflakes like swan’s feathers, and not just a flurry – a real blizzard, though it didn’t settle except on the icy grass of the gardens, and in drifts on the shed roofs. But in the darkness of the early evening on our street, the flakes swarmed round the lamp-posts and fell thick and fast, though the word heavy didn’t fit the scene – it was more a complex dance of thickly-falling lightnesses through the dark. We watched from the window for ages, warm indoors while people passed by on the snowy pavement, some hunched and hurrying, some snow-strolling in pleasure, and two little girls dancing along with their mouths open to taste the great feathery snowflakes. The scene reminded us of John Clare’s opening poem in his great cycle of the year The Shepherd’s Calendar, called January, A Winters Day:

Withering and keen the winter comes

While comfort flyes to close shut rooms

And sees the snow in feathers pass

Winnowing by the window glass

Clare evokes (with his usual idiosyncratic spelling) the feeling of a snowy afternoon, and the way everyone responds, starting with the farmer hanging out in the pub reading the paper or ‘old moores almanack’, which he believes every word of, as he believes his Bible:

Puffing the while his red tipt pipe

Dreaming oer troubles nearly ripe

Yet not quite lost in profits way

He’ll turn to next years harvest day

And winters leisure to regale

Hopes better times and sips his ale

– while the labourer still goes to work, ‘and braves the tempest as he may’, including the thresher, who’s ‘shuffling through the sinking snows/ Blowing his fingers as he goes’, to cut the hay from the stack and throw it in piles on the snow for the hungry cows. The shepherd in his great coat, with his dog sheltering from the wind behind his heels, ‘Takes rough and smooth the winter weather / And paces through the snow together’, while the lonely unused plough, like the horses idling in field and yard ‘pass time away / In leisures hungry holiday /…/ Dreaming no doubt of summer sward’.  

Clare’s sympathetic, observing vision shows us men and women at work and at enforced  leisure or unemployment, cows and dogs and hogs, cats, moorhens and geese, as well as schoolboys ‘never at a loss for play / Rolling up giant heaps of snow’ and ‘Making rude things’ until they’re ‘numbd wi cold’ and go off to find ‘hotter sports’ to play – kicking their football over the frozen ground or sliding the hours away on the ice and skating on the meadow lake. And the robin ‘picking the trifles off the snow’ thrown for him by a kindly woman, and perching on the windowsill to find the little hole in the window pane he remembers from last winter, to creep into the cottage warmth.

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For a moment yesterday evening it certainly did feel like winter in earnest, though our snow didn’t last (sadly no ‘crumping underfoot’). I made this paperwork on a sheet of handmade paper (30cm x 40cm) with beautiful deckle edges, mixing the watercolour and acrylic paints with snow-melt to give the painted snow a real material presence, and lettering the text with a little winter twig, before scattering and splattering the snow-melt snow at random over the whole scene, words and all. The words are from John Clare’s poem Snow Storm, which paints a picture of a familiar world transformed by winter:

Domestic spots near home & trod so oft

Seen daily – known for years – by the strange wand

Of winters humour changed…

Trees bushes grass to one wild garb subdued

Are gone & left us in another land

There’s something so engaged and so engaging about the clarity and recognisable truth of this vision that the reader stands beside Clare now, seeing with his eyes that magical transformation. Snow Storm was part of a huge collection of his poems that Clare fair-copied in c.1832 as The Midsummer Cushion, mostly written in the late 1820’s and early 1830’s, though many of the poems were still not printed on his death in 1864, and the collection wasn’t published in its entirety for over a century until 1979. It has been one of my bibles for the last 20 years, one of those books I turn to for truth, enlightenment, revelation, stimulation, inspiration, and solace in troubled times. Perhaps I could call it a complex dance of thickly-falling lightnesses through the dark. And sometimes things seem very dark.

Back in our January day in 2019, we were sorry not to wake this morning to a transformed world, ‘another land’, but maybe all we can do, with our ‘troubles nearly ripe / Yet not quite lost’, is hope for better times and sip our ale, like John Clare’s farmer. After all, there are weeks of possibility before the end of March.

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The Shepherd’s Calendar by John Clare (ed. Eric Robinson & Geoffrey Summerfield, OUP 1964)

The Midsummer Cushion by John Clare (ed. Kelsey Thornton & Anne Tibble, Carcanet 1979)

Winter Snow  Paperwork by Liz Mathews with text by John Clare from Snow Storm, 30cm x 40cm, watercolour/acrylic on handmade cotton rag paper  For sale £250 unframed

Frost, stars and the consolations of art

December 4, 2018

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December nights: after work yesterday evening we listened to David Attenborough’s heroic and stirring speech to the Climate Change Conference just before we went to a live screening for the first night of the Nutcracker from Covent Garden. Walking to our local gorgeous Art Deco Odeon, our minds and talk were full of the crisis, but once inside we were soon enchanted by the exquisite set designs, the moving beauty of Tchaikovsky’s music, the grace and athleticism of the Royal Ballet’s dancers, the glamour of the event. Loved it, every minute, and it felt very joyful – the beginning of the festive season. In the interval a little girl practised her ballet steps in the cinema aisle, and afterwards, a group of older women in the audience danced out of the cinema, pirouetting up the corridor with much laughter. On our walk home there was frost on the parked cars and stars in the London sky shining like fairy lights in the winter trees – and even the pavements were sparkly, as though the magician’s sequinned dust had floated out of the cinema and into the streets.

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December Nights

Text by Helen Waddell   Paperwork by Liz Mathews: silver enamel lettered with a driftwood stick, under acrylic watercolour on handmade paper 30cm x 40cm

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John Clare’s green hours

July 13, 2018

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Today – 13th July 2018 – is the 225th anniversary of the birth of the poet John Clare on 13th July 1793, a poet whose words have inspired so much of my work. And this afternoon, I unpacked from the kiln a bowl – just cooled from Wednesday’s glaze firing – with lines from his poem ‘Love lies beyond’, that seem to embody peace and loving memory. On a day when the heavens’ eternal blue has been disturbed (in London at least) by military helicopters carrying powerful people to and fro on their relentless business, and earth’s green hours are more threatened than ever before by humanity’s heavy tread, perhaps it’s a good moment to hear Clare’s gentle voice and his faith in the enduring power of love.

The bowl was commissioned to celebrate a special mother, whose favourite lines these were, and decorated at midsummer, like John Clare’s midsummer cushion, with cornflowers, lavender, thyme and forget-me-nots.

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Love lies beyond

The tomb, the earth, which fades like dew –

I love the fond,

The faithful and the true.

 

Love lies in sleep –

‘Tis happiness of healthy dreams.

Eve’s dews may weep,

But love delightful seems.

 

‘Tis seen in flowers

And in the even’s pearly dew

On earth’s green hours

And in the heavens’ eternal blue.

 

‘Tis heard in spring

When light and sunbeams, warm and kind

On angel’s wing

Bring love and music to the wind.

 

And where is voice

So young, so beautiful and sweet

As nature’s choice

Where spring and lovers meet?

 

Love lies beyond

The tomb, the earth, the flowers and dew.

I love the fond,

The faithful, young and true.

 

John Clare, 1793 – 1864  

 

Under the Quarry Woods

April 26, 2018

9780993017131Under the Quarry Woods by Jeremy Hooker is the third in our series of pamphlets from The Pottery Press. Quarried from journals written over 16 years at his home in a Welsh former mining village, these new prose poems by the eminent poet and critic are alive with observations, impressions, memory and dream.  Forming a meditation on a place and its people, they reveal an industrially- scarred landscape in which the writer finds himself to be at once a stranger and at home – and his response is powerful, moving, lyrical and humane.

As a lettering artist I’ve been lucky to work with Jeremy Hooker’s words for many years now, setting his lines and poems in an on-going collection of artist’s books, many of them in my Singing the Year series of contemporary Books of Hours, and in an artist’s film The moment that holds you.  I found this new sequence as inspiring as ever – subtle, deeply felt, closely observed, visually arresting word-pictures that reveal more than they say.  The harshness of the scarred landscape is illuminated by glimpses of natural beauty and by possibilities of regeneration for the land and its fractured communities – and shadowed by some impossibilities too.

These juxtapositions and contrasts in texture, colour and tone were very stimulating for me as an artist – and for the design of the book cover I looked for an image that combined darkness and light, destruction and tentative regeneration, drawn from the deep woodland landscape.  I chose a photo I took a few years ago of a lightning-struck oak tree in the middle of the woods, surrounded by small oak saplings sprung from its acorns, all under a lowering sky of heavy cloud; dark layers of woodland and cloud-cover, with the small new growth determinedly emerging. Lightning oak with saplings.

For the colour images within the book, I chose a poem from the heart of the sequence:

As I wait in the car four seagulls fly over the supermarket carpark, crying.  For an instant I smell the sea and hear the swash of waves on shingle, curling over and withdrawing.

Distance returns, restless as the tides.

My memory is salt with longing.

I made an artist’s book setting this poem with a sheet of handmade paper the colour of sand and shingle, folded and torn into a sequence of pages, but readily restored to the whole image – and then I painted the image with watercolour and gouache mixed with salt-water, lettering the words with a small driftwood stick and a wooden clothes-peg. The book is called Salt wave, and it’s contained in a portfolio slip-case, shown here first:

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Under the Quarry Woods is available from The Pottery Press at Potters’ Yard Arts for £5.

ISBN: 978-0-9930171-3-1

Contact studio[at]pottersyard.co.uk

The Blue Hour of Natalie Barney

November 3, 2017

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‘They say it takes two to tango, but in my case it’s sometimes three.  Or more.’

Here at The Pottery Press we’re proud to announce the publication of our latest book: The Blue Hour of Natalie Barney, Frances Bingham’s revealing new play which opens at the Arcola Theatre in London on 7th November.  Amanda Boxer (Mosquitoes, National Theatre; Medea, Almeida Theatre) plays Natalie Barney in this world premiere, directed by Kenneth Hoyt.

In the blue hour of Paris twilight, one trailblazing artist paints a remarkable picture of her life, her liaisons and her passionate self-belief.

My cover painting for the book is a watercolour called Twilight in the Rue Jacob and was inspired by a still from Tristram Powell’s 1962 film Natalie Barney, showing Natalie opening the doors of her book-filled room to the leafy shadows of her twilit garden, an image that seemed to me central to the story.  

Natalie Barney was an unstoppable force in modernism and the early gay rights movement.  Her lovers were the most beautiful women of the era; her friends were the most celebrated artists of twentieth century culture.

The play welcomes us in to share a private hour with Natalie and to witness her wild and visionary creed up close; the book allows us to savour again this intimate exchange.  There’s an interview with the actor Amanda Boxer, director Kenneth Hoyt and writer Frances Bingham on Youtube and Facebook, as well as a Facebook event, and Frances has contributed a guest blog post to the Arcola Theatre’s blog, which you can read here.

The Blue Hour of Natalie Barney is Pottery Press Pamphlet number 2, and is available to buy by post from The Pottery Press, or in person from the Arcola Box Office or the Owl Bookshop, Kentish Town, for £4. Or you can order it from any good bookshop with ISBN 978-0-9930171-2-4

 

A walk with Virginia Woolf

September 25, 2017

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The British Library has recently acquired three more of my artist’s books for their permanent collection. The first is called Strand of the Thames, and in it I’ve set an extraordinary entry from Virginia Woolf’s Diary of 1939. She writes about discovering the Thames foreshore in London, observing and thinking as she walked – and so I followed in her footsteps seventy years later, and found everything (everything) still as she described. I made the book in the form of a 1930’s photograph album, with 15 grisaille images of the places where VW’s walking and observing, like photographs in watercolour, and to bring the material presence of the river itself into the book, I mixed the watercolour paint with Thames water. The words are lettered with a little driftwood stick from the river, picked up on that same strand.

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A limited edition of Strand of the Thames

Making editions of my artist’s books isn’t always easy or appropriate; one-off works sometimes don’t lend themselves to duplication in any way.  But I like to make editions where possible, as they are a much more affordable version of the artwork, and for this book, because of the photograph-album reference in the original, I’ve made a quarter-size facsimile (4×6 photo size), constructed in exactly the same way on handmade paper, with black-and-white photographs of the grisaille images mounted with acid-free photo corners. This is a signed limited edition of 20, and the British Library have also added one of these to their collection, but there are a few left available from the studio, at £40 each. [Contact lizmathews(at)pottersyard.co.uk]

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From walking with Virginia Woolf to flying with Maureen Duffy

The other one of my artist’s books that was recently added to the British Library’s collection is Paper Wings.

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One of a special edition of five, this artist’s book is again constructed in exactly the same way as the original. With Paper Wings, the ‘original’ is also a prototype, since I intended to make an edition of the work from the start. It’s one of my all-time favourites among my oeuvre – inspired by Songs for Sappho, a very exciting love poem cycle by Maureen Duffy, which the poet allowed me to set in its entirety and to publish for the first time here at The Pottery Press.

A new love song cycle by Maureen Duffy is an event in itself – and these poems are engaging, witty, moving, personal yet universal, and a profound exploration of all the weathers of love by a poet who brings her years of experience and a deep, sensitive humanity to the work. And the cycle itself is dazzlingly inventive, drawing the reader into the immediacy of the experience with running themes and motifs, contrasting humour and vulnerability, strength and tenderness, darkness and light in the different weathers and moods, the spiralling hopes and fears of a love documented from its beginnings through the seasons of three years, and on into the future.

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I’ve written before here on Daughters of Earth about my work on the book, and its first flight as an installation at Enitharmon’s London gallery. The book itself is now constructed into a double-sided concertina that opens fully to 27 metres long, with each poem-page forming a link in the chain and set so that the first and the last songs are back-to-back, forming an unending cycle within the book, in reflection of the song-cycle itself. This form gave me an opportunity to reflect that infinite variety and inventiveness of the individual poems by giving each a full page of handmade paper 30cm high by 42cm wide, and working on the design of each setting individually, often incorporating materials from the words.

I mixed paint with wine, riverwater, honey, wax, sugar, salt, mud, snow, rain, earth, clay, herbs, tears or blood, and lettered the words with a driftwood stick, a twig from an apple tree, a white dove’s feather, a reed pen, a clothespeg, a chopstick, a hand-cut bamboo nib, a paintbrush and a clay-working tool, as well as the occasional steel nib – and I used many different methods of construction for the pages to reflect each poem as closely and as materially as possible. I’ll show you a small selection of poem-pages here, beginning with Song 42, where it all started for me. I was delighted when Maureen Duffy came to a private view at midsummer 2012 of light wells, my exhibition at The London Centre for Psychotherapy  – and even more pleased when she bought one of the pots in the show. At this private view we talked a little about the possibility of my setting some of her work – I’ve been a very appreciative reader of Maureen’s fiction and poetry for many many years, and wanted to work with her words – and to my great pleasure she was open to the idea. You can perhaps imagine my delight when she sent me this poem a few days later – a poem inspired by one of my own bowls – the latest in the poem cycle she was then writing. And we went on from there:

Song 42

The idea of these love poems as messages flying through space, linking the parted lovers with a strong cord, is one of the themes running through the cycle that evoked very powerful images for me.

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Also present in that first poem-page is the motif of the cosmic circle or sphere, or by extension two parted hemispheres, that conjures Donne – a motif that I’ve referenced throughout the cycle, including the pages for the first and last songs, as well as in the circular structure of the book itself:

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Fifth Song

Many of the poems were written in direct response to a contemporary event; this next one evokes that extraordinary cosmic moment in December 2010 when the light of the sun shining on the full moon was completely eclipsed by the earth’s shadow:

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Third Song

‘Like Hafiz seven centuries ago’, I formed the letters of Third Song with a reed pen from Persia – exactly like those that can be seen in the British Museum – dipped into red wine.  For the next one, I drew and lettered with a traditional Japanese brush and based the design of the image on a 10th Century woodcut from The Tale of Gengi – also written by a woman:

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And for this next one I posed for 32 self portrait silhouettes in a variety of hats, and lettered the poem with rainwater mixed into the white paint:

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For Song 44 I made a snow-cage through which to glimpse the words with white paint mixed into snow-melt:

Song 44

Because I was setting the entire cycle, and couldn’t pick and choose which lines to set, I found one or two challenges to my image-making skills among the poems.  These poems are very contemporary, wrought from the fabric of everyday life, and I’ve never before set a poem with the line ‘my email is down’ –

Eighth Song

– or one referencing a draining board:

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but with both of these, I thought that what worked so well in the poem would also work in the image it evoked in my mind, and just trusted the words – with some success, I think. Some of the poems brought a strong visualisation readily to my mind, and clearly suggested materials I could include – for the next one I mixed the honey-coloured paint with sugar:

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and this one I lettered with a white dove’s feather picked up on Hampstead Heath:

Song 30

For my favourite of all, I mixed the paint with honey, and lettered it with a wicker stick:

Song 33

– and if you look closely, you can see some little stripy bee-shapes in the surface texture of the handmade paper, transferred from the drying towel in the press – another embodiment of the words in the material form of the setting.

Paper Wings DVD

You can see that I took these photographs of each poem-page before the construction of the book, and I used them to make an artist’s film. More than a simple film-of-the-book, Paper Wings the film is an exciting, immersive experience. As the pages turn, Maureen Duffy reads each poem – her lived-in voice bringing a living and breathing presence to the cycle, within a soundtrack of the seasons.

The film is available on dvd from The Pottery Press, for £10. (Contact thepotterypress[at]pottersyard.co.uk)

 

Paper Wings limited edition book

From the photographs I also made a limited edition of 100 full-colour books, bound suspended from a top-binding for two reasons: first, to reflect the form of the installation (where the poem-pages were strung overhead like prayer-flags with the words flying through the air), and also to allow the reader to follow the through-the-year sequence like a calendar, so you can stand the book and turn the pages day-by-day. Each book in this edition is numbered and signed both by the artist and the poet, and again, available from The Pottery Press for £15 – we have a few copies left.

Paper Wings special edition

And the Special Edition of five (one of which the British Library have just added to their collection) is a half-size facsimile of the original, constructed in exactly the same way as the (27-metre-long) concertina book, from full-page digital reproductions of each page and acid-free adhesive. It’s contained in a slipcase made from off-cuts of the handmade papers in the original, and it’s numbered and signed by the poet and the artist. I have a couple of copies still available for £250.

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I think of Paper Wings as a key feature of my continuing Singing the Year collection of contemporary illuminated manuscripts. I’ve enjoyed screening the film at arts festivals, including BABE 2017 at the Arnolfini in Bristol, and turn the page artists’ book fair in Norwich, as well as showing the book at events including The National Poetry Library’s Material Word, and King’s College London’s Fabrication Arts and Humanities Festival. But somehow I feel reluctant to part with the original, which is still with me here in the studio. It took me five months to make, during a time when I was very ill, and it was quite literally a life-saver, an escape from the harsh realities of pain and fear into a world of inspiration and poetry.  It represents for me something inexpressible – as perhaps the best poetry always does – and it gives a material form to a poem-cycle that speaks of unending love. I’ll be reading it again on National Poetry Day.

 

 

 

Past Present at The Pottery Press

September 19, 2017

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The Pottery Press is proud to announce the publication of a new title, the first in a new series of Pottery Press Pamphlets.

Past Present: Piers Plowless and Sir Orfeo

by Maureen Duffy

(From the Forward by Frances Bingham)

In Past Present the coupling of two long poems by Maureen Duffy makes a weird and powerful statement about England on the edge; a land with an imagined mythic past, a millennial present and perhaps apocalyptic future. For the past: her catchy, robust translation of Sir Orfeo, a medieval narrative lay which migrates the Orpheus myth to the England of a folk tale and gives it a happy ending; the classical Underworld becomes Elfland under a green hill, the Arcadian landscape an English orchard.

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Duffy’s skilful translation catches the energy and rhythm of the original, its narrative immediacy and sturdy language, so that the reader experiences it as a bardic re-telling in that truly folk idiom.

And as for the present:

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The New Vision of Piers Plowless is Duffy’s contemporary riff on the visionary medieval poem Piers Plowman – an inspired evocation of everyman Piers and his creator Will Langland with Blake and the protesting Muses in a dark satirical vision of 21st Century austerity Britain.

And where is our Piers who can set all to rights?

Where should we search for him?

Who’ll build us Jerusalem?

Blake’s vision of London as the new Jerusalem, a place of visions and nightmares, is ever-present in Duffy’s London trilogy of novels and her poetry, and in this long poem it inspires her to a magnificent rant, addressed to fellow-author Will Langland who wrote his protest song for everyman Piers and the ‘fair field of folk’ so many centuries ago.

Her protest against a so-called austerity which causes suffering to the poorest in society while sparing the richest, and tries to silence the arts and deplete learning and libraries, has never been more relevant.  But crucially, like her medieval model, there’s robust humour here too – and a breath of hope, a call to arms.

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                                         … I see them stream

as in Blake’s darkest dream over London Bridge…

‘Blake’s darkest dream’, the cover image, is by lettering artist Liz Mathews who has worked with Maureen Duffy’s poetry before, notably in Paper Wings (also published by The Pottery Press).  Liz has also lettered titled pages and painted 9 full-page colour images for Sir Orfeo; atmospheric colour studies rather than illustrations, they accompany the text, dreamlike and evocative.

Frances Bingham, London 2017 (from her Forward)

Past Present: Sir Orfeo & Piers Plowless  (The Pottery Press 2017) £5

contact thepotterypress(at)pottersyard.co.uk

Past Present and Sir Orfeo

Sir Orfeo, an artist’s book

I’ve also made an artist’s book inspired by Sir Orfeo, setting lines from Maureen Duffy’s translation into a work made from a huge single sheet of handmade paper – 2 metres long by 70cm high – torn and folded into a sequence of pages, but readily restored to the unifying whole image, the hero’s name writ large across the sheet like a medieval banner for Suleiman the Magnificent.

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In July the banner was hung as a stage backdrop at the launch event for Past Present at Burgh House in Hampstead, where a capacity crowd heard a spirited reading of Piers Plowless from Maureen Duffy, followed by the premiere performance of Songs for Sir Orfeo, a work in progress: celebrated jazz pianist Dorian Ford is composing a jazz opera setting Maureen Duffy’s translation, and some of the first songs were performed by award-winning world music singer Vimala Rowe. (This exciting event was filmed and will shortly be available on dvd.)

Here is my artist’s book, page-by-page. Each double-page spread is followed by close-up details so that you can read the poem:

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Sir Orfeo is a one-off signed original on handmade paper 2m x 70cm, in a slipcase. £700

 

 

House portraits from Potters’ Yard

July 23, 2016

The Limes (house portrait by Liz Mathews)

I made my first house portrait in 1986 – 30 years ago, and I’m still doing it so it must be an addiction.  I’ve always thought of these architectural studies in miniature as a kind of visual pun – an intimate portrait made from the very same material as its subject – which gives a curiously tangible feel to the likeness.

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I recently had the pleasure of making this portrait of a house built in the characteristic Moffat stonework of its area in Scotland – one man’s childhood home. The commission was to make the portrait ‘as it was one summer in the 60’s’ and I aimed to capture the telling detail that makes a good likeness, but also somehow to catch an atmosphere from memories of happy days. I worked from photographs and descriptions – and very much enjoyed hearing the stories and finding out the details that gave me a strong idea of the house’s feeling. When it was done, he said:

I am very pleased indeed… It is perfect. You caught the grey stone brilliantly, and I love the honeysuckle and the rest… – how well you caught the colour and detail. 

About this photograph, he wrote:

I think the portrait looks even better in real life. I am so glad I asked you to do it.  I love the colours and tones, and the way it looks welcoming and occupied.

and that the portrait is ‘now on show in a room that contains many of the things it once contained’, which I think shows how a portrait can become very closely identified with its subject. The success of a commission for me depends on this identification, where the portrait becomes a palimpsest, taking on qualities and characteristics of the house itself, and containing within its material form much more than appears on the surface.

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I also heard recently about this portrait of a traditional Hebridean blackhouse that I made years ago:

Many many years ago I commissioned you to do a little replica of my parents-in-law’s house. The result was exquisite and to this day it remains one of my mother-in-law’s most favourite possessions.

This lasting quality, how the portrait gives lasting pleasure and contains such significance is one of the real joys of the work to me. I’ve just set up a new website, to show a portfolio of some of my favourite past commissions and also to show how the commissioning process works. As one-off original signed artworks, these architectural portraits in miniature are surprisingly affordable; they start at £300. If you have a beloved building you think might make a good subject, send me a photo and I’ll give you a quote.

For more information, see Architectural reliefs & house portraits

Potters’ Yard house portraits is at http://www.pottersyardhouseportraits.com

A small part of Europe

July 2, 2016
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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

We were in Norwich during the Referendum, at turn the page artists’ book fair 2016.  The fair was wonderful, very busy, with over 60 book artists showing a vibrant and thrilling collection of work, and a large and enthusiastic audience of visitors who were intelligent, informed and excited about the books on show.  The only thing that marred a terrific event was the Referendum result, which had stunned and dismayed everyone I spoke to.  Norwich itself, like London and Scotland, voted pretty overwhelmingly to remain, so at least we had the feeling that we were in a city which feels our European heritage and culture as strongly as we do.  So this is a record of my exhibition, up for a rainy midsummer week in a small part of Europe.

Hot ice and wondrous strange snow

30 artist’s books by Liz Mathews

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Hot ice was exhibited in the foyer and on the mezzanine of the Millennium Library, housed in the stunning glass atrium of Norwich’s Forum, where turn the page 2016 was held.  Our stall was just outside the library entrance, so we were on hand to talk about the show as well as the stand.

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Liz Mathews with young visitors to turn the page 2016, photographed by Frances Bingham

My artist’s film Paper Wings, setting Maureen Duffy’s 55-poem love song cycle, was screened on continuous loop (appropriately enough) just inside the entrance to the book fair.

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I’ve laid out the images for Hot ice in viewing order, to give you a virtual tour, and to show the juxtapositions and relation between the works.

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Hot ice and wondrous strange snow in the Millennium Library, Norwich, photographed by Gary Florance

The show began with midsummer, and The Seasons Alter  (double-sided artist’s book free-hanging in the middle) setting text from Shakespeare’s A Midsummer Night’s Dream with handmade paper, acrylics, rainwater, mud  (can be seen page-by-page on last week’s post)

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2  Swallows on the Thames, text by Matthew Arnold from The Scholar Gypsy (handmade paper, Thames water, acrylics)

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3  Butterfly cloud text by Jeremy Hooker from Butterfly Cloud (handmade paper, birch pole, silk thread)

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– then on to Autumn, with

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4  In the light text by Jeremy Hooker from In Drenthe (handmade paper, watercolours)

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5  Portrait  text by Jeremy Hooker from Self portrait with falling leaves (handmade paper, acrylics and watercolours)

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– then round the corner to winter, and the second side of The Seasons Alter, and

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6  It is a winter’s tale  text by Dylan Thomas from A Winter’s Tale (handmade paper, snowmelt, acrylics)

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7   Light through text from Virginia Woolf’s Diary, 4th January 1929 (handmade papers, acrylics and rainwater)

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– then on towards spring:

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8  32 bar blues  text:  A Quiet River by Richard Price (32 stoneware bars, cotton duck canvas, acrylics and watercolours, silk, wool and linen threads, birch poles and copper pipes)

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9  Hot ice and wondrous strange snow  text from Shakespeare’s A Midsummer Night’s Dream (handmade papers, snowmelt, acrylics)

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10  Spring song  text from Mahler’s Das Lied von der Erde, original poem by Wang Wei (handmade paper, acrylics)

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11  Lark song text from Debris:  A Cycle of Poems by Jeremy Hooker (handmade paper, acrylics)

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12  Green light  text from Green Rain by Jeremy Hooker (handmade paper, watercolour, rainwater)

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– then on to a double-sided seven-fold zigzag group, starting with

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20   All things in flux  text by Maureen Duffy from First Light (a poem about Turner) with handmade paper, watercolour, raw clay slip

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21  Blake’s Graffiti  text by Kathleen Raine from What Message from Imagined Paradise (Thames driftwood (broken wine box), acrylics, watercolour, linen tape and handmade paper)

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22  Four pages from Clare’s Year:  Autumn text by John Clare from Autumn (‘Siren of sullen moods’) with handmade paper, acrylics

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23  Lines and nets text by Jeremy Hooker from Guests of Silence (driftwood, stoneware clay, silk-linen threads)

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24  Four pages from Clare’s Year:  Winter text by John Clare from November in The Shepherd’s Calendar (handmade paper, acrylics)

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25  Pattern text by Virginia Woolf from Moments of Being (driftwood, stoneware clay, silk threads)

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26  No end text by Jeremy Hooker from Written in Clay (Earth Song Cycle) with handmade paper, watercolour, acrylics

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– then round the corner to

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19   Turn  text by Maureen Duffy: Burdsong 20 (handmade paper, acrylics)

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14  By way of words  text by Jeremy Hooker from City Walking II (a poem referencing King Lear) with Thames driftwood, handmade paper, stoneware, acrylics, chalk, rock.

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15  Four pages from Clare’s Year:  Spring text by John Clare from Hymn to Spring (handmade paper, acrylics)

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16   This Earth  text adapted from Winifred Nicholson (driftwood, stoneware, silk threads)

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17  Four pages from Clare’s Year:  Summer text by John Clare from To the Memory of Bloomfield (handmade paper, acrylics)

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18  Rag/Luideag   text by Derick Thomson/Ruaraidh MacThomais from Donegal/Dun Nan Gall (stoneware paperclay pages sewn in cotton-duck binding with linen thread; acrylic paints and charcoal mixed with tea and whisky. Can be read page by page; folds to box.)

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13   Writing it  text:  Writing it by Jeremy Hooker (handmade paper, acrylics, watercolour)

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– then the exhibition continued upstairs

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on the library’s mezzanine:

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27  When I heard you like that text by Frances Bingham from The Principle of Camouflage (a novel re-imagining Shakespeare’s Tempest, set on a coast not unlike North Norfolk’s), with handmade paper, watercolour and acrylics mixed with Thames water

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28  The river’s answer text by Frances Bingham from the same book, with handmade paper, watercolour and acrylics mixed with Thames water

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29  One such night as this text by Valentine Ackland from Every Autumn a wind like this wind blows (acrylics on a huge sheet of handmade paper 2m x 80cm)

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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

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Tatter’d colours (artist’s book by Liz Mathews) exhibited at The Forum, Norwich, and photographed by Gary Florance

30   Tatter’d Colours  text by Anne Finch (b.1661) from The Soldier’s Death. Eight flag/pages made from French canvas linen sewn with linen thread; acrylic paint with charcoal, mud, soot, rainwater, blood; cover made from cotton duck, with same materials – folds and rolls to kitbag case.

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It seemed appropriate to end the exhibition with Tatter’d colours at this moment which marks the 100th anniversary of the beginning of the Battle of the Somme; another small part of Europe which is forever England.

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Frances Bingham & Liz Mathews at Hot ice and wondrous strange snow, photographed by Gary Florance

 

(All photos by Liz Mathews, unless otherwise credited.  Please don’t use photos without permission.)