marks on silk

As well as the fabric wrappings that I left at Spurn to gather marks from the groynes, I have also made bundles at home with rusty things collected on the beach.  These are all unwrapped now.  The silk practically glows with reflected light and the prints are a curious mix of subtle and strong.

I am planning two large textile pieces for my exhibition, as well as a series of prints on paper.  In terms of a space for showing art the lighthouse is pretty challenging: it is large (!) and there are generally low light levels.  This means that the subtle shades and natural tones that I am drawn to working in won't have much of an impact.  So I must bear this in mind when preparing work to go in the various rooms.  The one space that does have good natural light is the lamp room and this is flooded with it, even on a cloudy day.  I am going to make the most of that and am planning one of my large pieces for this space, where the viewer will be able to see the work very close and in good light.

I will be using the silk that I've dyed using rust and tea and making a kind of art quilt.  I'm going to start putting this together and working on it in earnest next week, when I'm at Farfield Mill.  The painted sketches I did last weekend will help guide me when putting this together and I'm really looking forward to having the space to spread my fabrics out and start fitting them together.

unwrapping

Low tide was around breakfast time yesterday so the first thing I did when I got down to the point was to inspect the fabric bundles I'd left a few weeks ago.  I could only find five of the seven I'd noted down, so two have been lost to the sea. There is a certain ceremony to unwrapping something that has been left like this to develop with hope and expectation.  I carefully snip the string and unwind it, then slowly unwrap the fabric itself.

One had to be dug out of a small dune that had formed against the groyne it was attached to.

The ones left further down the beach, which have been submerged with every high tide, twice a day are certainly more worn with deeper, darker marks.  Those nearer the top of the beach are still very white with bright orange rust marks, so these must only have been submerged a handful of times. 

I took them all inside and up to the lamp room where there is a rail I could drape them over in the sunshine to have a good look.  

They looked well in bright sunlight, particularly the silk, whose creases catch the light in much the same way as the ripples on sand and water.  

There are grubby marks, bits of sand and seaweed, holes where they've been pounded by the waves.  Some bits are rather too much like tie-dye but other parts are really unexpected and beautiful.  I spent a good deal of time on this visit forming a clearer vision of the final pieces I'd like to produce.  The ideas are still growing, and they will continue to do so with the making, but I have a good deal of material to work with now. 

wrapped up

Having undone the bundle I had left on one of the groyne bolts on my last visit I prepared to leave some more to mature for next time.  I'm trying to take marks from Spurn itself, using things that are part of the place.  Because Spurn is a Nature Reserve my work has to have no impact at all on the place.  This means that I can't pick leaves from the sea buckthorn to dye with or anything else along those lines.

The rusty metal that I am finding both on the groynes and lying around on the beach is part of the make-up of the place.  Man-made structures are very much part of Spurn's history and the things that are washed up on the beach are as much part of what Spurn is today as the sand, pebbles, seaweed and plants (whether we like it or not!).  If it wasn't for these additions then the spit probably wouldn't be in the form it is now. 

If I can use these things to make meaningful marks on paper and cloth, with little use of other materials then I feel I am really taking something from the place, making something of the place without any negative impact.  

I'm using the sea water as an agent to help me too.  I do find that the addition of tea really helps transfer marks from the rusty metal onto paper and cloth (see here for an explanation) so I am using that to help, even though that isn't something that occurs here - I have found a few old tea bags in amongst the other flotsam and jetsam, so maybe that justifies that one!  A mixture of sea water and tea from my flask to wet the fabric before wrapping it will hopefully help get things off to a good start and then they will be submerged twice a day by the North sea.

 

unwrapping

On my way to Spurn today I went to Bridlington (it's kind of on the way) to visit the lovely Gallery 49 in the old town.  They are going to show my Spurn work next year and I went to have a chat about that.  The drive through East Yorkshire to Bridlington was wet and horrid and the rain continued on between there and Spurn.  When I got to Spurn the rain had just about stopped.  Finding that the road was closed due to a wash over I walked on the beach near Warren Cottage for a couple of hours and the sun even came out briefly!  The tide was right down and there was mud exposed that forms amazing peaks and troughs, very like the formations of the salt marsh over on the estuary side.

The digger cleared the road after a while so I was able to drive down to the lighthouse.  I couldn't wait to inspect my bundle on the groyne.  It was still there!  Unwrapped and rinsed in the sea I found some interesting marks on the fabric; nothing ground breaking, but a starting point.

The bundle left inside has obviously taken colour from the rusty metal but I decided this could do with another soak in sea water.  I'll leave this one longer before unwrapping.

The wind is really roaring up at the top of the lighthouse but the weather isn't as bad as I expected.  The showers are coming and going and in between there are some beautiful clear but moody views.