Beauty of Nature: Incompetence of Painting, a Talk by Dr Mike Pringle

 We were very pleased to welcome Dr Mike Pringle, a professional in the arts and heritage sector, for our November Zoom talk. For those not yet familiar with Mike, there's a great interview with him here where he talks about taking over the Richard Jefferies Museum over 10 years ago, and the way forward, and here's more information on the Green Rook website.

 I slightly worried by the title of the talk, it's challenging, but being Mike, he researched it very well, and he treated us to a fantastic slide show of photographs, many of which appear in his latest book, out soon, and all taken by local photographers. I did my usual photographing from the computer screen, but it gives you an idea of some of the images Mike talked about.

Mike started by talking about a Lascaux cave painting estimated to be 17 thousand years old, and invited us to compare the depictions of the animals with what those animals may have looked like.

The next painting depicted two horses, the one on the left is fairly horse like, but the artist had clearly not seen a horse from the front.

Depictions vary, and artists can produce photorealistic paintings of horses, do they capture the beauty of the horse? Mike then introduced the writer Richard Jefferies who grew up at the farmhouse depicted here by Tim Carroll.

Jefferies loved the countryside around where he grew up, his parents were farmers, his sister Sarah painted these cattle seen below.

Jeffieries was a nature lover, he had a passion for the countryside, and created a fantasy world around Coate Water as Bevis. He is known for his depiction through words of the countryside around him, he was a landscape painter in words, and struggled to find words to describe the wonder of the natural world, just as a painter might struggle to find the right paint to depict a landscape.

Jefferies was the first person to use the word wildlife rather than wild life, in his book Wildlife in a Southern County. The OED mentions the first used the term in 1879 by Jefferies, in some cases the cover of the book has Wildlife and others Wild Life. It wasn't until 1982 that the term wildlife was in common usage and appeared in a dictionary with Jefferies listed as the first person to coin the term.

I've included a painting of the Old Town Mill above and Jefferies farmhouse below

I think this is a photograph of Coate Water with the diving board on the right

And below this is 'Gamekeeper's Cottage, Hodson' by Frank Quentin, I wondered when it cam eto this point whether Mike thought that Frank had captured the idyllic nature of the cottage.

 

Mike used Tara Parker-Woolway's painting of Liddington Hill to compare a photo of the hill with Tara's painting. He wondered why she had transposed it, the reason being that Tara lives in Bourton and saw it from a different perspective.

Below is Turner's depiction of a train, Mike felt this was an abstract painting, but I can see identifiable things in it.

It was certainly a very thought provoking and fabulously illustrated talk. Thank you Mike. I look forward to the publication of your next book on Jefferies in 2021.

I hope this is a copy of the video of the talk, when you can find what Mike really said:

https://youtu.be/Tm9y3JVcjd8

 

From Seed to Steel: a talk by Joseph Ingleby

 For our last Zoom talk, we were very pleased to welcome Joseph Ingleby. whose sculpture, 'Turtle Storm' has resided in Queen's Park for the last 25 years. Fascinated by the sculpture, and the person behind it, I looked up Joseph, found his website, contacted him and asked if he would consider talking to us via Zoom. Based in Glasgow since 1989, there is no way we could have brought him to Swindon in person, but I am really pleased we were able to find out about his subsequent work.

Let's start with the sculpture 'Turtle Storm' seen below:

This was a response to the effects on a turtle colony of nuclear testing in the Pacific in the 1980s, it is composed of irregular natural forms including turtle shells, making an abstract work. It started life at Kelmscott Manor from 1989-94, and when Kelmscott was run by a Trust, a decision was made to have only artefacts on the premises made by William Morris. Turtle Storm was then donated by the Dufty family to Thamesdown who sited it in Queen's Park. Thank you to Angela Atkinson for this information in her 2015 blog piece on Queen's Park, which can be read here. Angela has written a blog piece in response to this talk, mainly about 'Turtle Storm', lots more information on the piece here.

Joe seems to have been influenced by natural forms, converting them into large steel structures, or not so large structures. I took a series of photos from the screen and took copious notes, starting with this one, 'Shelf Life' described as 'man made with an organic twist' by Joe

Flywheel seen below is a post graduate piece made from sheet metal

Spring Release below, made in 1992, is made from forged metal, and has much energy and movement in the piece

I don't think we were ready for 'Time Vessel' a breath taking commission on a large scale, it's a plate copper sculpture reminiscent of a ripening seed pod and can be found in Alloa, commissioned by Clackmannanshire Council.

This podded fern was commissioned by Sustrans

'Slipstream' was commissioned by Scottish Enterprise, Lanarkshire for South Lanarkshire Council, and now stands beside the river Clyde at Dalmarnock Bridge, Rutherglen, Glasgow, as you can see, it's lit at night.

Not all pieces are very large, Greta's Star celebrating his daughter's birth, is a copper sculpture

Joe starts with drawings, he showed us the drawings made before 'Turtle Storm' and also for

'Waterland' about freshwater life, and below, the scale models for the resulting sculpture in Nottingham

Joe also talked about the River Wall sculpture which is opposite Slipstream, there are lots of photos online, and it's a large piece, click here to see it, and lots of other images of Joe's work

We were then privileged to hear about Joe's latest work for Lerwick, Shetland, shown above are preparatory drawings, and below scale models of the abstracted guillemot's egg

and as seen below cut open to reveal elements of Shetland

For the definitive, accurate version of the talk, please click on the link here:

https://youtu.be/xOBwohIseD8

Thank you once again Joe for a fantastic talk.

 This was the information Joe gave us to publicise the talk:

 'From Seed to Steel' Joseph Ingleby is a sculptor working in metal, his work informed by an interest in nature and its uneasy relationship with the man-made. Based at Glasgow Sculpture Studios since 1989, Joe makes both large-scale works for outdoor public spaces, as well as smaller pieces for exhibition and interiors.Sculptures in the public realm are site-specific and draw on themes that reflect both historical and contemporary aspects. It is these‘hidden histories’ with their rooted points of reference, giving clues to the nature of the place, that he sees as the focus for the creation of his public artworks. In this talk,Joe will retrace his creative journey since the making of‘Turtle Storm’ in 1986, giving insight to his methodology and his artistic development as well as the importance of drawing to his practice. He will also consider how he works on a practical level–the materials he uses and how he constructs his sculptures. Illustrating how the commissioning process happens with its various key stages, Joe will show examples of some of his public work, as well as the small-scale gallery work that is the bedrock of his practice, enabling a constantly evolving approach of focus and refinement.Joe trained at West Surrey College of Art and Design, Farnham (now University College for the Creative Arts) graduating in 1986, and then at the Slade School of Fine Art, London,in 1988. In 1989, seeking affordable workshop and studio space, he moved to Glasgow and has developed his work at the GSSsince then. He has exhibited and had commissioned work located across the UK. Significant major awards include from the Pollock-Krasner Foundation, New York, in 1996and the Gottlieb Foundation, New York in 2013.

Art On Tour Goes Outdoors!

Yes that's right, the fabulous Art On Tour duo, Katie Ackrill and Mags Parker bring you Art on Trees in Swindon Parks for the whole of October.  It's a great idea, and of doesn't involve actual artworks being strapped to trees, but photographs of 10 paintings appear on banners with extra information, and they are then tied to trees. It's a great way to encourage families to get outside into parks before we descend into winter.

This initiative started last week in the Town Gardens, and somehow the week flew by, and I suddenly remembered last night that I hadn't been to photograph all ten of the artworks. I was up bright and early this morning, arriving at the Town Gardens before 9am, and was pleased to see the poster on the gate advertising Art on Trees, but on entering the park, I noticed the first poster featuring the work 'Girl Selling Flowers' by Desmond Morris had disappeared. I looked round and saw that 'Studland Bay - A Black Sea Coast' by Roger Fry was still on its tree. Walking towards the rose garden, I noticed Katie and Mags beside a tree with 'Ship Amid Tall Waves' by Alfred Wallis, they were in the process of taking down the display and moving it to Coate Water.

Here are the photos I managed to take, sadly I'd missed quite a lot of the pictures, you can see them on the website, or by visiting Coate Water this week, a much better option.

 

After this I went round with them as they took down the rest of the banners:

Above 'Back of the Granary, Poland' by Robert Bevan, and below Katie undoing the ties

I did manage to see half the works

It's worth a trip to see all of them at Coate Water this week, then they move onto Stanton Park, and Lydiard Park. To find out more about the outdoor activities offered by Art on Tour, do have a look at their website. 

There's a post about outdoor sculpture, and information to start you thinking about it. Which brings me neatly round to our next Zoom talk on 22 October, by sculptor Joseph Ingleby on his sculpture 'Turtle Storm' which has been in Queens Park by the pond for quite a number of years. Here's a reminder of what it looks like:

I've also found a poster with all the dates on it:

.

The Stones of Swindon- A talk by Michael Gray

 For our last talk, we were pleased to welcome Heritage Architect Michael Gray to talk about the Baptist Tabernacle, which stood very near the centre of Swindon where the current Pilgrim Centre is now situated. Michael is interested in finding a new purpose for the Tabernacle Stones, and in thinking about it, suggested a project which would be unique to Swindon. This was the online introduction to the talk from our website:

'In 2006 Swindon Borough Council took delivery of 2,000 large carved limestone blocks, that when re-assembled make-up a giant temple front that once adorned the centre of Swindon. The Council had aspirations to re-instate this local landmark as an expression of civic pride but despite their noble ambitions, the portico remains in pieces, stored away and almost forgotten.

In this talk Heritage Architect Michael Gray explains the history of the stones, their classical design and meaning. He will discuss similar projects that have involved the reuse of classical artefacts, and examine the ideas that have been suggested for the stones before introducing a new scheme for discussion.'

 Michael began by saying a bit about the buildings in the centre of the town, here's the first Baptist Tabernacle built in 1865 on the corner of Bridge Street to accommodate the growing numbers of railway workers:

In 1891 the Town Hall, designed by Brightwen Binyon was built half way between the railway Village and Old Town, possibly creating a centre of the town, on land acquired from Colonel William Vilett Rolleston. But before getting further into the history of the Tabernacle, Michael gave us an interesting thought: big, important roundabouts often have monuments in the centre of them, think about the Arc de Triomphe in the centre of Paris:

Holding the thought of the fabulous Arc de Triomphe, it was a small step to consider that perhaps the Tabernacle Stones could be reassembled in the middle of our iconic roundabout? It's a great image, and a great thought, but totally impractical.

By 1886, a larger Baptist Tabernacle was needed, two architects were selected to design a building, a Mr Read was selected, and as was the fashion at that time, the building was of a classical design, influenced by Andre Palladio, 1508-80, and the subsequent Palladian movement. 

It can be seen above, it required 300 tons of Bath stone to build, and was 15 metres wide, and 11 metres tall, as you can see there are 6 Greek columns at the front, and behind the impressive facade, is an ordinary building which seated 1000 people, more than the Mechanics Institute which could seat 900.

Above plans of the front of the building, and below with little or no regard for health and safety, two workmen can be seen cleaning pigeon poo off the ledge at the top of the front of the building. This was thought to be in 1950.

As the congregation declined, other uses were considered for the building, one of them being, as a home for Swindon Museum and Art Gallery, which had been in Apsley House since 1930, that didn't happen and in 1976, there were demonstrations and speeches by Sir John Betjeman about how it must be saved. Demolition despite protests took place in 1978, with Peter Shaw giving consent.

It looks as though it was demolished using a skip on a chain. The stones however were dismantled and saved, and a couple of buyers came forward wanting to add the columns to the front of their house to gain the Croome House effect, as seen below:

Stanley Frost was a potential buyer, but couldn't get planning permission to add them to his house. Neil Taylor also bought them and took them to Northampton in 1993, but again couldn't get planning permission.

The idea of erecting the stones again in Swindon has always been very popular, and in 2004, it was proposed they front the new Museum and Art Gallery beside a new shopping centre with a curved arcade, linking to the Brunel centre. Modus Limited, the company behind this went bust in 2007/8, and that was the end of that plan.

This is an interesting view where you can see that behind the museum and art gallery, there was a plan to build a very large tower block.

The stones are now up at the Science Museum site near Wroughton and are capable of being reassembled and being very fine quality dressed stone, they have not deteriorated

Here's a reconstruction of what remains:

Michael went on to consider where it was possible to erect Palladian columns, in the landscape, as in this Poussin painting? Lawn maybe?

 Lawn possibly?

By a swimming pool as at Casina del Lago, how would they translate at Coate Water?

As these examples show, it would be amusing to erect the Tabernacle Stones in random places around Swindon, but maybe far better to put them as the frontage to a new museum and art gallery in the proposed Cultural Quarter in the centre of town? This is something we need to consider as plans for moving the museum and art gallery collections from their current home in Apsley House move forward.

And coincidentally, today Swindon Libraries have a jigsaw of the Baptist Tabernacle to do, why not have a go? 

Click on the link below to see the video of the talk:

 https://us02web.zoom.us/rec/share/A1DVBoUvoniF0P38gsS0gCsGMujvLEo_vrTlH72RH7ODFFJe4z9gbc2MaSjksv8.vS8igybM_QV0rZ1e Passcode: 18.&SJ+j

Sculpture in a Landscape 1969 - 2020 at West Leaze

 This sculpture exhibition was to have been the Friends fifth and final visit of the year, but due to restrictions imposed by Covid -19, this has been the only visit which is able to take place. Because things are happening differently this year, we have not been able to travel together in a coach, or car share, but we are going independently. I visited yesterday, and wanted to encourage everyone who can do so to visit this very special exhibition in the fabulous garden at West Leaze where the 1969 exhibition took place.

Their website gives this introduction:

'This year our exhibition, ‘Sculpture in a Landscape 1969 – 2020’, has a rather different focus from our previous shows. In 1969 the same property was one of the first private gardens in the country to be used for showing contemporary sculpture. That exhibition was organised by sculptor Roger Leigh and his wife Pat. It featured 18 sculptors many of them with reputations that survive to this day. They included Hubert Dalwood, Denis Mitchell, Henry Moore, William Pye and Austin Wright. The Wiltshire archives hold many of the papers about this exhibition and visitors to the exhibition will be able to get an insight into that event. Work by several of the 1969 artists will also be on show.'

Yesterday was a glorious day to visit, the sun shone properly for the first day in a while, and everything was seen at its best, although not all photographs turned out well, so what follows is a mixture of what photographed well, and things I loved. The sculptures were set out on a slope dipping away from the house in uncut grass with paths mown through, making it perfect for wildlife and chalkland flowers. The sheep in the first photograph look very realistic, and looked fabulous beside the beautiful conifer, they are by Jon Barrett-Danes and are resident in the landscape, they were missing lambs and a dog which have now been installed. Included in the entry fee of £7.50 is a magnificent catalogue giving an excellent summary of each sculptor taking part. If you have visited once, you can return to the exhibition provided you bring new visitors with you, well arrive at the same time.

This installation of five pieces 'Occelli' is made of copper and glass by Peter M Clarke are really reminiscent of .seed heads.

I suddenly saw scabious flowers

and harebells among the grass

And then noticed one of Sara Ingleby-Mackenzie's wonderful creations, 'Uptown Girl' beside the summerhouse. I first encountered her work at Urchfont Manor in 2018. Sara has been creating unique sculpture since 1982. More on her website

Everything at West Leaze has been carefully orchestrated, in the nicest possible way, and this includes things like this delightful planter in front of the summerhouse

The physicality of this work, 'Themis' by Tobias Ford made from welded steel which has been rusted and cured is magnificent.

And now I'm including photos of another two pieces by Peter M Clarke. He says: 'The essence of nature-the patterns, shapes and textures to be found on leaves, bark or seed - provide the inspiration behind the creation of my metal sculptures'

Above 'Pynaceae'. copper on wooden plinth, and below 'Copper Leaf'

Tim then drew my attention to the bark on a nearby tree:

This 'Murmuration' by Diana Barraclough worked really well.

Below Dominic Clare's 'Succession 2020' in western red cedar is an impressive piece. The wood has been shot blasted and burnt exposing the grain by blowing away the soft summer growth. When looking at it, we spoke to someone who has visited his workshop.

We were by now walking uphill, and towards the pond which gave us more entertainment, we stayed for at least 15 minutes watching dragon flies chasing each other around, and water boatmen ducking and diving in the crystal clear water.

I asked permission to photograph this woman posing beside John O'Connor's 'Spring' sculpture.

Matt Maddocks' sculptures on the grass, in the sun looked great, this one is 'Creation' grey granite mirror polished

and this is 'Aurora' in grey granite

Below this is titled  'Dreams Remembered' by Lucy Lutyens

This was a lovely sitting area to one side of the house where pieces by Jane Muir were displayed, I liked the artichoke so much I bought a small one in the shop. It looks lovely in the garden, and a great reminder of the visit.

This piece by Peter Hayes right in front of the house was fantastic. I really admired his pieces in the exhibition at Swindon Museum and Art Gallery. There must be a record of it in this blog somewhere.

I'll include another of Sara Ingleby-Mackenzie's girls in long high heeled boots.

The signboards were designed by Mollie Gratland and were fascinating.

I have included a letter from Desmond Morris above, there's information about West Leaze below, and Jimmy Bomford also attended the private view of the 1969 exhibition.

Thank you to everyone who made this such a special exhibition, with special thanks to Lesley Andrews who curated the exhibition. Please spread the word about it.

Tickets are available on the website and must be bought in advance, the exhibition continues until 27 September, and is open every day but Monday and Tuesday.