Residency at the National Trust’s Bucks Mills Artists Cabin #2

BM05, ‘The Cabin from the beach’, Oil pastel on silk art paper 13.5 x 8.2cm

After my last entry which was somewhat concerned with the Bucks Mills venue and its interior decay, I showed a few examples of the Pebbles. This series amounted to some 30 sketches and subsequently has developed work in the studio where I am able to work up the drawings both in technique and scale. Below are two examples:

Pebble series #30, Oil pastel on silk art paper 32 x 45cm

Pebble series #31, Oil pastel on silk paper 32 x 45cm

But the coastline was compelling both on the small and large scale. So here is some of the other work done there. As mentioned before, I felt the urge to disappear into the woodland: 66 steps both east and west, up and down a steep climb. There were some overgrown steps on the western side; coming down first time I did an ungainly skidding swallow dive coming down painfully on my left wrist. Fortunately no lasting harm done and not my main drawing hand. It wasn’t this that deterred me from going back there time and again, it was realising that I can study woodland to my heart’s content at home and that it was the coastline which was the whole point of me being here.

BM06, ‘Woodland’, Oil pastel on silk art paper 23 x 32cm

BM02, ‘Tree trunks’, Oil pastel on silk art paper 13.5 x 8.2cm

At first I was inspired by ‘Bideford Black’ (a pigment historically mined just up the coast http://bidefordblack.blogspot.co.uk/p/history.html) to work in monochrome and while this was satisfying I felt unable to get the quality of the limpid light. Though I did try and these are some B&W sketches.

BM15, Oil pastel on silk art paper 8.2 x 13.5cm

BM01, ‘Coast westward towards Clovelly’, Oil pastel on silk art paper 23 x 32cm

BM18, ‘Coast eastward to Hartland’, Oil pastel on silk art paper 8.2 x 13.5cm

After to some extent abandoning this rather artificial monochrome constraint, I did do more work in and around the woodlands in the company of my parasitic arachnid friends…

BM10, ‘Edge of woodland’, Oil pastel on silk art paper 23x32cm

… but concentrated thereafter on the cliffs and shoreline.

BM11, ‘Cliffscape’, Oil pastel on silk art paper 8.2 x 13.5cm

BM04, ‘Coast east to Hartland’, Oil pastel on silk art paper 23 x 32cm

BM13, ‘The red cliff’, Oil pastel on silk art paper 23 x 32cm

BM12, ‘Vegetated cliffs’, Oil pastel on silk art paper 8.2 x 13.5cm

I have subsequently been developing the Pebble series because of its enormous possibilities. I’ll post some of this work later and hope also to show some paintings from these same sources before too long.

 

 

 

 

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Residency at Bucks Mills Cabin

Two weeks of intensive focus on Art at this majestic venue has now finished leaving me tired but with a body of work which ultimately feels worthwhile. “Majestic”? This is the location, not the actual cabin, which is anything but majestic: dilapidated inside with very little of the spirit of those two lady artists, Mary Stella Edwards and Judith Ackland remaining despite their artefacts being everywhere. Nevertheless, I feel very privileged to have been given this chance of residency at what the National Trust calls an “Artists Retreat”. I should have liked it to have been both: a residency and a retreat. It was neither really: one couldn’t reside there (sleeping was not allowed) and the continual footfall of visitors past the door made “retreat” impossible, at least for me.

Let me hastily qualify the above criticism by acknowledging the difficult position NT must find itself in with regard to this unique place. Deciding how to preserve or conserve perishable textiles is very difficult but there is little inside the Cabin which could not be resolved by a good clean and refreshing of some of the furnishings: the carpet and curtains in particular. Anyone who knows me knows that I am not a pernickety person (ask my wife) and well used to roughing it, but I was upset about the disonance between the spirit of Edwards and Ackland and the state of the cabin interior now. They were sophisticated, educated and well-to-do ladies who would not, I’m sure, have tolerated such decay.

There is a vast difference between that and a simple frugal lifestyle. I was told that the dirt was “original” and that the cabin was as it was left by the lady artists but a lot of the grot has been left by subsequent users – and not, I’m sure, by previous artists, who would have all treated the cabin with great respect. [I hear the cabin was used for parties etc between 1971 and ownership by the Trust in 2008.]

Fabrics decay. Should they be allowed to, in honour of their provenance – ultimately to disappear completely – or be replaced by facsimiles the better to convey the original style? Is it necessary, by virtue of dust, dirt and decay, to convey the impression of a ‘time capsule’? I think the Trust should address this question as a matter of urgency. The beauty of Bucks Mills is its inspiring location and the spirit of Ackland and Edwards. It is wonderful to have their belongings as left by them and there is enough documentary evidence to keep it very much the same. But it really does need some sensitive TLC. It was the spirit I tried to tap into.

Although a good part of my working life has been on western UK cliffs and coastlands, my natural inclination is always towards woodland, and there are superb tracts of ancient woodland east and west from Bucks Mills. It was here I first gravitated, spending time in the company of what appeared to be an epidemic of ticks before coming to my senses and realising that the main point about being at the Cabin was the coastline. And so thereafter it was here I mainly concentrated, becoming intrigued by the endless jumble of rocks and pebbles played upon by the light, weather and tides which made each day very different from the preceding one.

The coastline looking west.

I hope to be posting some other examples of work here and the entire body on my website in the near future. Below are a few examples from the Pebble series. My main medium was oil pastels on high gloss silk art paper in self-made ‘sketchbooks’. I also use chinagraph pencils. These media allow a lot of flexibility. The more I worked, the more I became aware of the magnificence of Jackson Pollock’s intuition – instinctive painting and mark-making.

Some of the studies will lend themselves to larger oil paintings, and I’m looking forward to that. I will post more results soon. Please leave comments, I will greatly value them.

Pebble series #15, Oil pastel on silk paper 23 x 32cm

Pebble series #20, Oil pastel on silk paper 32 x 45cm

Pebble series #13, Watercolour 23 x 33cm

Pebble series #6, Oil pastel on silk paper 23 x 32cm

Pebble series #1, Oil pastel on silk paper 11.5 x 16cm (the first small study).

Pebble series #4, Oil pastel on silk paper 23 x 32.3cm