I have spent so long working on the allotment, surrounded by both vegetables and my work, that I feel a bit uncertain now I am working in the graveyard of Salthouse church. I had not thought about this element for a long time, probably since March, but it is equally important to the whole installation. I found Juliet Arnott's work still in tact at the chapel and started by removing all the debris that has collected over the last two years.As I worked on the installation I found I was drawing with the white willow poles, this should have been obvious had I put any thought into it As always I was focusing on the physical, not on analytical at this stage. The similarity of the physical to my original drawing, in form and character still amazes me when it works. The lines have close relationship to those in the graffiti boats inside the church - which I had wanted but not looked at for several months.
The prow of my 'boat' is visible from the steps up to the churchyard - perfect for most visitors to see when they
arrive. But I doubt if they will recognise the shape. I am introducing pebbles into the form, as a reference to the myth about Christian Saints arriving in Britanny in stone boats. That was all that was left on the beach after the boats had rotted away.The lines drawn are white willow, the ties are made by 'cranking' the willow along the length. I find this the hardest thing to get really right, but when it works the knots look elegant.
