Light-Lines

Light-Lines is installed on Salthouse Beach, thanks to all who helped!

On the lanterns and shelters the wording attached is as follows
'The start of a journey or a place to return to, Light-lines may be used as a guide for the traveller or platform for storyteller. Important for explaining and understanding relationships between spiritual and physical, between human and non-human, stories are places of refuge and adventure. Share stories, follow Light-lines.'
To share your stories and pictures of Salthouse 08 shelter and beacons

Email Light-lines@FrostArt.co.uk

With thanks to Ash Soan and his iphone for the attached image.

And to the family whose name I didn't get, sorry. The three year old had the right idea, she knew it was a place to tell stories and demanded one straight away!

Sky lines

Installing the lanterns along the pathway higlights the lines that these forms make. the spirals are open and imply ongoing, allowing the follower of 'Light-Lines' a freedom of movement. The more traditional trap like forms may make the walker to pause and reflect, my intention is not to prevent or block their path. I was conscious of the existing use of one fence post when fixing lanterns, a willow warbler came several times.

The pathway does line up - and is visible from the churchyard, although I intended it I was still surprised. The binoculars may be essential to show some visitors.

beach shelter

Today was spent making the large lantern on the beach, with help from Tim and helpers from the Salthouse 08 'crew'. Thank you to all involved.

Hard work in difficult conditions, the wind was very strong so it tested my design and Tim's ingenuity.
The elements came together, the materials fit in the site and as I completed the beach appeared to 'own' the shelter.

WIll people feel the same

Change of workplace and pace

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.

Transporting work

Taking work to Salthouse has meant taking it in stages, some in my van and some in a hired van.
I rather liked this installation, taken just before leaving with the second load.

Lantern form

Today I was completing the lantern top, and the sun was shining, with almost no clouds in the sky above. The blue is so infinite I had to take pictures. The colour and skeletal form remind me of the church windows.
When making work it is so difficult to visualise the real physical effect in three dimensions, the form and materiality which were not there before.

Shelter taking form

The shelter is taking form, constructing on the allotment is a great feeling, the space changes again and more interest is developed. The other allotment holders seem to be more and more interested, if somewhat bemused by what I do. Their comments are encouraging, when I make 'real' baskets to learn the skills they seem to be able to relate more to the unusual forms.

Making a prototype always takes so much longer, if I ever have the chance to make another it will be so much quicker. I have worked out how to make the elements and be able to transport them, setting the base and top ring in advance.

Finding the Line

I spent some time today finding the line for lanterns along the path and on Salthouse beach, some of it meant walking backwards with a cone of string.
A strange activity, it reminded me of Tim Ingold's book 'Lines - a brief history' and the links between places and people that are invisible most of the time.

It is difficult to visualise the real effect, but the more times I visit Salthouse the more I am sure of the 'rightness' of placing this work here and now.

Materiality and making

Working on the elements of Salthouse structures I am becoming entranced by the materials and techniques, colour and form of the willow as it takes shape.
The smells and humidity, the almost industrial repetitious aspect of making multiples has the feel of cloth weaving. The other allotment holders are making comments and showing interest in what I am doing.
The alloment shed is getting crowded, the space feels very small now.

Relatively Slow

Since coming back from Cape Verde time has gone so fast, I now want to return.

Slow Making is always at the back of my mind, even though I am not good at doing it in practice.

A Slow Making conversation took place linked to Lyndell Phelps exhibition 'Coded Ornithology' at The Babylon Gallery

Participants were Dave Pritchard, Steve Bramble, John Fanshawe, Lyndell Phelps, Tim Frost, Jane Frost, Andy O'Hanlon.

It has taken a long time to put work together for Salthouse, including the years since 1968, journeys and experiences, spiritual and physical. I am beginning to make the elements for Light-Lines, learning more all the time.
The making prcesses are the same as those for baskets, and through trying to make a traditional basket I have designed the structures more consistently.