The Mothership residency is based on an organic farm in Dorset. It provides the opportunity for contemporary artists working in any media seeking a secluded retreat and potential collaboration. The residency explores the themes of climate/weather, rural/social/political issues, land/agriculture, and is run by artist Anna Best Mothership web.
My ideas leading up to my Mothership residency were based around Daylight Saving Time and the ‘loss’ of an hour on October 30th. I had some pretty firm ideas of what I wanted to do. I was interested in what happened during this lost hour, and thinking about work that was time based rather than site-specific.
Once at the Mothership my ideas evolved as I decided to follow a more relaxed approach, an approach that allowed an element of play. Although still immersed in the concept of time I decided to follow my instincts rather than a pre-determined path. Consequently the work evolved to become much more site-specific.
In the end the three pieces of work I started and continued to make months afterwards are pretty dark, heavily centered on Autumn exploring the feeling of losing the light and maybe life itself.
Almost the first thing that happened when I arrived at the Mothership was finding a dead pheasant that Curly the dog had just killed. This was quite a shock and injected a dose of reality into an early conversation with my host Anna. This episode pushed my thoughts from autumn and darkness towards death! I collected some feathers and with a found object made a dream-catcher like pendulum that is the focus of the film loop.
Fall, leaves, Fall (Intervention)
The Mothership is surrounded by Woodland. These generate large amounts of timber; found stacked at various points around Copse Barn. The process of woodland management has interested me for many years, specifically since a 2011 residency ‘Rural Idyll’ in Suffolk. A particular aspect is the marking of trees for felling and the use of fluorescent spot marking spray. Numbers and lines are often found, but never letters and certainly not words. ‘Fall, leaves, fall’ aims to correct this by marking a timber stack with the first three lines of the poem Fall, leaves, fall by Emily Brontë
Fall, leaves, fall; die flowers away
Lengthen night and shorten day
Every leaf speaks bliss to me.
I transcribed the first three lines of the poem onto a stack of timber next to the Mothership allotment. The marking spray is not the easiest to use, and even though some of the letters are difficult to read I decided to just go with it and enjoy the process.
Forest Floor(Moving image)
I brought some solar powered garden lights with me to the Mothership, thinking I might make a piece of work with them. I was interested in way solar uses energy from the previous daylight hours to illuminate the darkness today. The rope swings hanging from the giant oak tree opposite the studio grabbed my attention. Their pendulum like motion akin to workings of a grandfather clock.
Although the use of solar lighting proved impractical I persevered with using a combination of torches and the rhythm’s rope swings created to illuminate the woodland floor. My work has always between as much about what you can’t see as much as you what you can see. Forest Floor plays with this idea, by revealing and then hiding the vegetation of the woodland floor, forcing your mind fill in the gaps.
Mothership residency Oct/Nov 2016