Lots of Jane’s work involves repetitive processes. She’s interested in the role of change and error in both the process and materials. Lots of it is collaborative, working with school kids and people from a community, and being generally outdoors, more open to the public. Specific places are important – site-specific work, the tone of soil, as a source of inspiration. Interestingly, she makes here own paper from cotton and linen. I’ve seen this done on Tudor Monastery Farm. Rags are basically shredded and pulped. I could use similar techniques using significant things taken during walks, like Nick Papadimitriou does, to make journal pages like mud, nettles, rotten wood, ironstone, moorland grass. The pages become the entries. Hmmmm…
Daily Walk, a visual diary for her residency in Elmbridge where she worked in- and outdoors:
While making them she bound batches into books, though planned that later on they’d be all cut into a circle.
Very similar is the A Short Walk series – four pieces based on specific routes through the landscape that run from one side of Esher Common to the other. The paper’s dyed and stained with soil and leaves from the route. Below is Arbrook Woods to Longy Down:
Trace Elements uses pollen, mud, pine needles and ash from Eyjafjallajokull, taking in current events from the time – I really like that idea. They look like poppadoms to me…
The Lie of the Land: sheets of handmade paper arranged to create a landscape, inspired by contours on maps:
Similar to this is Accidental Landscape:
This reminds me of those fantastical book sculptures like the one below by Guy Laramee, though flatter, less time consuming and more subtle. I’m pondering summat similar.
Drawing: Circle: “Making it was like drawing in the air, hence the title.” I wonder if, by suspending photographs/objects, I could give the impression they’re frozen in time. They could be suspended in a line.
I like the idea of a book without beginning or ending, though I don’t think that’s what Book is about:
Storytree involves attaching reminisces, anecdotes, plant lists, historical accounts, factual accounts and fairy stories onto trees in woods and common land, putting the stories back into the landscape that created them. Ponsford says she’s interested in the cultural baggage we add to unassuming landscapes. One story tells of four brothers who each take a different path through the woods, diverging from the same spot.
The Medway Shadow Piece series are responses to a specific place/landscape and to found objects from the place. Here, the paper’s coloured with dirt and pigment from the rusty wires. The paper shapes are positioned to catch light and cast shadows. Medway is an estuary so the shapes can’t be trees. Could they be ship’s sails? Dunno.
Homeground is a bundle of paper coloured at the edges with dirt and dust: