Untitled is an on-going project which is focusing on the remnants of British WW2 defensive features. This will mainly be centred around the Taunton Stop Line, which runs through Devon, Dorset and Somerset. However other locations will be catalogued also. The end aim of project is to document the Stop line, North to South, in chronological order incorporating mapping in the final presentation. This project will be updated in due course once films have been developed, referenced and a new website built.
Untitled (2016 - Present)
Bramber (2014)
Bramber (2014) encapsulates a small strip of Sussex land through the seasons. Being a stones throw away from where I grew up, this land has always been secure and unmoving to me. The land itself is situated in the shadows of a ruined castle - forming part of its defensive ditches. With these images I have intended to capture the evolving landscape and explore an area in which its purpose has changed due to geographical changes.
I followed in the same vein as from my previous project Danebury (2013), whereby I explored the ancient Danebury hillfort and its earthworks. I felt that with the conclusion of the project, I had left myself with both unanswered questions and a new insight on land I wished to explore. It is the atmospheric feel of a site laden with history that first made me look into the area. It is down to first hand visits and trips that led me to Bramber.
The decision to shoot and explore this area is down to some key points. For me, this strip of land seems alien in its own right. With this being the far least accessible of the defensive ditches, only those with enough purpose or muster venture through here. The numerous footprints in the mud give this away. Yet the feeling of the area doesn’t belay that of a well trodden thoroughfare. It feels hidden, almost remote and somewhat neglected. However, it is this lack of attention that allows it and nature to shine.
It is with these thoughts that I wished to photograph the area. Reading old historical accounts and looking at the lay of the land on maps, suggests the nearby river Adur took a much closer route. It appeared that the close arable fields were once marshes. With the changing of the seasons and the British rain staking claim, the landscape seemed to revert back to this ancient form. It was though with the seasonal weather came a time-honoured change. Almost like the weather could reverse centuries of landscape evolution and transform this patch into a time capsule. With these feelings in mind and this staggering change on hand, I found it to be imperative to incorporate this transient shift.
Left to Right:
Bramber 1 - 2014
Bramber 2 - 2014
Bramber 3 - 2014
Danebury (2014)
Danebury (2014) is the result of a focus on the landscape after being heavily influenced by Paul Farley and Michael Symmons Roberts 'Edgelands', and also Mike Perry's 'London Brownfields'. An inspirational quote hidden within the 'Wasteland' chapter of 'Edgelands' is ‘This whole area was once deciduous forest – Shakespeare's forest of Arden – they are also picking up fainter taste signals from the earth, it’s older seed store, the deep memory of place’ (Farley, Symmons Roberts 2011, P.147).
This sentence jumped at me and set off vivid imaginings of discovering what once was, much like an archaeologist. These imaginings combined with a recent discovery of a book entitled 'Secret Landscapes' set me off on numerous trips of discovery. I mainly focussed on historical landscapes featured within the book and other sites locally. It was during these trips I noticed the way in which the land has healed from these ancient structures but they still bare the scars from them.
It was through the visiting of numerous sites that led me to Danebury. Perched upon a hill commanding serene views of the surrounding countryside is the hill fort. It is a place steeped in history and I could sense this on my first visit. It is now mostly hidden from view due to the growth of trees. However once inside this containment of trees the man-made workings are obviously apparent. It is this sense of seclusion and isolation that first attracted me here. It is though you have stepped into another realm. The site reminded me of the old man-made structures being reclaimed by nature in Perry's work. However the structures at Danebury have undergone centuries of repossession by nature. It is this evolution of nature and traces of past activity I aim to include in my imagery.
Left to Right:
Danebury 1 - 2014
Danebury 2 - 2014
Danebury 3 - 2014
Petworth Revisited
(Click to Enlarge)
Petworth Revisited (2013) captures the grounds of the present day Petworth House as painted by JMW Turner in the early 19th century. The house and the grounds are located within the Sussex countryside and it is somewhere I have visited from my childhood to present day.
I was originally inspired to work with Turners images after looking at the work of John Burke and Simon Norfolk. The collaboration between the past and present works showed me how successful pairing old and new images could be. The two seem to feed off each other - giving new meanings to each works and showing a direct comparison between the ages. What struck me was the underlying timelessness of the works. With time, the equipment and reasons for the conflict has changed, yet the underpinning struggle remains fundamentally the same. This constant through the ages is what greatly interests me. The fact that even with the passage of time, the relationship with the land or its people can be mirrored.
Turners emotive use of colour and the clear admiration he had with the Petworth grounds struck me. I myself have fond memories of the grounds and again I visited them. It was clear that even with the passing of time, the grounds have up kept their charm and allure. It was with subsequent visits that I set about tracking down the views Turner has painted. All with the mindset that these were paintings and open to an artistic interpretation - not necessarily exact landscapes. Taking research materials and books to the grounds proved to be invaluable. When I pinned these views down I found myself with the same sense of wonder and admiration Turner must have felt. The longevity of the landscape out lasted a generation, yet still provides inspiration and idyllic refuge to another. Through my work I hope to capture the timeless feel of the grounds. I hope to ground Turners Impressionistic work within the realms of factual truth a camera can bring. All in all however, I hope to have intertwined both Turners and my own relationship with these grounds, highlighting that the passage of time can have little effect on the atmosphere of a place.
Images 1/6:
Petworth, Sussex, the Seat of the Earl of Egremont: Dewy Morning. 2013 (Left)
Petworth, Sussex, the Seat of the Earl of Egremont: Dewy Morning. 1810 (Right)
2/6:
A Wooded Glade. 2013 (Left)
A Wooded Glade. 1830 (Right)
3/6:
The Landscape at Petworth: The Stag Park. 2013 (Left)
The Landscape at Petworth: The Stag Park. 1827 (Right)
4/6:
Petworth Park, Sunset: with a cart. 2013 (Left)
Petworth Park, Sunset: with a cart. 1827 (Right)
5/6:
Sunset Sky over the Lake: The Boathouse on the Right. 2013 (Left)
Sunset Sky over the Lake: The Boathouse on the Right. 1827 (Right)
6/6:
Sunset Over the Ridge Seen from the North Pond in Petworth Park. 2013 (Left)
Sunset Over the Ridge Seen from the North Pond in Petworth Park. 1827 (Right)