Bird Life in the Dales

I’ve just been to the Dales Countryside Museum for the ‘big handover’ of all of the prints that I’ve taken from Marie Hartley’s wood engraving blocks. There are two sets of 129 prints made from 127 blocks (2 were double-sided!). I had to leave the linocuts unprinted because they’d degraded over time and become hard, cracked and warped. I didn’t want to damage them further and, although I tentatively tried to print one block, I wouldn’t have been able to get a decent print from them. I’m really happy to have played a part in this important archive and to help realise one of Fiona Rosher’s dreams for the museum. I then spent a couple hours reading some of Marie’s diaries that she wrote when she was working and living with Ella Pontefract and then Joan Ingilby.

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The diaries often contain illustrations, poetry, natural objects, christmas cards & other ephemera.

I have just read the heart-breaking entries from the time of Ella’s death and the year anniversary of it. I will write a little more about the women’s lives and the important part that Joan’s friendship played in helping Marie to recover in another post. The diaries that I have just been reading were written before, during and after the second world war and provide a fascinating insight into how it affected the people living in the Dales.

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An entry from 1950 which included petrol rationing tokens.

I’m currently visiting different areas of the Dales (written about in Marie’s books) with a view to collecting ideas for new work and I’m taking photos and making notes of what I see. I’ve got various lists of all the wildlife that I’ve been seeing and I was delighted to find numerous entries in Marie’s diaries that record the birds that she saw each year.

IMG_6152IMG_6153IMG_6158IMG_6154I think that one of the most poignant things is the fact that she refers to seeing corncrakes near Askrigg and these have now vanished from the Yorkshire Dales. I’ve been out and about and seen some really amazing wildlife. Here are some collages of photos taken on my visits to Muker, Keld, Penyghent, Plover Hill and Semerwater.

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Top L-R: lamb on Kisdon, eggshell at Snaizeholme, Lapwing above Stalling Busk. Middle L-R: Red squirrel at Snaizeholme, Curlew, fox cub. Bottom L-R: pied wagtail at Malham, me on Kisdon!, sheep on Kisdon.

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Top L-R: primroses on Kisdon, cloudberry on Plover Hill, Birds Eye Primrose near Yockenthwaite. Middle L-R: Saxifrage on Plover Hill, Bluebells on Kisdon, Mountain primrose on Penyghent. Bottom L-R: cotton grass on Plover Hill, Purple Saxifrage on Penyghent, meadows at Muker

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Top L-R: Oyster catcher at Keld, Wheatear at Muker, Ring Ouzel near Plover Hill. Middle L-R: Sandpiper at Kisdon Force, Lapwing above Stalling Busk, sported flycatcher at Muker. Bottom L-R: Meadow Pipit on Penyghent, canada geese with goslings on Semerwater, grey wagtail at Kisdon Force.

I often run my routes because it means that I can go further and to places that I wouldn’t get to when walking. I don’t mind getting wet in bogs or scrambling through heather when I’m in my running shoes and I also find that I see far more wildlife and the animals and birds seem less bothered by me. I often spot things and hide out of sight so I can watch without disturbing. For me, these times are some of the most joyful in life. I gain a clarity of thought and I often solve solutions to my printmaking conundrums as I’m running up a hill or across an open moor. Running can be meditative and it is the perfect counterpoint to my sedentary days in the studio.

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A golden plover seen near the cairn at the summit of Kisdon yesterday.

I carry a small Canon Powershot camera that fits in my hand or a bumbag and I chose one with a powerful zoom lens. I’m really enjoying sketching from life for this project and am looking forward to doing more landscape studies ‘in the field’ but it is virtually impossible for me to draw fleeting encounters with birds and animals and so I have always spent time watching to get to know them and then used my huge reference library of photos to help me get accurate details in my prints. The rest is then left to my imagination, my memory of landscape and artistic licence! I have enormous respect for the likes of Robert Gillmor who has spent a lifetime studying and drawing birds from life in order to make his exquisite prints.

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Top: Studies from life of grasses and meadow plants which were made to understand the structure for when I am cutting my collagraph prints. Below: lapwing studies made from my photographs to help me understand how they fly so that I can make prints that capture the essence of their behaviour.

Marie, Ella and Joan spent their lifetimes getting to know the Yorkshire Dales and their books are as much about the people living there as of the land itself. Marie’s diaries have many entries about time spent with fascinating people learning about life and traditions in the Yorkshire Dales. Whilst I’m not aiming to write a book about the people of the Dales, I do hope that the artwork I make will show how the landscape has been shaped and moulded by the farming, mining and other human interactions with the land and how, in many cases, that has made incredible habitats for wildlife to thrive. As a result of this project, I’ve already met some really interesting farmers and landowners who have made conservation a priority in their work and I hope that will be reflected in some of my prints.

Sketchbooks and Wood Blocks

At the time that I’m writing this, I’ve just printed the last of the Dales Countryside Museum’s collection of wood engraving blocks created by Marie Hartley MBE. I’ve completed ten public sessions at the museum and met some very interesting people connected by a shared love of the legacy created by Marie, Ella and Joan. Artists, farmers, writers, photographers, people that knew her and people that didn’t (but wish they had). Many had stories to share, brought their own prints by Marie to show me and were pleased to have the opportunity to see her exquisite wood engravings close up. I’m now entering the next phase of the project and I will be continuing my research on her life and work by reading her notebooks and looking at her sketchbooks. I’ve read the three ‘Dales books’: Swaledale, Wensleydale and Wharfedale and have also read her beautiful memoire to Ella Pontefract, ‘Yorkshire Heritage’. Other works that I’m finding particularly useful are ‘Forms and Colours’ (about her artwork); ‘A Favoured Land’ (an appreciation of all of the books with essays); Yorkshire Cottage & The Yorkshire Dales. I’ve also started exploring certain areas which I intend to make my own work about.

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I love this image from Marie’s Swaledale sketchbook. It features a sketch of Crackpot Hall before it became a deserted ruin and the resulting wood engraving. Those combined with the notes, boot and ghostly birds are the distilled essence of the project for me.

I have a full calendar year in which to create my new prints and I intend to make use of that by visiting specific places regularly throughout the year, observing the changes in the landscape and the different flora and fauna. Narrowing down my subject has been extremely difficult and I’m hoping that my research will help with that. I have started by deciding to concentrate on places written about in the three Dales books as these are illustrated by the wood engravings. I’ve then used my research so far to work out places that Marie and Ella repeatedly visited or had a particular love for and I would like to include some locations from each book. As a fellrunner, I am particularly keen for each place to centre around at least one prominent fell. I’m currently visiting:

In Swaledale: Kisdon with the surrounding areas of Muker, Keld, Angram, Thwaite and most probably heading up into Birkdale which was a firm favourite for Marie and Ella. There are some fascinating manmade structures within this area that tell the story of its past mining and farming practises and combined with the rich ecological habitats, it really is a gem of a place that I’ve totally fallen in love with.

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Overlooking Crackpot Hall towards Muker with Kisdon on the right (Oct’18)

In Wensleydale:  Addlebrough from Semerwater with Raydale, Cragdale and Bardale and the moors above Stalling Busk. As the second largest natural lake in North Yorkshire (the first being Malham Tarn) being concealed from the main road it is almost a hidden wonder. It is also the source of the river Bain which, at only 2 miles long, is the UK’s shortest river.

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Overlooking the old ruined 18th Century church at Stalling Busk towards Semerwater.

In Wharfedale: Penyghent from Littondale including Foxup. I am delighted that it is included in ‘Wharfedale’ because I have always loved Littondale and Penyghent is my favourite hill which I have explored extensively in all weathers and at all times of day (and night). I can see it from my studio!

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Penyghent viewed on the ascent of Fountains Fell (Nov’18)

I’m also exploring Wether Fell, Dodd Fell & Snaizeholme and I will be settling on more locations as I do more research.

I’m looking for places that have their own special character making them distinctly different from other areas. The fells within each area often rise as singular hills which are easily recognisable from all directions. I also want to look at areas that are noted for their special scientific interest in terms of their flora and fauna. It seems apparent to me that the Yorkshire Dales has changed dramatically since the time that Ella and Marie wrote the books. They captured and recorded a way of life that was on the cusp of changing forever being affected by the technological advances in agriculture, the increased use of cars and tourism. However, what hasn’t changed is the geography of the area and combined with natural processes and human influences, the Yorkshire Dales National Park is home to some of the most diverse wildlife habitats in the UK. I want to explore those and to see how their history is written on the landscape.

In future posts I will be writing about these places and my experiences when working in them, more about Marie and her life and the things that I discover as I continue my research.

 

Printing Marie’s Wood Engravings

I’ll be writing a bit more about Marie Hartley MBE, her life and work in a future post but in the meantime, I’ve been busily making prints from her exquisite wood engraving blocks to create an archive for the Dales Countryside Museum. For those that are not familiar with wood engraving, it is a form of relief printing in the same family as linocut and woodcut. The principle is pretty simple, parts of the surface of the block are removed with special tools and what is left behind (the raised or relief surface) has ink applied to it and that ink is transferred to paper using pressure which can be from a press or from a hand tool such as a wooden spoon or print baren.  Wood engraving differs from wood cut in that the endgrain of slow growing wood is used instead of the longitudinal plank of the wood. The wood is highly polished to create a very smooth surface and fine metal tools, with wonderful names such as ‘spitsticker’, ‘scorper’ & ‘tint tool’, are used to scrape away tiny amounts of the wood surface to create the design. The surface area that is scraped/cut away won’t print and will form the white parts of the design. The design also prints as a mirror-image so it is important to reverse sketches on the block first to avoid a ‘back-to-front’ print. Wood engravers often use a leather sand bag for resting the wood on as this enables them to tilt and turn the block whilst cutting. I think Marie Hartley must have used a magnifier for at least some of her designs as one block that I printed had the word ‘Ingleton’ written in reverse on a finger post and the letters could not have been more than 2mm high!! She created the wood engravings for the three Dales books in the 1930s when she herself would have been in her late twenties and early thirties. I don’t know what her eyesight was like but mine certainly wouldn’t be good enough to do that kind of work without help from a magnifier!

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The best wood for this kind of printmaking is generally regarded to be Box wood, Buxus Sempervirens, but there are other woods in frequent use such as cherry, apple, holly & Lemonwood (which is not actually from the lemon tree but gets its name from the citrus smell that emanates from it when it is first cut). Larger blocks are often created by bonding smaller pieces of wood together. Care should be taken of the blocks so that they don’t get damp or too hot as this can warp them and bonded blocks can part company with each other. I’ve printed a few of Marie’s blocks which have acquired damage over the years and a few need a bit of restoration in order to get a flawless print but the Dales Countryside Museum have done a good job of storing them on their sides and keeping them in good condition. To think that some of them are almost 90 years old and yet still producing perfect prints is amazing. Each of Marie’s blocks has been given an accession number and has been catalogued to include any extra information such as if/where/when it was published.

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I had always believed that the wooden blocks were used for printing the books and would have been clamped in with the letterpress type but on reading ‘Yorkshire Heritage’ (Marie’s memoir to Ella Pontefract) she talks about ‘electros’ being made of the blocks for printing purposes. Electrotyping is a process invented in the mid-1800s and there is a good description of it here. This process was developed to protect the master blocks as publishers would require literally thousands of prints to be made and the wood was vulnerable to damage. A metal printing block is made from a mould of the original wood engraving and it has all of the fine detail and is a perfect replica of the artist’s work. In this way, the original blocks could be retained as ‘masters’ and protected for future use.

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To print the blocks, I have been using a lightweight and very smooth paper called Zerkall Extra Smooth which I have bought from John Purcell Paper. I tested lots of papers before selecting this one. There are so many different papers suitable for hand printing, including some beautiful lightweight Japanese ones, but I was looking for something that would be relatively robust for use in the museum and that would give the crispest details in case the museum decide to reproduce the prints at any stage. I am printing all of the blocks by hand and not on a press. This allows me to do the printing in the museum so that people can watch the process and it also allows me more flexibility because I can alter the pressure across the block to compensate for any small dents that have occurred over the years. I use a carbon black letterpress ink from Lawrence Art Supplies. It is a linseed-oil based ink and I am cleaning with a soft rag and Zest-It so that the blocks are ink-free after use but there are also no harmful fumes in the museum. You could use vegetable oil but it can leave a sticky residue. White spirit is awful stuff!

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To apply pressure I am using two beautiful tools. The first is a burnisher made by Chris Daunt, a supplier of materials for wood engraving and a wood engraver himself, it is made from yew and has a piece of horn on the end. It is perfect for the tiny blocks. The second is a baren made by my step-dad who is a wood turner. I was bemoaning the fact that despite all the barens available, I find a wooden spoon to be the best tool for printing linocuts and he said he’d have a go at making me a wooden baren. Not only is it a beautiful object in its own right but it sits perfectly in the palm of your hand and is comfortable to use. Mine is made from laburnum wood which came from my sister’s garden. The prints have been perfect. He is now selling them via his etsy shop! Here are a couple photos of him making a baren for a customer.

 

Using the burnisher and baren, I carefully rub over the back of the paper in a circular motion taking care to cover the entire block. It is a bit of an art in itself and takes lots of practise to get just the right amount of ink and even pressure so that all of the detail prints perfectly. I’m using a cutting board as a registration board so that I can position the blocks centrally on the paper. They all vary in size and this way I can avoid making lots and lots of registration papers. I just count the squares, simple! I also use some uncut blocks placed around the inked block and these help when I lower the paper onto the wood engraving. They prevent the paper flopping about and the image smudging. It has been a steep learning curve but I now have a good rhythm going and not many ‘rejects’. I’ve also learned the hard way that I need to write the accession number of the block on the back of the paper before printing so that when I come to file the prints the following week, I know which blocks they come from! It is amazing how a small pack horse bridge can look very similar to ten other bridges when you are trying to identify it. Fortunately I also have all of Marie’s books so I can cross-reference them too!

 

So that is the process and I have four more public printing sessions to do. They are from 12-4pm on Sunday 14th April, Tuesdays 23rd & 30th April and, finally, Tuesday 7th May. Museum admission charges apply but you can come and see me print as part of that. The museum is a gem and well worth the entry fee. If I don’t get all of the blocks printed in the remaining sessions, I may well add an extra date and I’ll be sure to publicise it if I do.

 

Catching up on ‘Within These Walls’

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It’s a good seven months since I wrote following the installation of my large-scale print project, ‘Within These Walls’. I had hoped to have time to sit and write a poetical and reflective account and in hoping to do that, it never happened! 2017 was a year that was intensely busy, very rewarding but with not a lot of breathing space. Strangely, the one time I had some head space was during the Grassington Festival when I was at the installation for four hours every day and often had little gaps of time alone. During these pauses, I wrote haiku, printed, drew and generally had a very relaxing and fulfilling time. My friend, the photographer Paul Harris, visited the installation and very kindly created this rather lovely film of it. It can be viewed HERE

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The installation was a success in that I had over 335 visitors and all had positive things to say. I was humbled by just how many people reacted to the work within the space saying that it made them feel peaceful, calm & inspired. The word ‘ethereal’ was repeatedly used and many felt that the barn took on the aura of a sacred space such as a church or cathedral. One woman told me she had visited early on a few occasions so that she could have the space to herself and wander amongst the hangings. A few comments from my guestbook sum up nicely the general feeling amongst my visitors:

“really suits the space well and enjoyed the walking aspect to find the barn. Lovely combination of light and shade & movement of the wind on the hangings”

“…the soul of this wondrous dale, thank you…”

“beautiful work in a special ancient place. Hay meadows & swallows – perfect summer image”

“fab to enjoy the swallows, art and barn on the longest summer day, many thanks”

“beautiful work – perfect for this peaceful space. Images make sense of ambient sounds”

“didn’t expect this! beautiful work in a  special ancient place. Haymeadows and swallows in this wonderful old barn. Cheered up a dull day”

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I also hadn’t envisaged just how much I would enjoy being within the space. Everyday was different and the light changed throughout each afternoon. Sometimes I would watch a spot of sunlight travel across the barn floor and up the hangings, other times they would whip about in the wind and, on many occasions, the parents of a brood of swallow chicks would fly amongst them.

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Since the festival, I have had one of the paper monotypes from ‘Within These Walls’ accepted for the New Light Prize Exhibition and it is currently touring having just finished the opening show at the Bowes Museum. I’m at Ålgården in Sweden at the moment and my original plan was to work on some large-scale paper prints to act as an exhibition to show alongside the hangings but, as yet, I don’t have a definite date and space in which to show them and another deadline (my next Collections project show) is looming. Conscious of all the work I need to do over the next few months for the Hepworth Print Fair (with Printmakers Circle), Printfest, West Dean Design and Craft Fair and ‘Collections’ at Sunny Bank Mills (not to mention the fact that I’m part of a team of artists trying to get a Three Peaks Art Trail off the ground for July 2018), I’ve put the development of the work on hold….temporarily. This is a project that I feel that I could work on for quite a few years to come. I’d really like more concentrated time to forget everything else and focus purely on making a body of work related to the installation but as an artist who makes all of their living from their printmaking, that involves exhibitions, shows, art fairs, talks and workshops and so I’m constantly busy and switching between deadlines. I could either do with some development funding or I will just have to work in fits and starts – as and when I can. Either way, I know I have the determination to carry it forward so watch this space!

I also have a new website (which I built in January in between doing my tax return!) so do check it out, it has a gallery for ‘Within These Walls’: www.hestercox.com

My thanks must go to Kate Beard (director of the Grassington Festival) for making the leap of faith and including me in the festival programme; Ian Harland for letting me use his barn and for all his hard work, support and cups of coffee; Paul Harris for his lovely film; Jo Denison for her beautiful photographs; my husband Brian for his continued encouragement and support (especially at 4am when I was lying awake worrying); my mum and Ian for helping on installation day and Matt Light for doing the scary bit of climbing up a huge ladder to install the five 4 metre long hangings (whilst having a small child and large puppy to look after)!

Large-scale Collagraphs

Its been a long, long road to get to this point but as I write, I’m just about to cut the final blocks for my last two hangings and will be printing them in Horton-in-Ribblesdale Village Hall later in the week. Grassington Festival is a week and half away and I’m up at the barn later today to do some final clearing up. Most importantly, I have also successfully completed my 4-metre collagraph!

I should also mention that I spent a day at ArtisOn Ltd in Masham thanks to the lovely Gaynor and Sue letting me use one of the studios for hemming the five hangings. I am also totally indebted and eternally grateful to Lorraine Garlick and Sheila Smith who gave up their free time to sew 47.5 metres of fabric for me. That is true friendship! I don’t have a sewing machine and I have very little sewing experience so what could have been a total nightmare, was actually pretty straightforward and the results are beautiful.

When I embarked upon this project, I don’t think I fully understood the implications of attempting to print a continuous 75 x 400cm collagraph but I’m glad that I didn’t let all of the set-backs and logistical problems put me off. Working on such a large scale has been challenging but really exciting. First I had to sort my design out so I worked on four pieces of cartridge paper that I divided into 1 inch squares (7 1/2″ x 10″) with the idea that I could then apply a grid to the large pieces of mount board and redraw the design using the sketch as a guide. This did work but the initial drawing took two and half days to do and then each plate took a day to draw out not to mention a day each to cut.

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The finished drawing (hard to photograph!).

My idea was that the collagraph would be a close-up study looking through a bit of meadow with a number of different flower species represented. I chose to include eyebright, yellow rattle, birds foot trefoil, bush vetch, red clover, wood crane’s-bill, meadow buttercup, pignut and sweet vernal grass. These are all species that I’m familiar with and that are found in upland meadows here in the Yorkshire Dales. I’m a bit of a stickler for accuracy and detail so each plant needed to be researched and I wanted them to be accurately in scale with each other. FullSizeRenderUsing the grid system to upscale the drawings worked really well and took me back to my college days. I used four full sheets of mount board to make the plates and mainly used cutting, wood glue and gesso to create the collagraph.

I soon realised that printing at that scale, it was best to keep things quite simple but it was still a bit of a challenge to work out how to do the veins on the leaves and pignut is a such a delicate and frothy plant that it did take a lot of work to get the look just right. In the meantime I had been searching for a place to physically print the work because I needed a press that could accommodate a 75cm wide and metre long collagraph plate. No small task and I actually found myself waking in the night and having panic attacks about not being able to print the plates once I’d made them. I even found myself trying to work out how I could get such large pieces of card over to Sweden as I know Ålgården’s press would have been perfect. Fortunately I found out that Northern Print in Newcastle have a lovely big intaglio press and I made an appointment to have an induction and to print the first plate. It is a 2 1/4 hr journey to get there on a good day (with no traffic & no accidents) and my first visit saw me getting up at 5.30am and hiring a dog walker in order to get there on time and not leave my furry pals crossing their legs all day.57F6D87A-07E4-4F88-9D71-6811EE094C84

It was an unbelievable relief to discover that when I book to use the large electric press, I have sole access to it for the whole session and so can work slowly and methodically whilst not worrying about anyone else needing the press or having to reset it. I am now a member of the studio and have plans to go back and create more large-scale collagraphs there.

Each plate initially took an hour to ink and forty-five minutes to wipe in order to get a paper proof. I needed to do that for each one so that the plate would ‘settle’ and I could check it was printing exactly as I wanted it to. It meant that I had to book the press for 2 x three-hour sessions in order to print one section of the hanging. I won’t go into the entire process here as it was lengthy and stressful but imagine trying to handle an inky metre-long piece of card and print it onto a pristeen white piece of four metre voile and you’ll get a bit of an idea. I also had issues with the pressure on the first print and lifted a corner of the fabric to discover that the collagraph was pale and ill-defined. Fortunately I was able to lower it again and tighten the press to get a good print from it. After my first visit with the first successful section printed, I returned home triumphant to recount my exploits to my husband who then asked ‘but how are you going to make sure the plates match up and how are you going to get them all the same tone?’ To be honest, I hadn’t considered this but chose not to think about it too much and just to hope that I could work these problems out as I went along.

It took another two sessions (with the last one being from 10am to 8pm) to actually complete the design but it is fair to say that I’m really happy with it. Sure, there are a few flaws and I know that I could do it better a second time around (which I may have to if my Swedish contact does want to buy one for the hospital) but it is how I pictured it and I can’t wait to see it in situ.

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The first two prints successfully through the press.

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One left to print. Here I am rolling up the previous prints to protect them and make it easier to handle.

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The final print! All ready to roll up with tissue paper for transportation home.

Now I’m working on two flights of swallows that will be block-printed using screen printing inks designed for fabric and won’t require a press. Mind you, there are plenty of other factors that could go wrong but I’m choosing to ignore those for now too!

 

Within These Walls

So, apart from continuing Collections and also making some work for the next Printmakers Circle show (at Sunny Bank Mills in April), I am currently working on a large-scale print installation. This is a huge challenge for me and something that is both exciting and daunting in equal measures. The story behind it (abridged to prevent boredom) is that in 2015 a printmaking colleague asked me if I’d like to join her in creating a print installation in a field barn for the Grassington Festival (highly popular and well-respected arts festival). Never wanting to turn down the opportunity to do something different I immediately said yes. She met with the organisers of the festival who suggested some possible barns and we went on a reconnaissance mission to check them out. This involved yours truly wading about in sheep and pigeon poo to see if the barns were suitable for our idea.

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We found one and duly contacted the owner who was very keen and agreed to let us use it. Roll on to September and I took my colleague over to Sweden to visit the Ålgården studio and we enlisted two of my Swedish artist friends to take part in the project (which was to have a Scandinavian theme). Due to the fact that I was getting married during the 2016 festival and already had a large workload on for 2016, we agreed to work towards the 2017 festival and the idea was to try to get some funding.

Unfortunately, in November 2016 my colleague said she no longer wanted to go ahead with the project and it looked like that was that…except that I have always wanted to work on a large scale and had a head full of half-formed ideas. I realised that I couldn’t ask my Swedish friends to be involved with something where I had no funding, nowhere for them to stay and no real idea of what I was doing or how it would work so I thought I’d see if I could do a scaled down version on my own with a view to expanding on it as a collaboration in the future.

Its safe to say that my ideas have grown and I’ve met with Ian (who owns the barn) a few times and, being a fellow fellrunner and also a keen conservationist, we have hit it off and I’m really excited about what I might do in his barn. Roll on to the present day and I have just completed the first of 5 (or 7 if time allows) 12′ long hangings! But let’s not get ahead of myself as I want to document the whole process.

Firstly, I needed a theme. I didn’t actually need to look that far because I was already documenting and making work based on two meadows close to my house. A Yorkshire Dales upland meadow is a thing of beauty, a habitat for abundant wildlife, a valuable winter food source for livestock, has a rich cultural heritage and, unfortunately, is also seriously threatened by modern agricultural ideas and methods. We have lost 97% of our meadows! Ten years ago, the Yorkshire Dales Millennium Trust, in partnership with the Yorkshire Dales National Park Authority, set up the ‘Hay Time Project‘ which aims to work with farmers to protect and restore meadows across the Dales and the Forest of Bowland (there’s a very good book available about the project). A good meadow can have up to 130 species in a field whilst the best meadows can have up to 40 species in just a square metre.

Anyway, I’ve been slightly obsessed not only by the abundant species of flowers and grasses in my local meadows but by the drystone walls and field patterns that form our local landscape. The barn that I will be presenting my installation in is a traditional eighteenth century field barn with a mewstead for storing hay and a shippon for winter housing of cattle. I am developing ideas and imagery that I have been exploring via other projects such as in my bookmaking and via Collections. So that’s a bit of background. Next I’ll be writing about the logistics of getting from cluttered headspace to printing 12′ lengths of fabric!

(NB: Within These Walls is the title of my project for obvious reasons)