At the beginning of the year I decided to design some new t-shirts. Finally I’m getting round to it.
My first new design is Dusk Night Dawn. I’m always drawing deer and this time I thought I’d add the words Dusk Night Dawn (the title of my book!), as I really like these times of day.
I wanted to reflect the moon in the shape of the silhouetted deer and trees. It’s now up in my Teemill online shophere.
People often leave furniture and bits and bobs in our street so one evening late last year I went out in search of some wood to make a shelter for the pigeon that had adopted us. The pigeon, who we named Beaky, had been sitting day and night in the corner of our balcony getting very wet.
I didn’t find anything suitable for Beaky but I did find a small bureau standing in front of a house with a notice on it saying “Free. Please Take.”
I phoned Kevin who came up with the car and we took it home. Here it is:
Now I have a new space to write and draw in among the plants. It’s become a special corner of the living room where I keep my wildlife treasures – feathers, eggshells etc, my art and writing bits and pieces all lit by a little paper star light my sister gave me for Christmas :)
i’ve recently received a lovely long letter from a friend and it’s made me think of letters. I like anything to do with letters – apart from bills of course. I love writing and receiving them. I’ve kept many letters from the distant past including a brief handwritten one from Sir David Attenborough and an official one from Buckingham Palace! (This was a reply to a letter I wrote to the Queen when I was about twelve.) But letter writing has as good as died out – or so I thought. More on that later.
A year ago I was fascinated to hear about some 17th century letters discovered at Knole Park in Sevenoaks. You can read the story here on the National Trust website.
In the Netherlands a trunk of 17th century undelivered letters was rediscovered in 2015. Apparently the trunk belonged to a postmaster and postmistress who were central in the international communications of the time. None of the letters were ever delivered and were still sealed. In the 17th century the recipient paid the postage so if they were uninterested, dead or away the letters would remain unposted. The website about the project has some lovely photos that include the ones below.
There’s something sad and romantic about them – unrequited love, words lost in time, words never heard until now, coversations from times gone by. They are beautiful to look at too – pink, cream, handwritten with seals, sometimes with drawings and folded so carefully; someone went to a lot of trouble. They hide secrets and those secrets are now being revealed.
Sometimes when I write letters I like to insert leaves, feathers, pressed flowers, cuttings, photos or drawings in with them. I think – and hope – the recipients appreciate this. But my letter writing opportunities are very few these days. I remember when I travelled through Africa in my twenties, before email, mobiles and the like, I looked forward to the next poste restante where I could pick up my mail. It was all out of date but so special to receive it didn’t matter.
I have a few interesting wabi sabi letters that a friend, who buys old stuff from auctions, gave to me. They’re written in an Indian script, possibly Tamil or Kannada as there’s a Mysore letterhead. I’d love to know what they’re about.
I like the idea of doing a letter writing project that would involve leaving a letter or poem inside a library book or hidden in a crevice somewhere in Brighton for someone to find.
Leaving something behind, a trace, a message from what will one day be the past appeals to me, like messages carved on beech trees or chalk cliffs, like ghost signs on buildings…remnants….
I would also like to leave one beneath the floorboards in my flat for any future occupants to find. A sort of treasure.
I was pleased to find a letter writing organsation, More Love Letters, which arranges for letter writers to send letters to people who would appreciate a kind note, a wish or a letter at a difficult time in their lives. When I get around to writing one I shall include a Memory Tree book and one of my cards. Which makes me think, if you know anyone having a difficult time who would appreciate a card – and perhaps one of my little books – from a stranger do get in touch. x
I had a lovely surprise when the post came the other day and I received a copy of the 2018 Earth Pathways calendar. I was very pleased to find that my illustration, ‘The Fadista’, now graces the page for July next year :)
A fadista is a Portugese woman who sings Fado, the lamenting song originally sung by women as early as the 1920s when sailors went to sea. Often the song is about loss, mourning, the sea, shipwrecks and love and I first came across it when I heard the contemporary fadista, Mariza, sing.
I am drawn to wings, birds, flight in nature, myth and art. I’ve featured wings in various art projects – my Stone Angel Wings Altered Book, my Wings canvas and illustrations of angels. So I was interested when I saw a flyer for an exhibition, Singing Sirens by Paulien Gluckman at the Sussex County Arts Club in Brighton. (I’m into rock again, but this time sculpted rock.)
I don’t know much about Sirens other than they were mythical beings associated with water who sing to sailors and lure them to their doom. Apparently Sirens feature in The Odyssey when Odysseus has himself tied to the mask of his ship and orders his sailors to plug their ears so that only he can hear the sirens’ song but be unable to swim to them. Sirens are part bird and part human and are associated with the sea. Perhaps it is the morphing of humans and animals that particularly appeals to me right now.
(Some years ago I did a painting I called Siren of a figure beneath the sea in the blue depths. It’s not winged though!)
The Singing Sirens exhibition is in a small, fascinating studio with drawings of angelic winged beings, sculptures of birds, nymphs and winged maidens all around. Paulien invites visitors to feel and hold her sculptures – there’s something very tactile about them.
I asked Paulien what had inspired her to explore the winged creatures and figures she creates. She said that reading The Odyssey made an impression on her and one day her cat brought in a bird’s wing that she thought was too beautiful to throw away immediately so she made some sketches of it and became fascinated by wings.
There’s some lovely sculptures and drawings here and a few wonderful sketchbooks. The exhibition is on until 6th November.
Winged figures and heads in stone and marble remind me of Emily Young‘s heads I saw at Pallant House Gallery in Chichester last year. The serene faces with Roman noses and closed eyes are very meditative.
“These angels, warriors and poets who people the stone, are born of sunny, windy hill tops, and the dark light of caves; a kind of ecstasy, a stillness, a remembered energy from childhood, from dreams of fish memory, from dreams of flying and the silence of stone…” From Emily Young’s website.
” Inside me I am rock, desert rock and shadow. Inside me there is quiet, almost silence. I turn my back on the world to retreat to the cave within listening to the desert stirrings of my mind. …I seek a cleft in the rock like an animal, a gopher or marmet. I retreat from the clamour and business that surrounds me with a great weariness and longing for the dark, I seek a cleft in the rock with my back to the world.”
I wrote that in my diary earlier this year. Sometimes I feel the same way especially as autumn unfolds. When I think of rock I often think of sandstone, deserts, gorges – a gorge I walked through on the island of Crete some years ago. For some reason rock and clefts in rock have a certain meaning for me. Perhaps it is a need to retreat, hide, seek shelter from the world for a bit.
There’s something special about rock and solitude. I think of a chapter in the book Red: Passion and Patience in the Desert by Terry Tempest Williams. She writes about walking barefoot in the Utah desert to Druid Arch and feels akin to the rock:
“I wonder what it means to be human and why, at this particular moment, rock seems more accessible and yielding than my own species.”
I googled rock cleft and disovered that there is a spiritual meaning to it in the Bible. According to Exodus 33 Moses hid himself in a rock cleft, a place of refuge, from the full face of the “Almighty” and this has come to mean he was in the body of Christ. I’m neither religious nor Christian but this is interesting nevertheless. Another website mentions that the “cleft of rock” represents the falsities of faith, the material superficialities. In a nutshell I think it means one needs to have internal faith and not rely on the external trappings of faith. Whatever it may mean universally, for me it probably means I need to turn within.
Back in late October 2014 I did a solitary retreat in the Catalonian hills at a place called Ecodharma. Now I find myself questioning my desire to retreat.
I was alone and wanted to be alone with nature. I stayed in a little hut submerged in trees, the dwarf oaks of that mountainous part of Spain. It resided in shadow and looked out pensively with a cautious eye of shade. It was very basic. I was curious to know how I’d find being alone with just the basic necessities. I tried to settle myself, find a routine to anchor my days but still allowing my thoughts to drift. I took to wandering and found a rocky ledge beneath the pink cliffs overlooking the valley that I called Yoga Rock as it was where I did yoga beneath the sun. Each day I took out my sketch pad and binoculars and sat there, lost in thought, vacant as the valley air. In the cabin I would write at the table and look out on the woods, glimpsing the blue valley beyond. As night fell outside, fast and black, the sky and stars were masked by the silohetted trees and there were no lights in the valley; I felt very alone but very tranquil.
Now I wonder whether solitude and this sparse natural place are what I needed and wanted or something else. To be somewhere far from home and away from stress, perhaps yes, but to be alone? And with nature? I wonder; sometimes there’s a stigma to retreating from people. Perhaps I needed people with whom I had a sense of belonging, or perhaps I needed to completely turn my back on the world.
At the cabin I sat inside beside the roaring woodburner and closed my eyes. It felt good to be still and enclosed – contained. Inside me there was a terrain of rock, valley, cave and garden. I needed to follow the path within. I went to this solitary retreat in Spain to be with nature in the hills, to try the Buddhist way, but learnt that my way is not the way of emptiness and void although Buddhists say they go to “take refuge”. Nature too is not enough. And sometimes the need for solitude and darkness is more than just the urge to hibernate in winter.
I found the cave within. I recognized that I needed to retreat inside myself, to journey into the places within, the seams and tiers of memory and imagination and then embrace the stirrings of creativity. Perhaps I needed to access something deep in my psyche like early humans did as they travelled deep inside caves to create art and perhaps commune with spirits and ancestors, deep in the earth’s womb.
It may not be the same for others, everyone is on a different journey, but I imagine each person needs at some point, a resting place, a place from which they can re-emerge back into the world refreshed. I retreat for many reasons – I can’t be a smiling, capable person in the world all the time. There needs to be both light and darkness in life, both company and solitude and time away from what can seem like a hard unfeeling world.
The last threads of summer will loosen like the dry bark of the skeletal trees at the solitary retreat once more. The land will not be sleeping yet, a restlessness will stir below the surface before the slow decline into the somnolent months of autumn and winter. Solitude is interesting, but as I now feel the same draw earthwards as autumn gets underway, I think, how about doing the opposite and finding people to celebrate with? To go within or stay without, to seek peace and inner journeying or outward celebration, listening to one’s heart is a fine balance.
I have decided to open an online t-shirt shop, Designs by Alexi, as I thought it would be good to have some of my designs on t-shirts. I discovered Teemill whose t-shirts are ethical, organic and sourced sustainably.
I enjoyed creating the shop using one of my woodland photos and a couple of my images for the banner. My images are often inspired by the natural world, myth and folklore so the t-shirt images reflect this. There are other items such as tea-towels and tote bags for sale as well.
My Long Man of Wilmington features on one of the t-shirts:
So does one of my moon goddesses, Hina:
and the Green Man along with other images:
Originally I wrote about The Long Man of Wilmington a few years ago here. Since then a version of my Long Man picture has appeared on a CD cover for the band Athelstan on their album The Ride.
In June I visited the islands of Malta and Gozo. I’m writing about them now as I’ve had plenty of time to digest the visit.
I am drawn to islands and have been curious about the ancient temples and early Goddess worshipping culture of these two. I’ve read quite a bit about ancient Venus figurines and “The Myth of the Goddess”, so it seemed like a good place to visit. These sun bathed islands of desert scrub and rocky coastlines made quite an impression on me.
Malta gave me: temples of limestone – sometimes pink limestone,
portals through pitted stone,
interesting obese goddess figurines,
and other curious figurines.
Sometimes what is needed is a shift in perspective and that is what I returned home with from my visit. Before going I had a feeling of being constrained, running along tram lines. Every so often I shake out of my mindset and refind what I want, which is a feeling of wholeness to my life and not a narrowness.
In Malta, the temples, portals, giant slabs of pink and white fashioned from raw limestone that have stood solid, timeworn and pitted down the centuries, spoke to me of silence and endurance.
On returning I felt more open to new sights and experiences once again and had a desire to take a more oblique path. I am being asked to lean towards the left, closer to the earth, like a sailing boat close hauled, leaning into the wind. I am setting off on an oblique course to find my way back to myself.
Malta had plenty of other things I liked, mainly natural things that include all the different sorts of limestone; sun bathing and sea urchin fossil finding on the rocks at Dwejra; the lizards, purple flowers …
Some years ago I tentatively researched into the “goddess” in her varying forms. I made a little book on Goddesses of River, Sea and Moon, and found myself painting faceless images of female figures. They weren’t all faceless but many were, just like the goddess figurines of the ancient past.
Once again I’m experimenting with faceless figures inspired by the female figurines and colours of Malta. I tell myself that it is not necessary to create something good, but simply to do it, indulge in the process of making a mark, marking a point in time and painting a simple figure is one way to start. The work by the artist Laurie Doctor resonates with me at the moment. She incorporates calligraphy into some of her paintings and sometimes her figures are faceless in a desert-like landscape. I especially like the one I found below – whose title I don’t know – and Night Vigil:
In an artist statement for one exhibition, she wrote:
I wish to communicate moments of fluidity between this world and the world of dreams. I want to share the sense of confirmation that happens when a dream steps right through the daytime door.
Good words. The desert colours of red, gold, faun – colours of earth, sand and rock – work for me at the moment.
I have painted a few little canvases in acrylic incoporating string, leaves and cloth pieces. Here are Desert Dreamer, Desert Icon, Gold Icon and The Pilgrim.
I have just got back from one of my favourite places, Penpynfarch, in a beautiful wooded valley in Carmarthenshire, Wales. As I wandered the river, lakeside and woods I listened to the many ‘voices’ I always hear when I visit, voices of the river and trees. It’s as though moments and memories from times past and future speak from the very soils, hidden spaces and waters. I found myself listening, searching and waiting, and the words ‘deep song’ came into my mind, the deep song of the river and woods.
With my new mp3 recorder I recorded the many voices of the Nant Gwyddyl; returning to rivers, that mean so much to me.
Listen,
Rock, cleft, moss, stone,
of memory and eternity,
the River speaks
voices of rock and root,
echoes of shoot and bark,
algal smooth
chasing
animal pelts of weed,
into
a whirlpool of laughter
an eddy of thought,
rush smooth,
babbling,
gone.
a kingfisher,
riot of dazzling blue.
A child’s voice,
A deep vowel,
sonorous tones,
silt of silk,
a current
secretly shifting the world.
A haunting harmony
carries me along by thought and dream.
I am river.
I have many photos from a few years ago, little has changed.
The ruin is a bit more overgrown,
the wrecked caravan a little more hidden in its green swathe of undergrowth,
there’s no sign of goshawks in the trees,
and the lake is still peaceful.
Then rain came as it always does in Wales. So I walked in the rain and watched the herons flying to and from the heronry, the river rise, it’s voices a little stronger.
Now I am back home again I need to be patient and listen more deeply.
I am reading two books at the moment, both have “river” in the title. The first, The Other Side of the River by Eila Carrico, is a memoir and exploration of the meaning of water both physically and metaphorically in our lives, especially in the lives of women. It is written as a river flows, shifting gently here and there. The second book, At the Bottom of the River by Jamaica Kincaid. Perhaps I am drawn to anything with the word ‘river’ :) Both books flow with rivers of words or beautiful language, both weave in nature and hint at tropical lands.