The trouble with electing to come away from home to focus exclusively on making work is that you are putting yourself under pressure to produce. It is wonderfully uplifting when all goes well but there is light and dark in every part of life and when an authentic voice is hard to find, you are left in a wilderness. I know this is true of a second novel and have come across a prize especially designed to assist those engaged in that struggle. The experience of going on a creative retreat is that it puts everything on the plate. At home there is so much distraction, the weeding, the leaf sweeping, the henhouse that needs cleaning and oh so much more, that the pendulum swings the other way. Away from it all, you are faced with every creative uncertainty and insecurity you are able to dream up. But I am experienced enough to know that this too is part of the process. Somehow, however, you invent the notion of an audience for whom you are performing and thus you create your own pressure, especially by electing to record the experience as it unfolds, which I am doing here.
Those of you who know me, know too that one of my closest held principles is a determination to uphold the truth, even at the price of discomfort. Of course it then begs the question, whose truth do you seek? The answer has to be that you can only pursue your own truth and it is only you who really knows if you digress. I can almost count on one hand the number of times I have knowingly told a lie and I have instilled this quality into one of my sons who has tried other more socially acceptable forms of being, only to know of himself that he is transparent in his mistruths! Of course if you get good enough at lying, you also lie to yourself but that is the route to self-delusion and eventual mental illness and not one I wish to examine. The world of managing your own PR, to release only the glossy and upbeat is not truthful. Life is not real if only equipped to acknowledge the light. Where have the shadows gone? Oh, but now that is described as Negative. Not negative, just balanced. I include this personal paragraph here in order to create a context to describe my experience of the creative struggle. As a postscript I would also add that a disadvantage of this trait is that you get the reputation of directness which some people find discomforting. But it is not possible to create authentic self-expression if you do not pursue the truth; that is why so much art invites the observer to move into more uncomfortable territory and probably why so much landscape painting results merely in the picturesque.
This island of Tiree has confused me and perhaps I need to stay longer to find a language that speaks of it. I was brought up in East Anglia and disliked the landscape there throughout my childhood. In those days, the sixties, there were still elm trees of cathedral like proportions and the fashion for sweeping away all rural character that was not in production, had not quite wreaked the havoc it has now. In preparing to come here to the isle of Tiree, I read somewhere that it is described as the East Anglia of the Highlands. I must say that sentiment filled me with anxiety. It is true that it is pretty flat and that the skies seem very large. The impression of the landscape is horizontal. However, the similarity to the landlocked part of south Cambridgeshire that I grew up in, ends there.
Much of the interior of this island has given way to deserted fields of rush. There are the remains of abandoned peat cuttings and except for the outcrops of low knobbly rock breaking through the surface, everything at the western end as I am, except for three low hills and the buildings, are in the horizontal plane. In drawing, that is where I started and began by thinking of the stripped landscape of light and dark, water and land. On the coast this translates into sea and sky. So, I have been playing with where to place the horizon. The horizon is the meeting of one form with another, where one element meets another. That has led to the next concern. How to find a path to a form expression that lies between the representational and the expressive. It is too easy and seems irrelevant to set out to draw this landscape in a figurative manner. Perhaps the horizon is best described merely as a line? The meeting, or is it the dividing, of two elements?
In order to find a route into this language I have been playing!
I have supported strips of paper and trickled paint down their length. Laid flat and by turning them ninety degrees they suggest the horizontal elements of sky, land and water.
I have tricked glue and drawn with sand.
I have taken paper and paint out onto a beach in a storm and thrown everything at it only for it to get sand encrusted and then washed off in a shower. Weather Painting, the suggested title!
I have gone out at dusk and traced the horizon so only the outlines are clear.
I have sat on a beach with watercolour and bottles of water, wetting sheet after sheet of paper to create the richness of tone and hue.
I have eaten porridge every morning, gone for long walks and drunk a lot of coffee
And still I don’t know where I am going…
The antidote to the film we often watch, Carl Pressburgers “I Know Where I am Going” set on an island off the west coast of Mull!