Low Relief Construction – finished
Sally Wakelin – Studies in Creativity
Paintings, drawings, sculpture and writing
A whole series of my work has been inspired by a drawing of my father’s from 30 years ago. His original was based on visually extracting shapes from a classic Tumbling Blocks schema used in drawing, painting, patchwork and many other formats.
This is his drawing on paper in ink and two thicknesses of line.
I have made a number of drawn versions of my own.
After many other versions in drawing, painting and cutting I have now embarked on a low relief version in painted plywood. The pieces were cut out usung a tiny reciprocating jig-saw that my mother owned from the mid ’80s.
Here are some of the stages I have passed through. Hopefully tomorrow it will be finished.
Diane and Geoff of Pen’rallt Gallery Bookshop are mounting the third year of their annual open submission photography exhibition, opening on Saturday 19th October in Machynlleth, Powys until 27th November 2013.
There are 47 exhibitors altogether, Diane and Geoff chose to include “Blue Room” from the group of six photographs I submitted.
These are the others. It is a small gallery, so only one image per exhibitor is displayed on the walls but all the rest can be seen in a browser in the gallery.
The theme they proposed “Where Light Falls” could apply to any photograph in some way, it was an interesting opportunity to explore the effects of light in its own right rather than the objects or people being photographed, although the two can’t really be separated. Some of these photos were taken deliberately with the theme in mind, others simply seemed to fit, serendipity stepping in as in “That Look”.
On a cold night there is a certain pleasure in stepping out of a warm bed in bare feet onto polished oak floor-boards, feeling the contrast against my skin as I reach for the chamber pot in the darkness. The floor is uneven, sloping back from the window towards the centre of the house, a soft glow of the light below filtering through the gaps. It is an old house, built in 1530 they say, it has settled slowly onto its rocky outcrop at the top of a hill, a gentle slope on one side, a precipitous drop into the ravine on the other. The house creaks and moves, I am not alone here, there are rare bats who flit silently through the shadows leaving only the tiniest traces of their visits. There are other diminutive creatures sharing my little blue bedroom and its red framed window. Moths fly up when I disturb the covers, spiders extrude their sticky webs across my brushes left unused on the window sill. Now and then I think I hear scamperings, perhaps my brother’s dog or a mouse searching for spilled biscuit crumbs.
The fine white sheets feel smooth as satin, the crumbling blue plaster reminds me of half forgotten dusty corners from my childhood, I feel at peace, protected from the outside by the warnings of the quartet of geese. At last the sun edges in through the un-curtained window, filling the eaves with warmth and the raking light revealing the layers of distemper and plaster stretching back in time.
At the other end of the day as the sun is setting, the last rays snatch the chance to seep through the play of leaves and leading in the window to charm me with a display of dappled fire on the rough plaster of the living room wall. The spiders have been here too but have scurried away into the dark alcove where Puss escapes for some peace.
A visit to the sculpture park at Chateau Chaumont brought about an unexpected delight, part installation, part sculpture, by a Japanese artist, sending misty vapour into the landscape and providing a mystical medium for visitors to explore. The carefully arranged square of water/mist jets, set high up in the trees, emits a continuous cloud of vapour for around 5 minutes at 5 minute intervals. Meanwhile the mist responds to whatever windy eddies may prevail and wanders off over the adjacent lake or hangs about making the unwary visitor damp and soggy but inspired by the soft light filtered by the mist.
We visited another much smaller chateau at St Aignan, where the sweeping steps leading from the church below to the chateau courtyard above provided a delightful opportunity to play with shadows and light. The balustrade of sandstone, or is it limestone, worn away by rain, catches and disperses the early evening light.
Later in the evening during a stroll through the village, we spied on people’s windows, shrouded in gaudy lace or masked by dimpled glass. We couldn’t make out whether this was a perfectly ordinary desk with its own desk-lamp in silhouette, or a more sinister creature biding its time before taking over the world.
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