Bloody Foreland is one of my favourite locations in Donegal. It is one of the wildest, windiest and most beautiful places I have been. The light is sharp and clear. You feel healthier for breathing the air here.
The wind is always blowing. It is very remote and feels a bit like the edge of the known-world.
The name Bloody Foreland (Cnoc Fola in Irish means Hill of Blood) does not to refer to some past battle that took place here in mythic times, but intense red hue of the rocks at sunset. The Irish language dominates here.
Folklore records that Balor, the one-eyed supernatural warlord was eventually slain by his grandson Lugh Lámh Fhada on the slopes of Cnoc Fola. Indeed, some say that the tide of blood which flowed from Balor’s evil eye stained the hillside and gave it its name.
I particularly like the incredible stone walls, made of massive granite boulders, that snake across the hills here. They date from the 1890s. They suggest to me a landscape where stones were plentiful and labour cheap. It is also the sort of place where writers come to get away from the modern world and think about writing. Dylan Thomas, travelled to An Port, further south to write poetry, but left without paying his bills.
Old Farm Buildings, Bloddy Foreland
Bloody Foreland, also makes a refreshing contrast to the slopes of Brinlack and Derrybeg, round the corner, which are heavily peppered with larger modern houses and bungalows from the era of “Bungalow Bliss“.
This is the first time that I have been able to paint Ireland whilst in Ireland. Previously, I have worked from my photos back in Wales. Now I think that being surrounded by these colours all the time is affecting my work in a different way.
I am experimenting a little with less detail and letting my under painting show through more – to give a greater sense of the roughness of the landscape here. I am feeling my way. I don’t know how my paintings will develop in the future, but not knowing is a sort of freedom from painting the same thing in the same sort of way.
The title of this post comes from a 2005 albumby American musician, Robert Rich.
The inspiration for this album comes from mundane everyday experiences that culture usually overlooks, such as footsteps, casual voices and other ordinary sounds. Although I am sort of “New Wave” (that’s sooo old now, you’ll probably have to look it up) in my musical tastes, I have a sneaky liking for experimental music, if its “live”. I like how it encourages you to pay attention to all the sounds around you, instead of tuning them out with your thoughts. Its sort of mediative. The ordinary appeals to me.
The other day I finished one of my paintings, placed on the other side of my studio to inspect and found myself quite-spell bound by it. I could not stop starring at it. This is not always the way I am with my finished work. More often when I have been excited about a painting, finishing it is a bit of an anti-climax. Maybe, it wasn’t quite what I thought it was going to be. All I can see are the errors. The solutions that weren’t quite right, or not as good as they could have been.
So what was this painting that had me transfixed? You’ll probably laugh when you see it. It was a little painting of two blue tits on a branch. Not a spectacular painting, in any sense, I know. I realised, however, that what had me transfixed were the details. This is really geeky stuff. A shadow under one of the bluetits fell onto the branch below in a really pleasing way. It’s hard to show it here.
This is my most recent painting below. I choose to paint this because I liked the juxtaposition of the mountain behind the semi-derelict house.
I didn’t realise at first that the gable end window is boarded up. It could be mistaken for a blind. Maybe it is a roller-blind pulled down.
I think the back door is also boarded up. These things are not immediately apparent. There is a large boulder to the left of the house. There is also a pile of building bricks and a tarpaulin in the yard to the right-hand side and old rope in the drive. This is a house at the start or midway through renovations. The details I really relished painting were the shadows of the chimney, roof and the telegraph wire that dissects the window at neat diagonal. It’s only by paying attention to these details that the Donegal light can be properly conveyed.
I have always had a fascination for the ordinary details that are easily overlooked. I want to convey what a scene looked like at that moment. If you were really paying attention. Yet, I am not a painter who works in the hyper-realist style. I am not skillful or patient enough for that. I often cringe when I see my paintings close up because I think some of my brushwork is crude. Yet, “perfect” representation can seem dead and unlife-like.
I think in the errors, the gaps, our brains fill in the gaps the image can come alive. I like that my paintings aren’t just copies of what I can see but an interpretation; the colours brightened, edges sharpened or softened, some details omitted to make for a simpler composition. Deciding what to leave out or simplify is as important as what you decide to include. Rather like Robert Rich’s “Echo of Small things”
I was feeling very nervous about this walk as I would have to change buses in the middle of nowhere. I very nearly chickened and got in my car after a fellow blogger commented that I “should not bother with rural buses but drive. However, it was a long walk, just over six miles, and I did not want to break it up into two or three circular walks. I wanted to walk the length of the north Gower coast in one go, if I could. So I got up and packed sandwiches, lots of biscuits, a banana in its strange yellow banana “gimp” case and two bottles of water. I had decided that thirst was the worst torment on my last two solo trips and I was going to be better prepared this time.
I had caught the same bus to Port Eynon (the number 119 to Rhossili, if you interested) and had changed at Scurlage but this time I had to change at a location called Llanridian Turn. I have studied the map and I think I know where it is. I don’t remember passing it from the previous bus journey and it doesn’t really seem to be “on the way” to Rhossili. So I check with the bus driver as I buy my ticket.
The bus arrives at Llanridian Turn and it pulls in behind another bus, a number 116, but its not the one I want. So I ask the driver about the 115 to Llanmadoc and he says that he’s driving it and walk towards a small bus that has just arrived and he swaps buses with the new driver. He’s a friendly chap, with a sparkly diamante earring in one of his ears. So we set off. I am the only passenger.
I end up standing at the front of the bus (holding on to the special rail) chatting to the driver for most of the journey. “You couldn’t ask for better weather” he says. He’s right. It’s a sparkling bright spring morning. It’s cold though. Only 7 degrees Centigrade (that’s 44 in Fahrenheit). He fishes out a timetable for me from his rucksack. It’s a timetable that covers all Gower buses. I have not seen this before, it certainly wasn’t to be found in the bus station anyway. “Where do you want to get off?” I have never had a bus driver ask where I want to stop before. This must be one the joys of rural bus services. I eventually get off by Llanmadoc Post Office. I wave at the bus driver as he drives away as if we are old friends.
I find a path, not an official coastal one, but it is sign posted for Whiteford Burrows, which seems the right direction, so I take it. It’s more of a farmers’ track than a path. I walk down a long muddy track, pass cattle, sheep and an old tractor and eventually reach the same point as we did on our detour from Cwm Ivy (to avoid the breached sea wall). I find it more by luck than any thing. It is very muddy.
This is Landimore Marsh. It’s a saltmarsh, an area of coastal grassland that is regularly flooded by seawater. Springs, small rivers called “pills”, flow out into the estuary, in meandering lines that make maze-patterns in the marsh. The main pills crisscrossing the area are Burry Pill and Great Pill.
For hundreds of years, the people who lived along its edge have used the marshlands for grazing their animals. They still do today. The lambs that are raised on the salt marshes are reputed to have a distinctive and special flavour, but I cannot speak from experience as I am a vegetarian. Although the cows and ponies know to move off the marsh with the advancing tides, especially the spring tide that can move with great speed, the sheep for some reason don’t. The local farmers have to bring them in. Although sheep can swim, as all animals can, for a short period of time, if they get cut off by the tide they will drown.
The walk along the marsh path is very muddy indeed. I have visions of me sliding and twisting my ankle or falling flat on my face, but I manage to survive without incident. I take the low tide route, but I spent much of my times sliding around wondering if the high tide route would have been less muddy.
To my right is North Hill Tor, or Nortle Tor, on which are the remains of a partial fortifications, probably dating back to the Iron Age period (c. 800 BC – AD 43). According the the famous Swansea-born historian, Wynford Vaughan Thomas, Nortle Tor was quarried in previous centuries. During the Napoleonic Wars, one of its extensive caves provided useful hiding place for local young men when the press gang was spotted coming across the estuary from Llanelli.
There is a wonderful presence about the marsh. It stretches away as flat as a proverbial pancake. No sea, or River Loughor in sight. The marsh is indented by patterns of muddy pools, creeks and channels. It is very peaceful and I get drawn into the atmosphere of the marsh. The grass has a curious white-ish tinge to it which I assume is from the salt. I see a lot of sheep’s footprints but no sheep, although I can see a few ponies far away on the marsh. It turns out that the sheep are in the farmers’ fields with their lambs.
The path eventually passes a couple of houses and leaves the marsh. I see my first fellow walkers of the day. I only see one other couple on the path today. I see, however, vast numbers of sheep and lambs, marsh ponies, robins, sparrows, a red kite and a large Great White Egret flying over the marsh.
The path reaches Bovehill, where it turns further inland and passes the remains of another fortification, Bovehill Castle, a fortified mansion with walls a metre thick. It was once the seat of the 14th century crusader knight, Sir Hugh Jonys and later Sir Rhys ap Thomas, a support of Henry Tudor (the father of Henry VIII of six wives fame).
Ivy Cottage Landimore
The “coastal” path then turns off the road onto Bovehill Farm. I can’t see the sea and now I can’t really see the marsh, either. I don’t see the marsh again for a long time, perhaps for about as much as an hour as the path trails inland. In fact, it turns out its about 2 and a half miles to Llanridian. The path instead, runs through the farmland, parallel to the marsh.
This get a bit confusing. I often enter a field and have little idea of where the path goes. So I set off at a 60 degree angle only to adjust my course when I eventually spot the stile in the opposite corner of the field.
There have not been enough walkers recently to make tracks for me to follow across the fields.
I see swallows (the first I have seen this year) over the fields by Landimore. Weobley Castle, another fortified manor house, is a dark presence looming on the cliff above me. From the time of the Norman conquest of Gower to the 15th century, Weobley belonged to the de la Bere family.
Just below Weobley Castle there is a road that leads out into the marsh.
Where does it go? It doesn’t seem to go anywhere, as such.
At the end of the track, there is a odd wooden structure out in the estuary. I can see it with my naked eye but my camera is struggling to get a good picture. I think its made of wood. I can’t tell. You can see it from miles around.
According to historian Wynford Vaughan Thomas, the American army used the marshes as a firing range during the Second World “War. It turns out that it was the US army that built the causeway out into the marshes. The strange building, is not wooden but made of concrete and brick. It was a look-out built by the Americans. I have to search online for close up photographs.
Photo credit: mylifeoutside.co.uk
There is a very dark tale about the Burry Estuary during the Second World War that Wynford was probably not aware of, as it was kept secret until 1999. There had been rumours about the secret testing of chemical and biological weapons in the estuary during World War II for many years. This story is to do with the British government and experiments in biological warfare, not the American Army. The wartime government had asked Porton Down, its chemical warfare research installation, to conduct trials of an anthrax bomb. Anthrax, is a lethal bacteria, which was seen as having “enormous potential” for biological warfare. I would like to point out that biological warfare was, and still is, banned under a 1925 Geneva protocol. This is why countries will make a big fuss about its use on civilians in Syria or even Salisbury, England.
In 1941 there had been a series of tests of anthrax bombs on the uninhabited Gruinard Island, off the west coast of Scotland. These tests had produced contradictory results, primarily due to the soft, boggy ground at Gruinard, so it was decided at short notice to carry out a single replacement test on the firm sand of the Burry Inlet.
On a Wednesday afternoon, in late October 1942, the scientists carried out an experiment over the north Gower salt marshes, dropping an anthrax bomb from a Blenheim aircraft. Two lines of 30 sheep were placed downwind of the aiming mark, spread at 10 yard intervals. When the bomb fell it made a crater of about three feet in width and two feet deep. Three days after the trial, two of the sheep died of anthrax septicaemia, and three others were ill for a day or so before recovering entirely. Apparently, the scientists proclaimed the test result ‘very satisfactory’, especially as this was the first time such a bomb had been dropped from a plane flying at operational level.
According to the report, the site was ‘effectively decontaminated’ by the incoming tide a few hours after the test took place. The carcases of the dead sheep were ‘buried deeply at the seaward edge of the marshland area’. The remaining sheep were observed for seven days after the test, the survivors then being slaughtered and buried.
This all seems a bit of a casual clean up and in marked contrast to the situation at Gruinard island, which had served as the previous test site for anthrax. In that case the entire island was set ablaze and subsequently closed to public access for nearly 50 years. Even today people and animals alike avoid the island, despite efforts to decontaminate the island in the 1980s. All I can assume is that larger quantities of anthrax was used in Scotland.
Update: There’s no need to worry about the dangers of anthrax as it was confirmed in 1987 that “investigations …[after the] trial revealed no evidence of any residual contamination”.
When the path finally reaches Llanrhidian, it seems like quite a shock after all the open space of the marsh and the fields. I think about walking up to the main road where I could catch a bus home but instead I press on .
My next post will be my final stage of the coastal path, from Llanrhidian along the coastal road to the village of Crofty.
I have been asked to be a curator for Artfinder.com. This means I will put together an art collection for the online gallery http://www.artfinder.com. I am very excited and honoured by this chance. I have been represented by Artfinder since 2013 and I have sold 599 works through them. The site has grown and grown over the years and now represents over 10,000 artists.
It’s not the biggest site out there but for several years its been the best one for independent artists. I’ll explain why.
Each artist is given a lot of control over their own page or “store front”. You can directly upload photos of your paintings to the site without waiting for an administrator to approve it. You can also directly contact collectors through their messaging system, rather than through the administrator. This makes customer care a whole lot easier.
There are many very talented artists on the site but the increase in the sheer number of artists has made it more and more difficult to be “seen”. So being a curator for the day is my chance to bring attention to the many excellent and talented artists on the site.
As a teenager I used to fantasizing about having the chance to do a supermarket sweep. I used to think about where I would direct my trolley and what to sweep into the trolley in less than three minutes. Funny, how that has no appeal to me these days although, I do like to get in and out of the supermarket in a short amount of time as possible! Twenty minutes, in and out and I am happy.
This is going to take a bit longer than that!
So I have my chance to “sweep” about 150 artworks into my basket or collection. I am very excited by this. Over the years I have book marked and pinned artworks that have caught my eye and here’s my chance to show them off to the world. I try not to think too much about it. There are some artists who spring to mind immediately like Jane Kell and Andrew Reid Wildman, whom I know I want to have in the collection and others I have to look in my bookmarked collection to remind myself of their names, and a few who present themselves to me as I look through the new art on the site.
I have largely gone with works that highlight colour and light such as Snehal Page’s vivid oil portraits and Sri Rao’s colorful landscapes.
There many artists’ who skill with the paint brush has me in awe especially people like James Earley and Abi Whitlock.
One hundred and fifty painting may seem like a lot but it isn’t. I want to include as many artists as I can with out the collection becoming too “bity”. So some artists get as many as 4 paintings but other only one. I am hoping that the choices I have made will tempt collectors to click on their names and take note and “follow” them or even better buy their work/s. I believe that art is about a conversation between the artists and the viewer.
I say conversation, but I believe that good art provokes an emotional reaction in the viewer; whether it is joy at the remembrance of a summer’s day at the seaside, or empathy with the humanity in another’s face or posture.
As viewers we invest a lot of energy in choosing our favourites, we follow their progress and want them to do well. I am only the 5th artist (I think) who has been asked to put together a collection but I am hoping this a successful collection and other artists are asked to do the same thing.
If you wish to view the whole collection, you can see it here
The Cotswolds is an area that takes its name from the Cotswold Hills in Southern England. I think of it being in Gloucestershire because that’s the part of the Cotswolds I am familar with, but it stretches into Oxfordshire, Somerset, Wiltshire, Worcesterhire and even as far as Warwickshire. It is about 25 miles across and 90 miles long, stretching south-west from just south of Stratford-Upon-Avon (where all 6th form students studying English “A” level use to be taken to see a Shakespeare play) to just south of Bath.
Lots of people have lived here for hundreds of years. Domesday Book (complied. 1086) is testament to that. It records the names of the same villages you’d see on a map today. It lists villages full of people and animals, especially sheep. It is from the sheep that the Cotswold originally derived it wealth. From their fleeces. The steep hills later provided the fast running streams for the water-power woollen mills that line the bottom of the Stroud Valleys.
The thing that marks a town out as being part of the “Cotswold” is the honey colour limestone that all the houses are built from. The little village of Eastcombe is no different. It is nestles alongside the village Bussage, where my parents live. I often walk down to the post office at Eastcombe when I am visiting. The part of Eastcombe that I have painted here is accessed down a steep single track road and it can be pretty treacherous in the winter ice. Once upon a time, donkeys carried people’s burdens down these tracks. These days its 4x4s! I like hilly places (I live in Wales, after all) because houses end up sprawling higgedly piggedly up the hills and I find that pattern pleasing. The Cotswold is a generally a tidy, rather manicured place, unlike the wild unkemptness of the Gower. I enjoy the contrast.
“This is an oil painting of the Table Mountian in Mid Wales.
I painted this because I loved the colours of blues, turquoise and purple which blend pleasingly with the blue-greens and terracottas of the trees and land.
Nature unearths such lovely rich colours and casts them wide in lovely complementary chromatic patchworks.
I would say this painting is inspired like so many of my mid-Wales landscapes by one of my favourite painters, Robert Bevan, whose landscapes have influenced how I paint this type of hilly upland landscape as opposed to the landscape I paint of Gower Peninsula which is usually in my own unique refractionist style which in itself influenced by expressionism.
I love the idea that colour expresses emotion, transports and alleviates the self and a creates an emotional response to a place depicted in a painting. Ideally I like to transport the viewer to the place so that the viewer somehow feels they are there or have been there in some sense. That is somehow familiar to them.
In this painting I hoped to transport one to soft lazy warmnesss of summer in the fields of Mid Wales. The velvety feel of the Table Mountain helps heighten this feeling of softness. The warm summer breeze can often give this sense of snoozy softness and I hope some of this is conveyed in this painting with the manicure trees like hairdryed Bouffants and the dusty dryness of the terracotta.”
In a meditative manner, to the music of Eric Satie’s gorgeous “Trois Gymnopedies”, I attempt to describe how working close to nature but in the city is a major influence on my painting, blending with my technique to create my artwork. In fact, place and painting are inseparable. I am greatly influenced by the light and beauty in Wales and around the Swansea area in particular. Most of my paintings inspired by the bountiful beauty that surrounds me, the sounds as well as the images. You might even notice the odd inspiration that made it to be a painting too (as well as the odd painting of my inspirational Swansea). Welcome to my Attic Art Studio and the place that inspires much of my artwork. https://vimeo.com/104913701
You probably think that artists are good at creating paintings/images in all mediums; oil, watercolours acrylic paints. Many probably are, but I am not. I need to work at it. It’s a bit like being an athlete. You might be great at football but it doesn’t automatically mean you are a great sprinter, tennis player […]
What’s in a name? It’s complicated The name of the city I am living in right now is contentious. It’s official name is Londonderry but no one here seems to call it that, not even the council. Most people in the city itself, Protestants as well as Catholics, call it Derry. This suggests it is more […]
The ‘Illuminate’ festival is running over two weekends in Derry, 17th – 20th and 24th – 27th February, from 6pm – 9pm. We visited it on Thursday night. It was very cold (double socks and thermals weather) but mostly dry. This was important was all the sites we visited were out of doors. It was a thoroughly enjoyable experience and a brilliant introduction to Derry.