Disrupting the Lexicon Location Myth
I recently received a rejection slip from a respected publisher that has resonated much more deeply than I had envisaged. The knockback didn’t bother me so much as the reasoning behind it. The body of work was a series of photographs then titled Recovered Landscapes: Reclamation of the South Yorkshire Coalfields. The publishers basically said that there is no or little commercial interest in these landscapes, that they are invalid, obsolete, without a criterion that fits the current publishing climate. Friends suggested that I drop the specific locational moniker and resubmit them as a more generalised way of treating landscape. But to do this would risk losing the essential value of what I was trying to achieve – namely, that something deep within the regional psyche was being lost through the treatment of post-industrial sites and the value system that surrounds them.
Having work rejected because the work isn’t of an industry standard is one thing, but the dissemination of its values through the market is another. Part of the problem is that of exoticism; of displacement chic. If you replace South Yorkshire with the Russian or South American coalfields, interest increases, and value increases. I think of John Clare, who suddenly and irrevocably became absent through his absolute insistence on describing what he knew and his fateful attachment to his own microclimate. I guess, in deep introspection, Clare wanted to preserve what he felt to be already over, though few wanted to hear it as it hardly fitted prevailing sensibilities. However, I think it goes much deeper than this and into our expectations of what cultural values are and what purpose they serve. I will return to this as the essay progresses.
Too often in today’s climate, cultural hegemony is cultivated through a seemingly ad hoc mixture of arts festivals, commercial galleries, managerial processes and academic interventions into spatial politics. What has become harder, and to some extent impossible, is to work outside of these frameworks. A priori positivist assumptions about ‘community’ often head up these processes and their adherents. Empirical knowledge of social or event planning bypasses more deep-seated resentments of and dissatisfaction with cultural ‘re-presentation’. Added to this is an accelerated reliance on digital topographies (through sat-nav, gaming terrains, Google earth, etc). The end effect is often a geopolitical dysmorphia, a fantasy world. The ordinary, caught as it is between the sublime and the banal, is often erased and replaced with heritage green space, business or retail parks, faux-archaeological aesthetics, or is simply fenced off and marked as an absence, reflecting the value of keeping sites empty as fiscal or cultural currencies. Rarely in the former coalfields has land been left to naturalise as a post-industrial site. The management of landscape through extraneous principles is nothing new; however, when photographing the region, my criteria have increasingly been informed by the questions ‘by whom’ and ‘for whom’. Photographing the former site of Denaby Main colliery, and its subsequent use, highlighted the failure of consultancy and multi-agency bodies to understand the deeper needs of the site. The deliberate depoliticisation of the region is also evident in its restructuring. For example, the site of Orgreave coking plant (scene of the worst mass brutality conducted during the bloody 1984-85 miners’ strike) has now been re-named as the softer-sounding and benign ‘Waverley’. To date, no official acknowledgment or representation of the conflict has been made on the site. What seems clear is that the region has a diverse set of meanings and histories and its future value must attempt to try to accommodate this range in a meaningful way.
Before continuing with a discussion of the points raised above, I want to describe what I mean by the ordinary. To create work en plein air in a contemporary setting is deeply unfashionable and is often seen as anachronistic. Counter to this are a plethora of site-specific works that seemingly reveal personal and geopolitical histories, or documentary works aiming to capture event-specific ‘decisive moments’. I have used ‘ordinary’ in this context to mean work that neither reveals a particular important event, nor uncovers a familial or archival particularity. Some of these sites might even be described as ‘non-sites’, places where nothing happens very slowly. Absence of meaning and the ordinary seem perfectly syntagmatic of a region that has had its major resources continually disputed and exploited until little remains but traces: scars and residues. It is the condition of these remains at this particular time that interests me. The future and the past are other photographs, other representations; any meaning here should be through what is visible as a surface.
It is important in this context to distinguish between the normal and the ordinary. Normative values have a systematic relationship to the production and dissemination of agreement criteria, of validating work through its ‘usefulness’. On the other hand, ‘ordinary‘, in best usage, might include the disregarding of official (and often arbitrary) boundaries, the use of land as playful, or as an absence of distinctions between urban and rural, ruin and foundation. Here the categorical dichotomy between the sublime and banal also begins to loosen. If sites are only validated through their context (crime scenes, accident sites, historical human activity etc) then the suggestion (and presupposition) is that all other criteria are supplementary. However, the ordinary falls short of these criteria; for example, in plein air photography, conditionality plays a major part in the methodology of production values. The weather or time of day isn’t secondary here, but essential. This ‘it was as it is’ attitude isn’t quite as benign as it first appears, though. I will go on to discuss how I completed the series of photographs, and what such close scrutiny of the value systems and dissemination of landscape might imply within a broader context.
On reflection, I think the series has a couple of things going against it in the prevailing climate. Firstly, as I have suggested, the series is primarily focused on absence. The human element in the photographs is secondary and often invoked as a negative principle. To create work that isn’t human-centric and doesn’t show the species as benevolent or flexible doesn’t fit with utopian or community values. Secondly, the medium itself becomes problematic inasmuch as the series aims to create its meaning, not through the singular ‘important’ definitive image but through a series of non-specific variants. The ordinariness of landscape not being shot at its most beautiful angle or at the poles of dawn or dusk aims to suggest a non-partitioned, plain version of the world and not a locus we head toward as a point of interest. When I discussed this series at a gallery opening, someone suggested to me that the reason that many of these sites are screened from the casual passer-by is because people don’t want to see them. This seems reason enough to show them.
As the series developed and extended, I began to focus less on the coalfield sites themselves and more on their peripheries. The idea of momentarily catching a landscape without any presupposition began to appeal to me deeply. As the focus shifted from the specific to the commonality of waste ground or scrub, I realised that although all landscape isn’t treated equally that doesn’t mean all landscape isn’t equal in and of itself. So eventually I dropped the original title and began to divest the images of any bias of particularity I could. By refusing meaning, landscape itself can be disruptive. Photography as a lacuna is doubly bound to re-present the point of interest as facile, as of no great significance: whether you choose to look or not, it’s there. The series attempts to put a strain on our presence as passive viewers of landscape by pushing its absence onto our own, refusing along the way such overworked terms as ‘banal’ or ‘sublime’. The non-identification with landscape as picturesque or sublime searches for its imagined communities elsewhere. The process of being in the landscape itself finds its exegesis in the limits of identification and not in co-opting its value as a regulatory system of materialism. It is this ‘tramping’, wandering quality that the series aims to acknowledge. How much ‘use’ this quality can be put to remains to be seen.
Karl Hurst’s photographs of the South Yorkshire coalfields will be exhibited as part of The Ted Hughes Poetry Festival 2016 (Mexborough, 24-26 June); click here for further details. Further images in this series can be viewed as part of Hurst’s Flickr photoset.
Three essays on photography (under the series title ‘On Liminal Spaces’) appeared on the Longbarrow Blog in 2015; the first essay (‘Reflections on Impracticality’) appears here, the second essay (‘Meditation on Carl Wark’) appears here, and the third essay (‘Winter Hare at Alport: A Theory of Disappearance’) appears here. Karl Hurst’s Flickr photosets can be viewed here. Boxed editions of prints are available from his Etsy site. Details of his publications with Longbarrow Press (writing as Andrew Hirst) are available here. His sequence ‘Three Night Walks’ appears in the walking-themed poetry anthology The Footing (Longbarrow Press).
Last night, in the middle of a city in the middle of the desert, I was listening to music at my friend’s apartment when Jackson Browne came on. It’s a few years since I heard “Late for the Sky”. It’s one of Nick Hornby’s 31 songs, and he says when the album came out in 1974, he was too into punk to have time for delicate Californian flowers with pudding-bowl haircuts and songs about marital discord. It was a couple of decades later that his own marital discord gave him a sense of what shaped these songs. The intro of “Late for the Sky” is instantly moving. But now it’s like I’ve never heard the lyrics before, how deeply sad and felt they are: “looking hard into your eyes / there was nobody I’d ever known / such an empty surprise to feel so alone.” That’s the thing about endings. The past gets rewritten, you get rewritten (I am no one you’ve ever known). Shared stories no longer match up, so you lose yourself and your past as well as an imagined future. And now it’s dark outside and I’m listening to Jackson Browne in the middle of a city in the middle of the desert.
I write about the desert sometimes. This is the second part of a poem called ‘Fairytale No. 9’:
He said his country had only two seasons,
all or nothing, no spring or fall.
He longed to see snow
but I told him how leaves brittle
and burn up in love for the trees,
sacrifice themselves – little drops of blood –
to lie over exposed roots, warming them
from the early frost.
Autumn, I said.
Outside, sand and sky were all one colour.
He turned back from the still heat
asked me to write
this new word on his hand.
I love England for its seasons. I have something good to say about them all, but what makes them magical are the visible changes that are most associated with spring and autumn, the little drops of blood, and the shoots that are just now turning the garden green in my absence. It’s a good backdrop for a fairy tale, all that transformation.
In my poem, change comes at a cost, a “sacrifice”, and elsewhere, the speaker’s transformations are quite traumatic:
Heavy with buds, I took to bed, dreamt
of being a woman –
the weight of nesting birds
on my chest was only grief, the body taking
its share of the pain.
I lost my silver bark,
its counter-light reflecting the names
of passersby cut into my ribs.
e.e. cummings’s “Spring is like a perhaps hand” appears to offer transformation without the pain, a gentle placing and arranging – “a perhaps / fraction of flower here placing / an inch of air there) and // without breaking anything.” – but so many carefullys can’t be what they seem … actually, we’re only looking through a window, while spring affects how we see the world. Somewhere else days are getting shorter. And somewhere else again, spring and autumn are barely words.
Change as part of a cycle only looks like change close up, doesn’t it? So it’s not always obvious that you’re going round in circles. In her short story, “Her Bonxie Boy”, Sara Maitland combines fairy tale, spring and science, using the method of charting seasonal bird migration with microchips that record light intensity; length of day tells latitude, and you can tell longitude according to the hours of sunrise/sunset, so you can work out where a bird was twice a day. Except when it’s equinox because days and nights are the same length across the hemisphere: “The vernal equinox is exactly when migratory sea birds are migrating. So, at the very moment I want to know most what they’re up to, they disappear. Vanish somewhere between winter and summer”. Is that what I’ve done? Have I disappeared? Have you forgotten me? I have a different name here, different job, clothes. I’ve shed many of the roles I used to have. Here I’m no one’s daughter, no one’s significant other. I’m still a (Skype) mother, but most people here would be surprised at that. Will this migration really bring transformation or is it just part of a bigger circle than I can see? Truth is I’ve held onto more than I’ve let go of, and if some days it hurts, I don’t know if it’s change that’s more painful or trying to hold still.
I wrote ‘Fairytale No. 9’ while thinking about Rebecca Solnit on pain and empathy (in The Faraway Nearby). Thinking about pain and touch as a boundary of the self: “Those who suffer are considered to be worse off than those who don’t, but those who suffer can care for themselves, protect themselves, seek change […] recover.” Hornby describes it as peeling away “yet another layer of skin (who knew we had so many, or that their removal caused such discomfort?), and thus allows us to hear things, chords and solos and harmonies and what have you, properly”.
Hornby adds that he wishes he still had those layers of skin, but when my son grew up I realised life is much longer than I’d imagined, and I wonder what it would be like to go through it and never change or be changed. In Ultimate Classic Rock, Michael Gallucci wrote, “[Browne] sang like someone who had the end of the world in his rear-view mirror and a wide open road in front of him”. In those chords and solos and harmonies and what have you, in “Late for the Sky”, I hear that potential for transformation, to see the open road more clearly for having the end of the world in sight. The lyrics, sad as they are, are about waking up. Once you see “the changing light”, you lose what certainty you thought you had, but what do you gain?
In Hope in the Dark, Solnit says change happens in the imagination first. You have to be able to imagine the possibility of a different future, before you can head towards it. And if you think that’s scary, that’s where the hope is. There’s no hope in certainty, only in the dark, and perhaps a little in the desert.
‘Fairytale No. 9’ appears in Envies the Birds, Angelina D’Roza’s debut full-length collection (available now from Longbarrow Press). Visit the Envies the Birds microsite for further extracts, essays and audio recordings. You can also order the book (hardback, 80pp) via the relevant PayPal button below:
There’s a kind of line, of light, a thought line, which cuts through false histories and comes towards us from the devastated zones. […] And always the experience wrapped in the line is that of the work force.
The Ascent of Kinder Scout, Peter Riley
The reconstruction of post-war London is a story of displacement and drift. An estimated one million homes were erased from the capital during the Blitz, the rubble later reburied in pitches, mounds and the airfields of East Anglia. A smaller number of properties vanished under the auspices of the Slum Clearance Act, introduced in 1955, a revival of a programme interrupted by the Second World War. Before the bomb sites and bad houses could be scratched from the streets, before a vision of high-rise living could be built up from sketches, temporary solutions to the housing crisis were being pieced together at the city’s edges: the quick, new prefabs, plotted in 1944 and delivered within weeks of the war’s end, their concrete walls framed in timber or steel, the steel recycled from Anderson shelters. The Housing (Temporary Accommodation) Act legislated for 300,000 prefab units for the UK, only half of which were built. The immediate demand for new homes, unmet by the recovering city, led the London County Council to adopt a policy of dispersal, relocating families from Inner London to satellite estates in the Home Counties, and further afield, to the designated ‘overspill towns’ and new towns of East Anglia, the South East, and settlements in the west. Like the East End evacuees of the 1940s, many of the rehoused Londoners would never return to the capital, the short-term plan drifting in the middle distance, the future dragging on, and the prefabs becoming fixtures, outliving their span, some still standing decades later, asbestos in the bungalow roofs.
Among the overspill towns was Swindon, 71 miles west of London, halfway between Reading and Bristol. Unlike a number of its counterparts in the South East, Swindon was not a new town. Recorded in the Domesday Book as Suindune, the Anglo-Saxon settlement, built on limestone and chalk, developed as a centre for barter trade, its growth accelerating with the construction of two canals in the early 19th century. A few decades later, Isambard Kingdom Brunel was authorised to build a central repair works for the new Great Western Railway a few miles north of the old settlement, resulting in further expansion, and Swindon’s transition from a market town to a railway town. With the works came a workers’ community, the first houses appearing in 1846, terraced cottages on parallel grids, a model village in Bath stone. The Mechanics’ Institute, formed in 1844, offered a series of evening classes, concerts and lectures in borrowed factory space, moving into purpose-built premises ten years later with the support of The New Swindon Improvement Company, a local co-operative. These organisations helped to make the railwaymen among the best-educated manual workers in the country. The Institute also established the UK’s first lending library, starting with a small collection of books gathered by toolmakers; and a health centre, built up through a subscription-based medical fund, that provided first the railwaymen, then other Swindonians, with a cradle-to-grave service that Nye Bevan later adopted as a blueprint for the NHS.
The town was still expanding in the 1960s, even as the power drained from the railway works, its role downgraded from locomotive building to rolling stock maintenance. The Pressed Steel Company, a car manufacturer, had rapidly overtaken the GWR works as the largest employer, rivalled by Plessey (electronic components) and Vickers (aviation), orbited by secondary industries. Many of the employees of these companies were Londoners, incomers, overspill, rinsed from the city; others had relocated from South Yorkshire, following Plessey’s decision to close its Rotherham unit and open a new factory in Swindon; and some were Polish refugees, temporarily quartered in POW barracks after the war, at the sharp end of the housing shortage. North of the railway works, the new estates of Pinehurst and Moredon saw their prefabs gradually replaced with brick houses; to the east, the even younger suburbs of Walcot, Park South, Park North, Covingham and Lawn, a mix of council and private estates. During this period of expansion, the borough council also offered support to small groups seeking plots of land on which to build their own homes from scratch. The land for these projects, provided by the council as part of an interest-free loan package, was mostly sourced in the east of the town, in the gaps between light industry and open country. In April 1961, a group of 14 men entered one of these gaps, a small piece of the Lawn estate, and started to dig out their settlement.
The Tenby Close self-build scheme included bricklayers, carpenters, plumbers, electricians and plasterers. Among them was my father, a carpenter, newly married, employed by a local building firm, with which he would remain for the next 38 years. Under the terms of the scheme, the men were contracted to work on the site for a minimum number of hours per week, with any extra hours at their own discretion. My father worked all day on Saturdays and Sundays, and a few evenings during the week, the hours lengthening as the scheme developed. Throughout the two years spent building the close, my parents lived with my father’s mother in her council house in Wroughton, a large village south of Swindon, close to The Ridgeway, an ancient track that spans the Chilterns and North Wessex Downs, and Avebury, where the track has its origin, shadowed by chalk mounds and chambered barrows. It’s unclear if or how often my parents visited these landscapes, as most of their waking hours were spent at work. Towards the end of the self-build scheme, the men drew lots for each semi-detached house, an agreement drawn up to ensure consistency in their collective endeavour, to write fairness into the design. My father drew number 6. My mother joined him in decorating their new home, their first and only home, finally moving in during the cold spring of 1963. The total cost of the house to them was £2,000, including the land, the legal expenses, the laying of road. They’d reached it by hard work, applied skill, thrift, patience, love, at a time when this was enough, when the means were enough, and the ends were enough.
The first years fly, a son, then a gap, a second son, another gap, another son. The edges of the house soften, the work is continual, to adapt, convert and extend. The sitting room loses its partition, the attic gains stairs, windows, a bedroom. In time, it is followed by an extra garage, the other serving as a workshop, and a white room for white goods. Most or all of this my father does himself. The cupboards are built-in, the shelves recessed in the walls, dry glaze on dark timber. It is a deceptively plain craft, done without fuss or fetish, there are measurements, pencilled plans, materials sourced and cut to size, edges meet or do not meet, there are adjustments, slowly, millimetre by millimetre, the angle is made, and everything fits, and everything works. Nothing is left undone or unfinished. Outside of the house, the firm loads him with jobs, scattering the Wiltshire downs, some landing in Berkshire, Hampshire, Oxfordshire, but most of them in or near Swindon, new space, old space, set fast in concrete. A thought, in the 1970s, of setting up in business for himself, he and my mother discuss this, she would do the accounts, but the uncertainty, the insecurity, he will not put his family at risk. It is a thought put to one side. And he does not put his family at risk, he does not neglect them, he is gentle and giving with his wife and sons at the end of the worked hours. He takes us to the lending library, where we think for ourselves, to the swimming pool on Milton Road, a legacy of the medical fund, to the hides, forts and clumps south of Swindon. He builds, and the buildings stand. He builds a school, the comprehensive that my brothers and I will attend, a fact of which I am ignorant for years. I learn to build, with Lego and Meccano and then with bits of dark I find in the wardrobe, built into my bedroom wall, idle blocks of pitch. I climb inside and close the doors behind me. I am six or seven. I fold my knees and wait for the blackout, falling back to the war, to a time before me, a time before our house, a time before colour. I fall further, the wardrobe is a limestone barrow, action figures on the damp ledges. And I fall out of time, into space, the dust disc east of Mars, the asteroid rubble. On corrugated cardboard all the known planets line up, in felt pen, red, green and blue, each pleat stands for ten million miles. I scrunch my shut eyes and see a mass drift. Dim spheres, a field of gas giants, dots of light beyond Saturn. The wardrobe ends with Pluto.
All the men are gone from the close, now, my father among them. Several days after he died, my mother handed me a list, names and numbers, men my father had worked with. Names I’d never heard of, names from the 70s, some my father hadn’t seen in decades. My mother wanted them to know what had happened, that the asbestos had caught up with him, and to thank them for their help in the last months, their best recollections of their working conditions, the statements given to the industrial disease lawyer appointed by my parents. I called each number in turn, not knowing how to begin, how to introduce myself, how to find the tone. “It’s Ray Lewis’s son”, I would start, then stop. I knew what my father meant to my mother, my brothers, the branches of our family, neighbours, friends and acquaintances, but I hadn’t heard it from these men, men who perhaps knew him only slightly, but who now sounded as stricken as I felt. Mostly they wanted to thank him, as I did, for the things he’d done, and how he’d done them. He was not a man who sought credit or craved status. Whatever anxieties or disappointments he experienced in his life were shielded from his family. As far as careers advice went, his only wish for his sons was that they didn’t follow him onto the buildings. The most professional worker I ever knew, he was naturally suspicious of amateurs with expensive tastes, of confidence and bluff, but there was no bitterness in his voice. To be ‘made’, to be ‘self-made’, didn’t interest him. To ‘make something of yourself’ was not to elevate yourself above others, but to make yourself useful, to do your best, with the resources at hand. And he did this, I think, to the end of his short retirement, making dolls’ houses, restoring my brothers’ houses, tending his allotment, cleaning the neighbours’ gutters. The craft and the slog, never one without the other. Even when illness diminished his own resources, he was still working, and working for the best: showing us not what to build, or how to build, but that it was possible to build. On occasions after his death, I would visit the community centre in Lawn, the centre that my mother and other local residents had spent decades campaigning and working for and finally secured, and look to the cabinet he’d constructed in a corner of the hall, discreet and useful. It’s still there, of course, years later, loved and remembered.
i.m. Raymond Lewis
01.12.1934 – 23.08.2007
A map of the old city: off-white, off-centre, its grey pleats blurred in the upload. At the north-western corner, the road out darkens with the tramway, passing a congregational church, a cricket ground, and a black-edged barracks, before the tram is caught by its own terminus and the road splits at the river. This is Hillsborough, sketched in the 1880s, not yet incorporated within the City of Sheffield. Two decades on from the Great Flood, we see a handful of lanes, a suburb’s bare bones. We don’t see the recovering industry, the vanishing chapels, the new streets in their neat script, pencilled in at the century’s turn: Rudyard Road, Rider Road, Haggard Road, Kipling Road.
‘Kipling Road’ is the first poem in Rob Hindle’s sonnet sequence ‘Hillsborough to Middlewood, February 1931′. Published in 2013, it retraces a journey made by Hindle’s great-grandparents’ son, Harold, eighty years before: a journey of little more than a mile, a journey that will take him out of the city and into the West Riding. We are to infer that this itinerary is his last. The sequence is narrated in the first person, the poet steering himself, and us, through a world that is half-familiar and half-imagined, in the present tense, at street level, at walking pace. The two journeys – the poet’s, and the great-uncle’s – maintain a slight distance from each other, from the territory they move through, and from us. There is much that we do not know. We do not know if Harold’s departure was accomplished on foot, or by other means; whether or not it was made voluntarily. The sequence offers glimpses of thresholds – historical, physical, emotional – that may or may not yield to our touch. Yet it is this quality of indirectness that gives the work its intimacy; we sense more than we see, slowing, pausing, ‘feeling the air for a way in’.
No through road, no exit. Kipling Road is one of several blind alleys built on ground formerly occupied by the old tramway terminus, a corner of which will be reclaimed for the Hillsborough Interchange a century later. Two terraces, each of seven houses, odd numbers lined up against even numbers. At the dead end of the street, where the cars wait and turn, we find a grass slope banked against a stone wall; behind the stone wall, a higher breezeblock wall; behind the breezeblock wall, a tall wooden fence, above which we can make out the pitched roofs of bus shelters. Little else escapes the fence: a faint burr of engine noise, the hum of buses caught between arrival and departure. A single turret, sinking from sight as we near the wall. We can’t see the rest of the barracks, but they’re there, south and west, changed into retail, business, split-level parking, the cavalry gone, the infantry gone. The street, as we find it, is innocent of these comings and goings, it doesn’t know what happened to the parade ground. It won’t tell you what happened here last week. This isn’t public property, the windows and doors silent, shut, slanting the enquiry. It is sound, leaking from one side or another, that sets things moving, that primes this vision of flight:
Now there is the click of a back door,
the chitter of a budgerigar.
Then you are hurrying from one of these houses,
hair brushed, tangled feet booted […]
There is one way out of the terraces, a left turn, Kipling Road to Rudyard Road, a right turn, then the last few yards of Langsett Road, the Loxley beneath it, unscrambling from the weir, dark and diminished. The poems pick up the ‘bright thread’ of the tram lines, silvering the road from Hillsborough to Middlewood, its subtle incline, snagging when we pause to look around us, fading when we stop to look back. Shoppers and passers-by seem to take on the shade of the great-uncle, his ‘fumbling’, his ‘lurching’, closing in, disturbing the air. The direction is certain, the movement hesitant. East of the tram lines, the ‘thin green’ of Hillsborough Park, its dogs and dog walkers, distant and slow. North-west of the park, the tree-lined suburbs of Middlewood and Wadsley, hiding their separateness, their spread, their wealth. The tram lines run out and the city falls behind them. And here is memory, sharpening on these new edges, glancing off familiar details: the post box, the school,
the park where I rushed along one day, my mind,
gleeful and vicious, running after me. Middlewood,
childhood cant, that thing in all our cellars,
I shouldn’t have dared. I pay out my breaths
like twine, each step shortening.
Middlewood Hospital (formerly known as the South Yorkshire Asylum, the West Riding Asylum (Wadsley) and Wadsley Mental Hospital) opened in 1872 to accommodate the overspill from the West Riding County Asylum at Wakefield. Over the decades, it gradually expanded from 750 beds to over 2,000, with many of these requisitioned for emergency use by the War Office during World Wars I and II; this number was sharply reduced during the 1980s, as psychiatric patients began to be released into the care of their local authorities, and the hospital finally closed in 1996. Shortly afterwards, the site was acquired for residential development, the expansive grounds, superb views and good transport links making it the natural setting for an exclusive village, retaining many of the original structures; the old clock tower, restored and converted, now watches over the new apartments to the rear. It was here, a mile or so from Kipling Road, that Harold Hindle was brought in 1931, and it was here that he died in the following year. He was 27 years old.
The final poem in the sequence is an encounter with the redeveloped site, or, rather, those parts of the village accessible or visible to the non-resident: Kingswood Hall and Middlewood Lodge are locked away behind secure, gated entrances. In London Orbital (2002), his psychogeographical survey of the M25, Iain Sinclair addresses the rehabilitation of the former psychiatric hospitals and asylums at the edges of the capital; as the late 1980s property boom began to eat up more space, these dormant, unloved sites were reappraised for their proximity to the new motorway, offering rural character, seclusion and discretion. Buildings that were designed to keep people in – monitored by staff, unseen by the ‘outside’ world – were redesigned to keep people out. Purged of their ghosts, cleansed of their dirt, the estates assume new names, a selective heritage. We are not invited to poke around. Hindle leaves us at the gates of Wadsley Park Village, where
the locked front door gleams and the tiny cameras
look at everything. As I leave something clicks, twice:
tut tut. Through your eyes I see myself out.
‘Hillsborough to Middlewood, February 1931’ is one of five long poems and sequences by Rob Hindle (under the collective title Flights and Traverses) in the walking-themed anthology The Footing (Longbarrow Press, 2013); click here for more information about the book. Hindle reflects on the research and development of the poems and sequences in this essay. Click here to visit his website.
Listen to Rob Hindle reading ‘Kipling Road’:
We are entering the capital of a lesser empire
where the plans of our masters surface betimes —
pins on a map at the Ministry of Natural Calamities,
and the statistics like crisp new folding money.
‘Beyond hope and the Lea River’
East London, a March morning, the low zeros: the first spring of a new millennium, the last winter of the old century. I’m on the southeastern edge of Canning Town, looking at the makings of the new ExCel building, under construction near the site of the former Royal Victoria Dock. Opened in 1855, the Victoria Dock was scaled for a new class of steamships; with the Albert Dock (1880) and the King George V Dock (1921) extending to the east, the Royal Docks formed the largest enclosed docks in the world. By 1980, they were empty of traffic, outscaled by Tilbury’s sea-facing container port, the deep basin at the mouth of the Thames. The docks retain their water, the ownership transferring from the Port of London Authority to the Royal Docks Management Authority Limited in the 1980s. The docks retain their titles, and lease them to the new, unmanned metro, the Docklands Light Railway, rolling into the Enterprise Zone, phase by phase, station by station: Royal Victoria, Royal Albert, two stops, an elevated section, surveying the incoming stacks, the hotels and apartments, their flags of no nation. The private water, the corporate border. Shortly before the year’s end I bought a pocket A-Z. It is now useless, the names on the map have been removed from the ground, the white spaces that I came here to haunt have been coloured in. And this is where the map runs out, cutting the airport and regatta in half, two miles east of the meridian.
The water running to the west of the Royal Docks is the River Lea, formerly the Essex border, before the county boroughs of West Ham and East Ham were assigned to the London Borough of Newham in 1965. The borough’s eastern boundary is the River Roding, close to where the poet Ken Smith settled in the early 1980s; Smith, formerly of Yorkshire, Exeter, Pennsylvania and Kilburn, would remain in East Ham until his death in 2003. Shortly after the move, he began work on The London Poems, a series of twelve-line poems (each composed of three quatrains) that would form the centrepiece of his 1986 collection Terra. Fourteen of these poems were selected for The House of Numbers (1985), a pamphlet from Smith’s own Rolling Moss Press, accompanied by several photographs by Stephen Parr. The poems and the photographs show the docklands in profile, from the Isle of Dogs to Woolwich, its bad dreams of decline and redevelopment: oblique, caustic and dialectical by turns, the pamphlet has the urgency (and something of the appearance) of a samizdat report from an occupied sector. Observations are recast as allegory; sour jokes are embedded in government policy; enciphered conversations leak from the faulty electrics. A zone of transition, in which almost all transit is suspended, threaded and encircled by ‘miles of wire’, distanced and disconnected from the city it once served. A zone of enterprise, patrolled by snatch squads, paramilitaries and private militias, their allegiance shifting from contract to contract, shadowed by workless ex-soldiers, ex-dockers. The poems are sidelong dispatches, filed on the run, a dossier of riddles, rumours and rhetoric:
My friend Napoleon visits Farina’s Café.
There is no message. He meets no one.
It is mysterious because there is no mystery
but Napoleon is now in the house of numbers.
‘Beyond hope and the Lea River’
The naming of districts in The House of Numbers is metonymic, suggestive, spare; the pamphlet is not a gazetteer or street atlas of East London. No markers, no pins. The poems’ titles (‘In Silvertown, chasing the dragon’, ‘The meridian at Greenwich’) lead us to the edges of the territory. We are left to fill in the blanks. Smith hints at the number and nature of the ‘blanks’ that have been, or will be, created in the residential and industrial sectors; the cleared terraces, the derelict mills, the ‘slow workless docklands going cheap’. Dead and dying space, parts of which will remain dead for a generation, fenced off by prudent developers, before re-emerging as ‘new space’ at the turn of the millennium. The House of Numbers is not so much concerned with the topography of the spaces it reports from as it is with the relationships within and between these spaces, and, in particular, with the people that inhabit them. One consequence of the restructuring of the docklands was that it made the local population less visible; the transfer of some residents from low-rise terraces to tower blocks, the dispersal of others to the ends of the borough, and the gradual disappearance of shops, pubs and amenities left many streets as silent as the docks. As Smith observes in ‘Clipper Service’:
Now the natives are proud and scattered
and lonely in the high rises, living
as they always lived: thieving or work
when there’s work. There’s none now.
The erosion and displacement of these communities was a process, rather than an event. However, two episodes in the last century’s wars made a significant contribution to this process. London was an accidental casualty of the Luftwaffe’s early campaigns; a lone bomber, tasked with a hit on Tilbury, struck the East End instead. The ensuing cycle of retaliation led to the London Blitz, in which the Port of London was a prime target; the raids on the docks also damaged or destroyed neighbouring factories and a substantial amount of housing stock. Some of the most severe losses were sustained in Silvertown, a narrow strip of reclaimed marshland between the Royal Docks and the Thames. Silvertown took its name from the rubber factory established by S.W. Silver & Co in 1852; the company’s decision to open their works in the area may have been influenced by the fact that it was just outside the zone in which ‘toxic industries’ were prohibited (by the recent Metropolitan Building Act). With the development of the docks, other industries followed, including chemical works, flour mills and the rival sugar refineries of Henry Tate and Abram Lyle (merged in 1921). They were joined in 1893 by the Brunner Mond factory, which produced soda crystals and caustic soda. The company ceased production of the latter in 1912; four years later, the production area was still unused, which led the War Office to requisition it for the purification of TNT. On 19 January 1917, a fire ignited 50 tons of explosives, destroying the plant, a fire station, a school and a church, and damaging 70,000 properties. Seventy-three people were killed; more than 400 were injured. Thousands were left homeless. Parliament debated relocating Silvertown’s residents elsewhere, rather than investing in rebuilding; for the 600 houses that fell, 400 new houses were built. Two decades later, the town’s population and infrastructure were further reduced by the Blitz, with hundreds dying over the months of the campaign, and hundreds more dispersed through war service or evacuation, many of whom would never return to the area. Some of the blanks were filled in after the war, with prefabs and new shops, a decline slowed by partial reconstruction. And some of the blanks remained blank: the grounds of the devastated TNT plant still unbuilt and empty at the century’s close, shrinking from each renewal, a white, wrinkled scar.
And no one to remember. No messages
passed late at night across borders, by hand,
by word of mouth, we who are lost together
telling tales the prisoner spins the jailer.
‘The meridian at Greenwich’
The docks divide, west from east, Victoria from Albert, a swing bridge stuck between Canning Town and Silvertown, two lanes southbound, two lanes northbound. It is a fresh spring Saturday, four years and one hundred metres to the side of my first visit to the docklands. The ExCel frame reddens the west, its finish taking the morning light. The two hundred metres between the exhibitions centre and the bridge is a parking grid, white on grey, clean intervals flatten the waterfront, there are grades of supervision, enforcement and protection. All the bays are bare. I follow the guard rail to the swing bridge, passing under the tarmac lanes, to a marina chipped out of the Albert Dock. The east-facing rail has a heritage panel with an industrial plan of the dock area. A bunch of cellophane tied to the mesh, one or two stems sinking in the layers, a bleached card, a message I can’t read. Beyond it, the airport runway, the resurfaced wharf, wet lights of the corporate jets. I step back, to the brick octagon of the old pump house, to the steel ventilation pipes that curve from the deck. Preserved features. The first time I stood here, at the end of a whim, a space that no one belonged to. I didn’t think to ask what had happened and now there is no one I can ask. Out and overhead, the cars, the control cabin, the commercial aircraft.
A mile west of the Lea River, rising from the silt of the Isle of Dogs, stand the towers of Canary Wharf: a gamble on the site of the former West India Docks that, like the Royal Docks, closed for business in 1980. An abstraction that bankrupted its owners within months of completion; a symbol of the district’s rebirth, from the docklands to the Docklands, that cast long shadows over its residential neighbours; a city beyond the City, enabled by tax concessions and reduced regulations, recapitalized by a global consortium. A self-contained business district with its own border controls. The House of Numbers is a report from the interregnum, in shorthand: it shows the ground opening and closing in quick strokes, the gradual rebalancing of power. It anticipates the growth of public-private partnerships in delivering public services and infrastructure, the discreet outsourcing of security, the brash speculations of property developers. It records the weakening of bonds between communities and place, the qualitative and quantitative decline of municipal space and domestic space, slackened and shrunk to ‘cardboard apartments’. It also summons a defiant, inclusive ‘we’, the choral voice in almost every poem, nuanced and modulated by the multiple fractures of identity and territory, anonymous, polyphonic, the exhausted lament of a stateless tribe:
But we are all going away now
into some other dimension, we speak
a mirror speech there and count differently
and no one stands for the Queen any more.
‘In Silvertown, chasing the dragon’
The poems in The House of Numbers also appear in Ken Smith’s collection Terra (Bloodaxe Books, 1986) and in Shed: Poems 1980-2001 (Bloodaxe Books, 2002). A short film of Smith introducing and reading ‘Three docklands fragments’ (from the 1990 collection The heart, the border, also regathered in Shed) appears below:
A reading given by Smith at the University of Warwick in September 1984 also includes several poems from The House of Numbers; click here to listen to the archive recording (also downloadable as an MP3).
Clock-tick, birdsong, cars.
My palate wakes from last night:
whisky, woodsmoke, stars.
This is how I remember it. It was the first autumn of the new millennium. I was poet in residence at The Wordsworth Trust, living yards from Dove Cottage – Wordsworth’s home for nine of his most creative years. My girlfriend, Chloe, was away in Spain: on holiday with two of her friends. I’d received a postcard from her saying they weren’t getting on as well as she hoped. I got it into my head to write her a sequence of wonder poems, detailing the passage of the Lakeland autumn – a record of the season she was missing. It was a period when I was discovering the Japanese haiku masters (Bashō, Buson and Issa), and I was reading about connections between Wordsworth’s thought and Eastern religion. I’d also been collaborating with Angela Hughes – an energetic visual artist from the north-east – and had been influenced by her process of working outside, or in situ. Inspired by this combination, I’d decided to make my poems for Chloe a sequence of linked haiku – or renku. I would wander through the Vale of Grasmere every day she was absent, writing poems on the hoof. I called my sequence ‘Trig Points’. I saw it as an act of creative mapping: a triangle of the inner, domestic and outer worlds. There was one further layer of influence operating on the sequence: the influence of musical forms and process. I was living under the spell of three musical works: Bach’s ‘Goldberg Variations’, Steve Reich’s ‘Electric Counterpoint’, and Nick Drake’s album, Five Leaves Left. These compositions nourished my creative process, and led me towards a further collaboration with Simon Heywood, in his guise as a composer and folk guitarist.
1. Fugue: Bach’s ‘Goldberg Variations’
Chloe and I shared a love of Glenn Gould’s performances of Bach’s ‘Goldberg Variations’. I have a vivid memory of her arriving at my house one afternoon, and dancing as the first variation leaps away from the theme. The story goes that a Russian Ambassador, Count Kaiserling, commissioned Bach to compose them as a balm for insomnia brought on by poor health. Goldberg was the dutiful musician who had to play the variations to the Count, from an antechamber. Both the therapeutic and the formal aspects of the work appealed to me. As in fugue, a theme is introduced, then developed through 30 variations, before it is recapitulated at the end – implying some evolutionary growth. ‘Trig Points’ was the first poetry sequence where I experimented with the form of fugue variation. The sequence opens with the poet waking to a morning in early autumn: the taste of smoke, whisky and starlight still on his palate. It plays out 25 haiku variations before returning to a differently nuanced reference to smoke and light: this time in late autumn. It is implied that the next morning will be the first of winter. The whisky has been drunk. The new season will wake up colder and darker: more smoke, less light. The sequence is precious to me as a record of my last full autumn in Grasmere. The following October I returned to Leeds: in the wake of 9/11, I resumed an urban life of alleyways, terraces and a view of the Crossgates gasometer from my attic window. Chloe had moved to Clapham, to work in reader development. Our idyll in Grasmere was over. My memories would lose definition: chimney smoke blurring into that November dusk.
2. Shimmer and Pulse: Steve Reich’s ‘Electric Counterpoint’
I’d fallen under the spell of Steve Reich’s ‘Electric Counterpoint’. Its feeling of intense trance made it a piece I could close my eyes and listen to with complete absorption. Stripped of all but the clean patterns of plucked strings, it had a cleansing effect on my mind. Then there was the sense of dazzle – of shimmering light reflections bouncing off rippled water. Most appealing of all, perhaps, is the strength and steadiness of rhythm – of pulse. This pulse has such physical presence and purposeful momentum. Although its rhythms change, they never falter. The piece is aerobically robust. I wanted my haiku sequence to possess these qualities of trance, shimmer and pulse. There is no doubt that trance is a quality that links renku and Wordsworthian blank verse. On some days, autumn in the Vale of Grasmere was like being inside a globe of changing light – light off the lakes and rivers, and off the changing colours of the fell-sides. Pulse was the daily health and pleasure I took from it. Shortly after I composed ‘Trig Points’, I developed panic attack syndrome, and my pulse went wayward – often haywire. I would return to the poetic sequence years later – often when struggling to recover a healthy heart rate. My later sequence, ‘Edgelands’, could be seen as ‘Trig Points’ mark two: Eden, post fall from wonder into anxiety.
3. Fuse: Nick Drake’s Five Leaves Left
In his ‘Notes Towards a Supreme Fiction’ [i], Wallace Stevens says: ‘Music falls upon the silence like a sense, / a passion that we feel, not understand.’ When we hear or feel music, we are the music. We inhabit it, and it inhabits us. We are fused with it. In the late 80s I was living on the ground floor of a dive in Wolverhampton. I had holes in my floorboards. I’d gone to sleep, and was dreaming about a rat crawling up from the cellar. Then my housemates must have disturbed me. They’d come back from a club and put on Nick Drake’s Five Leaves Left in the room next door. It was like waking into another, better dream. The track I woke to was ‘Three Hours’. It sounds like a fusion of folk-roots, jazz and Indian raga. ‘Raga’ derives from the Sanskrit, meaning ‘colouring’, or dying, or, more figuratively, ‘something which colours our emotions.’ ‘Three Hours’ is somehow intense, melancholy and full of longing. I was a 20 year old who had grown up in the 70s and 80s, on the urban edge of East Leeds. This music became the music that expressed my own nostalgia for something I’d not properly experienced – an English pastoral inflected with a trance of Eastern mysticism. It was a cobweb, floating from 1969 – the year of its composition, and my birth. Of course, my two years in Grasmere brought me a little closer to that pastoral. I wasn’t looking to fuse with raga, but with haiku. Both share an emphasis on mood, and on seasonal references. I wanted to take some of the domestic qualities of western poetry – aphorism and proverb – and marry them to the Zen epiphanies of Japan. The delicacy I heard in Nick Drake’s guitar playing was something that helped me prime my attention for lyric. Much of the poetry I’d written before then had been more narrative in mode. I wanted to exchange storytelling for something closer to music – to the Japanese koto, or the Anglo-Saxon lyre. I wanted to learn how to pluck mood notes with language, and let those notes resonate and flow. Sometimes, I would go to sleep listening to the ebb and flow of Five Leaves Left. I would get up the next day, and walk out into autumn, where haiku notes would ebb and flow in turn. Only three times in my life have I felt this sense of walking inside a music that I was listening to, and composing, all at the same time. ‘Trig Points’ was the first time, ‘Edgelands’ was the second, and ‘Moving with Thought’, from Chinese Lanterns, was the third.
During my last summer in the Lakes, Simon Heywood and myself walked from Grasmere to Lorton Vale, where his parents have a caravan. The journey was some 30 miles, over the fells. We talked a lot. Simon’s connections with the Lake District run deeper than mine, so it seemed natural, later, that we would collaborate on a piece that fused my haiku and his music. I talked about Basil Bunting’s experiments with the sonata form, when composing poetry. Simon spoke about the challenge of feeding the economy of haiku, and the flow of renku into the composition of music. In the end we adapted something like the four-part structure of Beethoven’s Pastoral Symphony: calm, thanksgiving, storm, and calm after storm. Drawing from musical sources and collaborating with a musician was a necessary stage in my transformation from a predominantly narrative artist into one who has fallen under the spell of pattern, pulse and coloured emotion. I shouldn’t be so surprised. Long before I wrote a poem, I’d been a drummer in a Crossgates marching band. I couldn’t play or read music, but I could immerse myself in it and keep time. Inhabiting or keeping time to music – heard or implied – has helped me shape my thoughts and feelings, and refresh my writing process. It has even helped me keep writing when my creative pulse has faltered. Music is nothing if not transformation and momentum combined.
Listen to the 2007 arrangement of the haiku sequence ‘Trig Points’ performed by Clegg and guitarist Simon Heywood (thanks to Robin Vaughan-Williams for recording and broadcasting this version on his Spoken Word Antics Radio Show):
‘Trig Points’ appears in Matthew Clegg’s second full-length collection, The Navigators (Longbarrow Press, 2015); click here for more information about the book. ‘Not Daffodils’, an earlier blog post reflecting on the Grasmere residency, appears here.
[i] Collected Poems of Wallace Stevens, New York, Knopf, 1954
Photography used to be full of hiatuses, gaps, voids. No matter how much it tried to capture, more remained open. No matter how much it tried to represent, more remained elusive. I don’t mean the gaps in time, the gaps Eadweard Muybridge attempted to fill with his proto time-lapse photography, nor the necessary stasis of the still image. What I mean is that photography used to be seen simply as a representational tool. Photography only ever represented an object; the object remained outside of its presentation. However, the recent collapse of the object into its representational field has considerably breached the etiquette of aesthetic possibilities within the discipline. Whilst these images might carry negative implications, there’s little lost reality between them and the endless preening of the on-demand models and studios themselves; the loss of the real is much further back in the process. Doctored can no longer simply be taken as a pejorative, as it has to be seen within a larger context of a world constantly being re-touched at many levels and not just as an end process. The unobtainable is not even an aspirational mise-en-scene but one of the few realities we still have left. We understand that these views of the world are partial and suited to fit a certain limited framework. Rolling news and a burgeoning virtual cultural economy have seen a further collapse between the subject and its representation. The object has become more like its representation.
3D and 2D rendering of spatial realities are no longer separate ends of a visual logic but are closing in on each other with an increasing force, with QR codes for example. A quantitatively 2D experience of a still image folds out (or in) through the swipe of an app to reveal an inner, richer experience, like peering inside a 2D box, The Lion, the Witch and the Wardrobe read as 1984, Winston standing in as a metaphor for the narcissism of any remaining separation. Somewhere between descriptive rendering and conjunctive object, QR (or Quick Response) codes no longer rely on solid Euclidean geometry but on a visual hiatus of solidity, mass and volume. The use of technology is already beyond its nominal application. 4G or 5G are here because they can render our last movement as both relative and predictive. In this climate the academic categorisations for the disciplines in the plastic arts have lost their broader purpose as a descriptive framework. The separation of sculpture, painting or photography have collapsed into a generalised plethora of ad hoc and temporary practices, often moving towards a re-imagining of the categories themselves. Art no longer represents, mirrors nor disparages mercantile and technological practices but is indistinguishable from them, because it can only ever attempt to catch them up. I want to discuss in further detail these shifts in the dimensional and materialistic properties of contemporary culture. In order to show this, I will discuss the changes in my own practices as a photographer in recent years alongside the broader practices of the arts in general.
In 2013 I began photographing a series of objects on a black background. My initial intention for the series was to ironize pop sensibility in general and that of Warhol and Koons in particular. I thought it might highlight the failure of the consumerist / aesthetic utopia through its own mechanisms. My working title for the series at the time was End User. I intended the series to show the failure of objects to satisfy their function, to defamiliarize the everyday pop aesthetic, to escape the banal by reconfiguring its use. The objects, I thought, might serve as totems not of desire or longing but of warning and disgust. I finished the series sometime late in 2013 & thought little more of it but as a reliquary languishing somewhere among all the other online space junk. I will return to my re-engagement with the series later. But now I want to discuss the shift in spatial rendering in greater detail.
The QR code integrates itself into the modern condition with ease. It gives us the illusion of a bespoke experience whilst delivering a flattened-out product. The hustle and bustle of the market is only experiential through personal time. Willow Farm and Oakland Grange aren’t real places, yet capital allows us to imagine them as a comfort, as a familiarity. Time and money, the old adage, exist at the expense of space, concomitant with the ‘real’. The way we choose has become as important as what we choose. We might consider this faddish form of cultural hegemony to have also affected our relationship to the arts, or vice-versa. Compare, for example, Koons’ Three Ball Total Equilibrium Tank with Mondrian’s Broadway Boogie-Woogie. Mondrian’s piece exists in a strictly linear fashion. Albeit in an abstracted way, Boogie-Woogie represents the movement of mass through time and space. The blocks of colour are like crosstown traffic seen from above. It’s easy to imagine the car horns and bustle of New York as a kind of jazz rendered by Mondrian as an interlocking series of shapes and colours and sounds.
Koons, however, negates mass, volume and time in favour of a vacuum. The balls are neither rising nor descending, but untouchable and therefore desirous, idealized. Koons ironises the fetishistic quality of consumer goods by highlighting the void of displayed products. Capital, of course, hates a vacuum, cannot exist on stasis, needs trends and fluctuations to survive, needs equilibrium and so we buy into Koons’ version of the ’emperor’s new clothes’ as a critique of culture capital. Space has become distance; the distance between the wholesale consumption of culture and the loss of a sensual or textual experience through its treatment. The gallery experience further separates us from the object rather than bringing us closer to it. But we’ve nowhere left to go but the gallery to try to authenticate the loss. Willow Farm or Oakland Grange become the only real we have.
With Warhol, capital and art become synonymous, unashamedly so. To sell the dollar back to itself at a hyper-inflated rate says as much about the need for art as a product as it does about the desire for the product as art. Like an ultimate act of depreciation capital has to eat with wolves, has to exist in the void. Nothing but itself to desire, the narcissistic conditional flow is ever empty. You could get away with that stuff in the 60s. Even up to the 90s the petulance of appropriating the everyday world seemed a bit like an act of defiance and nobody seemed to draw a line in the sand between art and consumption. Warhol or Lichtenstein’s pop aesthetic are an ad-man’s dream, and so the endless re-appropriation between commerce and art is perpetuated. It’s a quick leap from dada to pop and easier still to relieve either of any radicalism. As for today, we’re either left staring back at the void of cultural capital or fizzing with the mock desire of the quick response of a personalized alternative. Culture is now a player of hyper-credit, rather than subsisting at the counter-cultural level of the semblance of an alternative. With Warhol each print has a further degradation of surface, the non-mechanical process of screen-printing renders the dollar bill increasingly useless except as an artifact (or artifice) of corruption and consumption: process as purpose. The reproduction of One Hundred Dollar Bills belies its status as an original and expensive screen print. Only a truly mechanized process might correct these flaws. Counter to this would be a rejection of the objectification of art practices. If we skip forward a couple of decades, terms like ‘handmade’, ‘craft’, ‘bespoke’ or ‘regional’ begin to gain currency again (within a framework of fear and boredom with a perceived mechanization of culture). Of course the relationship between the arts and a burgeoning mercantile class isn’t a new one, and small cottage industries whilst laudable in themselves become problematic at the distributive or critical level.
Photography today can potentially be endlessly reproduced without a loss of image quality. The impersonal resides in its end use, in the co-opting of the impersonal as folksy, retro or iconic. For me, there’s a status crisis when I look at an image by Richard Prince; each time I consider its worth the counter clicks and a dollar passes between its value and its meaning. A dollar between someone managing my click and the guy utilizing it. A dollar between the guy making an appropriation and the guy making an approximation. It’s no wonder that we feel so hemmed in. If I were to ‘follow’ a Richard Prince image on a social media feed, it might endlessly tell me what its status is, in real time, like a Tamagotchi version of cultural engagement, art as productive artifice. In today’s oversaturated climate, unfamiliarity is a luxury. Just as we can’t decommission our curiosity around consumption, artists also become caught up in the habit of supplying and refining these demands. Those unwilling or unable to do so are culturally ostracised as old-fashioned, or awkward, or, worst of all, are ignored. Those who are predisposed to engage are caught in a tidal wave of back-slapping, as in the re-affirmation of place as product.
With this background in mind, I began to re-engage with Modern Icons. I thought of the objects in the original series as finished or disposed of. That the photographs were catching their passing, that these images and our consumption of them had an end user status and that the objects would disappear from use without trace. Now, I realise that I misunderstood the nature of what recycling (or upcycling) is. Objects don’t just disappear and in fact often can’t be wholly dismantled or destroyed. This fragmentation and unresolved materiality began to bother me. Beginning the series again I saw these strange remnants and discarded objects as somehow exotic and rare. I didn’t know what the objects were any longer, or what use, if any, they ever had. They seemed to carry their strangeness with them as if they were archaeological finds. The elusive quality of not knowing a use for a thing gave them a status as beautiful like icons from an age where consumption and production raged unchecked. Not a world we are absent from, but one we have forgotten we are of and responsible for. Objects are here to stay; we cannot avoid them, though I’ve still not found a use for them. Perhaps I’ll keep the objects as grave goods, amulets to ward away evil, or perhaps we should send them into space as satellites of human desire and its implications. The series of photographs will eventually fade to pale outlines and go with their objects into the ever-increasing swell of the void.
New photography by Karl Hurst will feature as part of the forthcoming ‘Ruskin Re-Viewed’ exhibition at Millennium Gallery, Sheffield (31 October – 8 November 2015). Three recent essays on photography (under the series title ‘On Liminal Spaces’) appeared on the Longbarrow Blog earlier this year; the first essay (‘Reflections on Impracticality’) appears here, the second essay (‘Meditation on Carl Wark’) appears here, and the third essay (‘Winter Hare at Alport: A Theory of Disappearance’) appears here. Karl Hurst’s Flickr photosets can be viewed here, including the series Modern Icons discussed in this piece. Boxed editions of prints are available from his Etsy site. Details of his publications with Longbarrow Press (writing as Andrew Hirst) are available here. His sequence ‘Three Night Walks’ appears in the walking-themed poetry anthology The Footing (Longbarrow Press).