Saturday, 29 November 2014
Talking Walking without placing the place.
I set out on a walk through the concise townscape of Gordon Cullen in Westminsters Petty France to the Portland Roche veneered towers of nearby parliament, over the sensitized cobbles of audio navigated tyres and among led and nurtured by Andrew Stuck of Talking Walking.
Thursday, 13 February 2014
The Action.
The Action.
This story, a neolithic puzzle that originated at the beginning of social interaction deeply affected me as a child,partly because I could not articulate the the full meaning of Archaeology, the sciences of chronology and other details that for a child, hold little actual interest, I was experiencing the delights of contemplation and extending my mind into the delights of thought. I romanticized what I had heard into my own revelatory expression. It had no narrative logic and very little reason but the riddle of the makers of the Stone Axe Heads whose reputation spread throughout Europe and whose apparent obsession would appear to be universal is too great a tale to be told by one teller. I have asked others to help me tell their tale by placing the stones in the situation of their choice, others have found these stones all have a story, a theory or a concept they can share.
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Plato’s allegory of the cave tells of the soul’s advance from ignorance to knowledge, leaving open the question of what this knowledge is and what its objects are. hence we embark on Rogers Return.
Friday, 24 January 2014
The Lions New Moon;Hany Park.
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| The Dukes Stone in Lancaster by Anhon |
With each stop the train made.
With each stop the heavier they became.
Their luggage, prams, pies in hand
But not only that; increasing waistbands.
At Preston, the train waited increasingly so,
There were police, stewards - the train was a no go.
Announcements came, merriment ensued
'The train is too heavy, it cannot move
Another one will be along shortly' please do not scoff
Announcements wained - no one got off.
Anhon
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The Lions New Moon
Hany Parks judicious placing of her Gothvos stone into the often silent void behind ancient histories and between cultural vicissitudes weaves a subtle web, needing a particular angle of light to illuminate but the softest breeze to remove. Between icons of national identity, cultural tourism and the parameters of human orientation, the far west and the far east further still, the random acts of an individual.
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| Hany Park placing a greenstone in Bulguksa |
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| A representation of a Cornish Greenstone axe placed to promote good luck to everyone from Hany Park in Korea. |
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| The temple is considered to be a masterpiece of the golden age of Buddhist art in the Silla kingdom of Korea. |
Bulguksa.
The Gothvos stone was placed in Bulguksa
which is a temple in South Korea being built in 774 by the Silla royal court.
The stone is now in a square of the pagoda, the stone structures of the pagoda
have been preserved from the original Silla construction for 1240 years.
Gothvos is a connector of time between the year 774 – 2014 and future. The
physical space of the temple implies the constancy and change of time in an
endless time sequence.
The Gothvos is placed inside of the
pagoda (the last picture), people put coins between layers, wishing luck. I
send my regards with Gothvos, wishing good luck to everyone.
Bulguksa is located on the
slopes of mount Toham (Jinheon-dong, Gyeongju city, North Gyeongsang province,
South Korea). It is a head
temple of the Jogye Order
of Korean Buddhism
and encompasses seven National
treasures of South Korea, including Dabotap and Seokgatap stone pagodas,
Cheongun-gyo (Blue Cloud Bridge), and two gilt-bronze statues of Buddha. The
temple is classified as Historic and Scenic Site No. 1 by the South Korean government. In 1995, Bulguksa was added to the UNESCO
World Heritage
List together with the Seokguram Grotto, which
lies four kilometers to the east.
The temple is considered as a masterpiece of the golden age of Buddhist
art in the Silla kingdom..
It is currently the main temple of the 11th district of the Jogye Order of Korean Buddhism.
Among the earliest wood block prints in world, a
version of the Dharani Sutra dated between 704 and 751 was found there in 1966.
Its Buddhist text was printed on a 8 cm × 630 cm (3.1 in
× 248.0 in) mulberry paper scroll.
Pauls Stone
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| Lithuanian Gothvos by Paul Attmere |
I decide to place the
Greenstone on one of the fifteen windows of a derelict basketball court looking
towards the centre of Krakes. The basketball court, like the swimming pool,
sauna and cinema, was built for the town during Soviet times. Since 1991, when
Lithuania gained independence, these buildings have been slowly deteriorating
and are now pretty much beyond repair. Over the years most of the windows have been
smashed and much of the interior stripped but surprisingly, given the high value
of metal at the moment, the metal shutters are still in place. There is an
incongruity that I like placing a Greenstone here but when I position it I feel
something is not right. This morning I had imagined placing the stone in the
same way I often visualise a scene I want to make in a performance. Romeo
Castellucci, the Italian theatre director, observes there are two dramaturgies[1]:
the imagined dramaturgy and the dramaturgy acted out in time and space. His
point is that the second is an extension of the first even if it significantly
changes. This is not a performance but there is definitely something ritualistic
about it. I remove the stone and follow my intuition to place it somewhere else.
This Greenstone was formed in the Mounts Bay area, a region of Cornwall I have
a strong family connection with. I feel the stone should be placed, if not near
the sea, at least near water.
It seems I cannot place the Greenstone without referring
to the stone’s origins as well as my own. I too need to be near water: my
surname, Attmere, comes from the old English word for a lake or sea –mere. It
means literally my family lived, at the mere. Also, I was born and bred in
Weston-Super –Mare, a seaside resort twenty miles from Bristol. The town’s name
similarly comes from its close proximity to water- super means on, and mare is Latin for sea. Despite
this, when it comes to the sea, it is not Weston’s muddy shoreline but the
granite cliffs and beaches of south Cornwall I miss.
Although I wasn’t born in Cornwall my family, on both my
mother’s and father’s side, come from the Penzance area and this is where, as a
child, I spent most of my summers, even passing en-route to my Uncle and Aunt’s
cottage in Mousehole, the Penlee Quarry -where I believe some of the stones may
have come from. One year I remember performing an odd ceremony in which I
awarded myself a silver St. Christopher in the bedroom of my aunt’s cottage as
if to ensure, however far I travelled, the spirit of the place would travel
with me. I still have the St. Christopher, bought from one of the gift shops at
the bottom of Raginnis Hill. I can’t help thinking of this as I make my way
towards the first of three town ponds (or Tvenkinys as the locals call them)
where I now intend to place the stone. There is also a tentative family
connection, on my Mother’s side, between Cornwall and Lithuania: In 1799 a man
called John Kowliskey, who appears to have been a sailor aboard H.M. Gun Brig
“Boxer,” set up home in Newlyn. Over the years the family name changed to
Kliskey and it was one of these Kliskeys (currently a resident of New Zealand)
that drew up a family tree that showed John Kowliskey’s roots stretched back to
16th century aristocracy from Lithuania and the Ukraine.
Krakes is pretty much in the centre of Lithuania and 200km
from the Baltic Sea- so the water will have to be fresh not salt. It is on the
periphery of the town and within view of our house that sits maybe 100 metres
from the south bank of the pond. We laid the foundations three years ago and
decided to use walls made of compressed straw. We hope to move in this summer.
You can’t see it in the photo I took of the stone but if you’re standing up you
can glimpse it like a giant mushroom, just visible behind the frozen reeds. The
wind is getting up making the temperature feel even colder than -10 centigrade.
I remember how, during a hot spell last summer, the cool morning breeze smelt
like it had come directly from the sea. Lithuania is predominately flat so
perhaps it had come uninterrupted from the Baltic. Today my cheeks feel cold as
clay. There is a small jetty that is particularly popular with teenage couples
because it has a good view of the sun setting in the west. I place the stone just
within arm’s reach- it is where the first pond spills into a channel that runs
beneath the road and into a second larger pond. Having removed my gloves my
hands become so cold I find it difficult to push the shutter on my camera and
writing down my immediate impressions (as I’d imagined) is out of the question
because I can’t hold my pen let alone write anything legible with it.
Placing the stone didn’t work out quite the way I intended.
I like that. Life in Krakes hasn’t worked out quite the way I planned either -and
I like that. If more snow comes, as forecast, it’s possible the stone will lay
undiscovered until spring. Perhaps it
will be found by a couple of young lovers who attach some special meaning to
it- even if they never discover the true meaning of the word Gothvos. Then
again, a fisherman might kick it carelessly into the water.
[1] LIFT (London International Festival of Theatre). A Conversation
about Dramaturgy, contd. Laban London. May 2004.
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Mary's Advice to Tiffany.
Brighton Beach Monday 7th April 2014
I do not enjoy Mondays and waking up to them is not my most favourable part of the week. The rain was beating hard, but it seemed apt weather - suited my greying mood.
I caught the train from London Victoria, on an impromptu visit to Brighton, to stave away Monday blues. I use the place as a quick get out clause, when I am finding London intolerable. Being by the sea - inspite of bad weather - is a great solice for us all.
Arriving on the beach that day was somehow like I had never done so before, even though I had visited in recent months and many times previous in years past.
'Nothing like visiting the same place twice to mark the passing of time.' My friend Mary tells me. How true, I thought.
I nestled my stone, in amongst thousands of others that bore no enigmatic inscription, but each defined by their own distinct shape, indentations and journey from sea to shore. Or vice versa.
I stood by it and peered - considering a few things that had been occupying my thoughts, that day; friendship and how it shifts and changes like the forms of these many stones, also distance and why it this is inevitable with people and places. The utter loneliness of loss and letting go. But the great comfort I realised of visiting a place, I associated with someone who is now gone. But who seemed so present, he could have been stood next to me. Observing my stone with me, in amongst all the others.
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| TIFFANY CHARRINGTON |
Tuesday, 29 October 2013
Gothvos Stones & Memory Cairns.
Mick Kidd is one of the creators,(along with his school pal Chris Garratt) of Biff since the mid-1970s. Chris Garratt creates the artwork - a mixture of collage, found images, tracings and original drawings, and Mick Kidd is responsible for the text. I first met both Mick and Chris in the Isles of Scilly where they undertook seasonal work during their studies and formative collaborations in text and image, I was a whining school-boy, creeping like a snail unwillingly towards oblivion, they were a breath of something electric with origins in a cosmopolitan otherness emanating from the evil empire on the Mainland. Since those early days they have created their astute observational strips juxtaposing the theories and practice of urban cultures into manifestations of our contradictory times with wit and urgency as well as a great many other artworks for over the last 30 years. In July 2013 Mick Kidd set out for St.Cuthberts Way, a four day walk from Melrose Abbey to the holy island of Lindisfarne, another Scillonian connection for Mick could have been St Cuthbert's friendship with seals, those mythical sirens beckoning the hapless mariner into perilous rocks and fogs of unknowing.
St Cuthbert's Way runs from Melrose Abbey in the Scottish Borders to the Holy Island of Lindisfarne off the coast of Northumberland in England. The route climbs over the fringes of the Eildon Hills before following stretches of the mighty River Tweed and the Roman Dere Street. It then passes Cessford Castle before a fine hill ridge is traversed en route to the attractive village of Kirk Yetholm. The route then skirts the northern edges of the Cheviot Hills to cross the border and descent to the fine old market town of Wooler. The final stretch crosses the Northumberland countryside for the dramatic finale across the causeway to Holy Island and its dramatic castle and ruined abbey.
On this occasion a heat wave was a greater cause of any meteorological concern, it was not until reaching the Cheviots with a cool mantle of cloud cover and a granite landscape that a possible reaction was sensed and brought forth. The stone from Mounts Bay, Penzance was positioned in a dip onto the fine grained surface of a semi exposed Cheviot boulder, there it was photographed and there it remained.
St Cuthbert's Way runs from Melrose Abbey in the Scottish Borders to the Holy Island of Lindisfarne off the coast of Northumberland in England. The route climbs over the fringes of the Eildon Hills before following stretches of the mighty River Tweed and the Roman Dere Street. It then passes Cessford Castle before a fine hill ridge is traversed en route to the attractive village of Kirk Yetholm. The route then skirts the northern edges of the Cheviot Hills to cross the border and descent to the fine old market town of Wooler. The final stretch crosses the Northumberland countryside for the dramatic finale across the causeway to Holy Island and its dramatic castle and ruined abbey.
On this occasion a heat wave was a greater cause of any meteorological concern, it was not until reaching the Cheviots with a cool mantle of cloud cover and a granite landscape that a possible reaction was sensed and brought forth. The stone from Mounts Bay, Penzance was positioned in a dip onto the fine grained surface of a semi exposed Cheviot boulder, there it was photographed and there it remained.
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| Mick Kidds walk along St.Cuthberts Way |
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| Mick Kidds arrival on Holy Island after walking along the St Cuthberts Way. |
The Wild Blue Phlox (and
other Phlox species) was one of the first native american wildflowers
to be collected
by European explorers and exported to Europe. Because this plant
cultivated well
in Europe, it became a very popular flower.
In Victorian Britain, young
women frequently carried bouquets of flowers, which commonly included Wild Blue Phlox.
This flower symbolized a proposal of love and
a wish of pleasant dreams.
An empty space in which artists and audiences allow their imaginations to meet and make the impossible, possible.
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| Taylors Island, Carn Morval Scilly. The journey between incidental and potential cairns: ephemeral markers purposefully lost or specifically found, the beginning of a cairn and the end of another. Walking defines the spectacle and the spectated. The body in the space taking hold of the potent object and placing it, displaces it in a unique composition, a tabula rasa or a hard-wired intuitive response to those forgotten piezoelectric sensitivities?. Either way, there is a decisive moment, a sensory phenomena to experience. The querents hand in touch with the stone, imbues it with warmth and so begins walking perhaps aware of other stones, cairns: a single placed stone or piles of stones heaped high and hundreds of metres wide at the base. Familiar sights, similar material and effecting similar responses. Could cairns attract less visible qualities like a magnet attracts metallic objects, via the hand that conjures them or the great time-span of their existence or the etymology of cairn ? Is stone the basest of materiality or would stone dissolve and transfigure into something unknown, for example during the Earths eventual and inevitable meltdown. Twinkle twinkle... will erased gothvos stones finally burn their way into the atmosphere of some distant star, How I wonder what you are.  |
St.Warna's Well, St.Agnes, Isles of Scilly - taken from inside the well.
The ephermeral approach to cairn building is to start a new cairn with each placed stone, the stone inevitably proves to be a powerful attractant to the aimless peripatetic who will pick it up and examine it or move it or gaze upon it and in so doing enlarge a network of happenstance, they connect to the sunken Gear Rock as it marinates under the sea in the spirit of Carreckloes forest, the castle in the forest the submerged landscape, the mountains of Mylor Slate and fierce heat of the volcanic magma initiated by the Sun and the origins of our own matieriality.
Peninnis Head towards Buzza Hill.
Cairns are heaped structures, they invite both participation via contributory intervention with additional stones and via the physical sensation of ascending. etymologically cairn can be applied to any horn shaped structure, in particular Mountain tops where the piled up composition references the mountain with scale, the vertical dimension of the cairn contrasts and completes the horizontal direction of the pilgrims journey across the landscape over distance.
Ascending and Descending simply by walking up a hill or down a hill are seminal moments for the sensitized observer, in walking up the hill they become increasingly isolated from the familiar, they also begin to stand out from the crowd below. They stand at the top and signal to the crowd below, waving, everyone sees them, they are all spectating this one performance and this one performance is both a moment of revery for the performer and a moment of sharing for the spectators. The primal non verbal paralinguistic gesture: to point with the finger and to will those fellow spectators not to look at your finger but to trace your fingers direction and look up at the person waving on top of the cairn.
First there is a mountain then there is no mountain, then there is.
First there is a mountain then there is no mountain, then there is.
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| Zennor Hill from Zennor Head, West Penwith Cornwall. |
Cairns, heaps and tumeli, we walk past them everyday. Piles of stone, sand and gravel. The construct, the deconstructed, utilitarian, devalued, sacred, profane and each unique pile of rubbish intended for some secular purpose, bulldozed stones at the edge of a field, a religious offering - can these be of any conceivable interest?
Three or Two stones are used to mark claimed but uncollected driftwood from the foreshore in the Isles of Scilly by the foreshore walker too laden to carry the booty of the sea, or too optimistic that there will be better stuff coming ashore further along the coast.
Three or Two stones are used to mark claimed but uncollected driftwood from the foreshore in the Isles of Scilly by the foreshore walker too laden to carry the booty of the sea, or too optimistic that there will be better stuff coming ashore further along the coast.
Saturday, 26 October 2013
GODHVOS GOTHVOS
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| Riham Isaac |
I have been wondering where this precious stone should be placed until finally spontaneously I found its place. Today 9th of March 2014 I went to the Dead Sea in Palestine. It was raining softly but the weather was beautiful; I sat there in the sea on top of the mud for a few hours when I realized it is time to place the stone where I was sitting. I found a suitable spot where it fits the shape of the stone completely and decided to leave it and never know what will happen to it. Will it transform into mud? Will it drift away? Or will somebody find it? This symbolic meaning of its vague destiny meant a lot to me as I am in a moment in my life where I need to control less what happens in my future. I want to let go of my fear to love and be loved. I want to let go of my fears of unpredictable and uncertain future and rather embrace these changes. I want to let the waves shape the way and surrender for whatever possibilities it will draw me to. I want to place myself there in the middle of these great opportunities that life is giving me and be it!
http://electronicintifada.net/content/taking-you-home-palestinian-walks/7623
Montale-Forse un mattino andando
Perhaps one morning walking in dry glassy air,
I will turn, I will see the miracle complete:
nothingness at my shoulder, the void behind
me, with a drunkard’s terror.
Then, as on a screen, trees houses hills
will advance swiftly in familiar illusion,
But it will be too late; and I will return, silently,
to men who do not look back, with my secret.
Montale-Forse un mattino andando
Forse un mattino andando in un’aria di vetro,
arida, rivolgendomi, vedrò compirsi il miracolo:
il nulla alle mie spalle, il vuoto dietro
di me, con un terrore di ubriaco.
Poi come s’uno schermo, s’accamperanno di gitto
Alberi case colli per l’inganno consueto.
Ma sarà troppo tardi; ed io me n’andrò zitto
Tra gli uomini che non si voltano, col mio segreto.
From the submerged forest beneath St.Michaels Mount, Cornwall to high up in the Italian Alps, Emma Allegretti makes her reference to the Italian poet Montale describing intense thoughts on the nature of time and space, this was the voice that accompanied Emma's walk to such powerful and everlasting natural phenomena.
Two groups of quarries (Mont Viso and Mont Beigua, Italy) were the source of the Alpine axeheads that circulated throughout western Europe during the Neolithic. The quarries on Mont Viso (Oncino: Porco, Bulè and Milanese), discovered in 2003, have been radiocarbon-dated, and this has revealed that the exploitation of jadeites, omphacitites and eclogites at high altitude (2000—2400 m above sea level) seems to have reached its apogee in the centuries around 5000 BC. The products, in the form of small axe- and adze-heads, were distributed beyond the Alps from the beginning of the fifth millennium, a few being found as far away as the Paris Basin, 550 km from their source as the crow flies. However, it was not until the mid-fifth millennium BC that long axeheads from Mont Viso appeared in the hoards and monumental tombs of the Morbihan, 800 km from the quarries. Production continued until the beginning of the third millennium BC, but at this time the distribution of the products was less extensive, and the process of distribution operated in a different way: tools made from jadeite and eclogite are still found in the French Jura, but the extraction sites at the south-east foot of Mont Viso no longer seem to have been used. The variability in the geographical extent of the distribution at different times seems to be related to the social context of exploitation of the high-altitude quarries, which were only ever accessible for a few months each year. Bolzano is the final resting place of Otzi, the mummified 'iceman' who was found in a glacier on the Italian-Austrian border in 1991. 5300 years old and no grey hair - although he apparently suffered arthritis, worn teeth and had been mortally wounded by an arrow. There is a where the ancient one resides - kept in a freezer. Alarms sound if the equipment malfunctions and an ER team relocates him to one of the three reserve coolers. When first discovered nobody presumed he was so old and precious. Apparently it is not uncommon for bodies of long-dead climbers to be spat out of glaciers. So Otzi was treated in a very rough and non-archaeological fashion when chipped and yanked from the ice. A jackhammer was used at one stage. It took three days before a forensic scientist spotted the bronze age axe. The rapidly thawing Otzi was snap-frozen and security stepped up to its current level.
From Tregaseal to Scilly
GASTON BACHELARD, in The Poetics of Space, invites recognition of the ways in which interior
and imaginative landscapes, such as cupboards, houses, and forests, resonate in the
phenomenological worlds of poets, novelists, explorers, and artists.
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| With my back turned away from the magnificent Carn Kenijack and the Tregaseal Stone Circle also behind me, the Gothvos Stone in the foreground leads the spectator across a verdent meadow of chemically enhanced grass, over St.Just, over the sea towards a present but invisible Isles of Scilly. |
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| Porthenys - Mousehole. |
"Famous" for christmas lighting and the Starry Gazey folk tales that fuel the winter processions and pub theatricalities there remain in Mousehole the workings of a fishing village albeit overshadowed by a partially immersed tourist industry invading the stone hearths and tidied houses rendering the pre and post Christmas holiday awash with the ghost of its former habitants.
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| In the microcosm crystalised particles of base minerals compress as they do elsewhere, here the Granite fountain urn between the Penzance Lido and the Yacht Inn conspire towards a scaled alignment, the Penlee Headland and the voided quarry being excavated - not for mineral extraction now but for development into property. |
The photograph above taken from the edge of a Penzance sited ornate granite fountain looking across the Gwavas Lake in the Mounts Bay to the Penlee Headland creating a montage into which a widening narrative is embedded. It is difficult to read the photograph for standardized scale and proportion, the small aperture and long exposure create a synoptic contrast, the granite dish of the fountain in the foreground looks like the rough terrain of another promontory, the plane of the water in the granite dish looks like a continuation of the seawater between the headland and the fountain. The curve of the fountain echoes the "curve" of the mounts bay. To the left of the palm tree is the Penlee Elvan Stone Quarry, a large void in the headlands natural slope. Further South lies the submerged Gear Stone - a thus far unsubstantiated source of Greenstone for ceremonial Axe heads. Latterly the quarry was the source of Elvan (greenstone) for Roadstone ballast in tarmacadam and concrete. The connections between the widely found Axe Heads and the many roads that lead out of Cornwall to everywhere else, the undocumented, mythological sea routes connecting stories - masking histories, human activities, physical and cerebral and dialogical Film editing is an art that can be used in diverse ways. It can create sensually provocative montages; become a laboratory for experimental cinema; bring out the emotional truth in an actor's performance; create a point of view on otherwise obtuse events; guide the telling and pace of a story; create an illusion of danger where there is none; give emphasis to things that would not have otherwise been noted; and even create a vital subconscious emotional connection to the viewer, among many other possibilities.
Towards Treen below the waterline.Stone Axe Head Stories
Monday, 17 June 2013
Gothvos; Theatre of the Body, Theatre of the Mind.
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| Terres...Formes...Terres |
This Gothvos placing was carefully undertaken in
a stolen moment beneath shadey date palms by artist/performer Andrea Cusumano whilst in Morocco
performing Terres…Formes…Terres at the behest of the Ducci Foundation in the
city of Fes or Fez (Arabic: فاس,) the third largest city of Morocco, with a population of
approximately 1 million. The city has two old Medinas, the larger of them is
Fes El Bali. It is listed as a UNESCO World Heritage Site and is widely
believed to be one of the world's largest car free urban areas. Al-Qarawiyyin,
founded in AD 859, is the oldest continuously functioning madrasa in the world.
The city has been called the "Mecca of the West" and the "Athens
of Africa". Andrea writes of this moment between the physical demands of
his performance schedule: "Came here yesterday for my performance. Spent
the day buying the materials in the souk. What a tiring day but rewarding
experience. I am happy. The show felt really good and I am happy Fleur was so
good with me on stage. A bit too dark...but if I don't take it now...there
won't be time" (the Gothvos moment photograph)
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| Andrea Cusamano Terres...Formes...Terres. |
- John London -
'We saw a frog here outside the house in which we were staying in Sóller, Mallorca. It jumped into what looks like a secret irrigation channel. So the stone reminds us of its presence.
August 2013'
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Autochthonous reaction in Sóller and the hidden Frog.
Sóller (Catalan pronunciation: [ˈsoʎə]) is a town and municipality near the north west coast of Mallorca, in the Balearic Islands of Spain. The town is some 3km inland, from the Port de Sóller, in a large, bowl-shaped valley that also includes the village of Fornalutx and the hamlets of Biniaraix and Binibassi. The combined population is around 14,000. A famous tramway, the Orange Express links Sóller to Port de Sóller.
Sóller is linked by the historic railway, the Ferrocarril de Sóller, and by a highway with a toll tunnel, to the Majorcan capital ofPalma. The Ferrocaril was built on the profits from the orange and lemon trade and completed in 1911. The Andratx-Pollençahighway also runs through the valley. The present-day economy is based mainly on tourism and the expenditure of foreign residents, complementary to the agricultural economy based around citrus and olive groves.
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Chloe Kenwards Dead Sea Scroll Down
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| Chloe Kenwards journey to the Dead Sea. |
Mineral Beach, The Dead Sea, Israel
At one side of a quiet beach on the Dead Sea, a naked stone
sits amongst clinging salt deposits, oddly clean in a salt-contaminated world.
Salt stalactites are bonded unforgivingly to its surroundings.
Sun evaporating the shore water to leave strong white crystals on every rock
and stone.
Haze floats in the air, as if steaming from the sea, which
merges the shimmering colours of Jordan across the water. Blues, greens, pinks,
and reflections are confused amongst the haze.
It is the lowest place on earth, 400m below sea level. The
air is thick with 10% extra oxygen; the sea, 30% thick with salt.
Floating in the Dead Sea is a disembodying experience. Legs
become useless at propulsion, as they cannot be submerged in the water, and
unbalance the body, the bather losing control of their centre of gravity. The
water, loaded with minerals, stings the skin, and warns not to be swallowed or
splashed into eyes.
Salt is a mineral that sustains life in the right quantities
– too much, or too little, and we would not survive. Tiny, individual, delicate
crystals become a strong force in numbers. Our diets, and the history of food,
were irreversibly changed by salt.
I wonder what the stone will look like a year from now.
Caked with salt on the shoreline, or washed onto the seabed, in a dead world,
which sustains no life. Ingratiated into its new surroundings, no longer a
souvenir from foreign lands.
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| Chloe Kenwards journey to the Dead Sea |
Chloe Kenward - The Dead Sea scroll-down.
Chloe Kenward is a travel photographer and lighting designer
Whilst awaiting Harvey Grosmans placing...
Gothvos placed by Jacqueline Awieh in the historic town of Falmouth Jamaica.
During the late eighteenth and early nineteenth centuries, Falmouth was one of the busiest ports in Jamaica. It was home to masons, carpenters, tavern-keepers, mariners, planters and others. It was a wealthy town in a wealthy parish with a rich racial mix. Within the parish, nearly one hundred plantations were actively manufacturing sugar and rum for export to Britain. Jamaica, during this period, had become the world's leading sugar producer.
As a result, starting in 1840, Falmouth's fortunes as a commercial centre declined after the emancipation of slaves in the British Empire. This decline and lack of support for development has left many of its early buildings standing. The streets are lined with many small houses known for their unique fretwork and windows, major merchant and planter complexes, and commercial buildings, all dating from 1790 to 1840.
While Falmouth saw little commercial advancement after the 1840s, houses continued to be built. The town's buildings, the old and the not-so-old, make up the historic townscape of Falmouth. These shared characteristics weave the varied building styles into a distinctive pattern of early Jamaican architecture, and a critical mass of each variety makes the town an unusually distinctive place.
Papillon was shot on location in Spain (doubling for the French locations in the film) and Jamaica; the prison set was constructed in Falmouth, Jamaica, and was the largest in the film, running an expanse of 800 feet. The Devil's Island and Indian village sequences were filmed in Ocho Rios, Jamaica, and the scene featuring the arrival of the prison ship was lensed in Kingston, Jamaica. Unfortunately, the tropical island proved to be a troublesome location due to unpredictable weather, the plentiful abundance of ganji (marijuana) which affected the productivity of several crew members, and numerous thefts, resulting in the loss of costumes, set props, machinery, and other items to the tune of $30,000.
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