It’s 2015. We’re thinking about the New Year. But this is my stake in the ground for the old year, for memory, for something inscribed in the winter ground of dirt and decay. Arriving in the post a couple of days ago, my poppy from Paul Cummins’ installation ‘Blood Swept Lands and Seas of Red’.
Its simple singleness in my garden is somehow equivalent to my inadequate comprehension of 1st World War – I didn’t see the installation in the flesh, I don’t come anywhere close to understanding the trenches in the flesh, but I do know that, for me, this single poppy (a rose, in my daughter’s eyes) is both a point of connection to my great-Uncle’s death in the Second World War on the HMS Gloucester, and a symbol of the flourishing beauty embedded in the world.
In some ways, it’s only family that connects us to the past – through their heritage, their stories, their relationships. I’ve recently published my mother’s memoirs (Family: A Bridge For One World), and experienced the unexpected hostility from family for whom the memories did not reflect reality. I’ve felt at a loss over this. For my Mum, the truth and beauty embedded in the world as she has seen it and lived it is something to which she testifies. This is not the same as the facts and the sentimentality. In the same way, the 1st World War doesn’t connect through facts and sentimentality – though often that’s the ‘mediatized’ language – but through truth and beauty. This is the kind of art work I like, and remains the biggest challenge for the kind of photography I like. I’m so grateful to my Mum for being so full of integrity as to show me a glimpse of it. In many ways, the garden in which I’m planting my poppy, is hers.
Header image: A Paul Cummins’ poppy (installation view in Bristol). Photograph by Sheona Beaumont.