Picturing the Peacock Arts Trail

Art work by Sheona Beaumont, painter Victoria Cleverly, and Lacock Primary School; St Cyriac’s Lacock.

From the 5th to the 13th October, I’ve been busy exhibiting and curating an exhibition in St Cyriac’s Church, Lacock, as part of the Peacock Arts Trail 2019. We’ve had a wonderful 10 days, with over 1,000 visitors to the building, and plenty of inspiring chats over a cuppa and cake. Joining me in exhibiting were local painter Victoria Cleverly, and the pupils of Lacock Primary School.

At our preview event, I unveiled my community project Wall of Remembrance. This is an 8-panel, 35-aperture photographic installation, displayed in the south transept at St Cyriac’s. Featuring lenticular photography (where the images appear to change as you walk past them), Wall of Remembrance commemorates the service and commitment shown by local servicemen and women during the First World War, as well as the love of the families who supported them. The piece is the culmination of a community project in Lacock that began in 2018, having been commissioned by the Green Café at St Cyriac’s Church, and supported by Wiltshire Scrapstore, initially as part of Lacock Remembers 2018. Local families were invited to contribute to the project by sharing their photographs, medals, clippings and other objects connected to war time.

These objects appear in the lenticular panels and include portraits of Major Charles Selwyn Awdry and Major Allen Llewellen Palmer, as well as of Matilda Talbot serving at the Red Cross Hospital in Corsham, and Ivy Gladstone at the Chippenham and Bowood Red Cross Hospitals. Other images include a Soldier’s Penny given to Ernest Leonard Stevens, an engraved communion cup presented to St Cyriac’s in memory of Basil William Ramsbottom, and a shell casing. The poppies in the images were made out of clay by the 1st Lacock Scout Group in 2018. 

My work also included the display of Scriptorium (first displayed in 2018). The complete text of the King James Bible text, with the exception of the Psalms, is transcribed onto Fabriano drawing paper with light, with one book per page. Cyanotypes are photographic prints produced without a camera, in this case with the superimposition of an acetate layer and a single peacock feather, over the sensitised paper. The vivid blue pigment forms as a result of iron compounds reacting to light – the process was originally adopted in the copying of architectural designs known as blueprints. I’m playing with ideas here of old and new copying of sacred texts – the scriptorium was where medieval manuscripts were copied onto parchment, and ‘script’ is also a programme in computer code for running or executing the display of public domain text.

Victoria’s thoughtful paintings with geometry, layers, and textures of natural form and detail (seen together with the artist above) were found in all corners of the church. It was wonderful to create spaces of accented contemplation, where a kind of slow looking worked between painting and architectural setting, and also brought organic shapes and subjects into view. The Lady Chapel at St Cyriac’s worked particularly well for this relationship with its wall and ceiling paintings featuring natural world designs in abundance. Other parts of the church such as the pulpit and the font received specific artistic interventions from the school pupils, who I’d invited to respond with ideas around the theme of unity. With Victoria’s help in class, the results are joyous and colourful, expressing hope and beauty through a world recycled and held together (with plastic and palm-prints), and a rainbow-like church seen in the pulpit above. Other paintings were displayed hanging between the pillars and also share exuberant multimedia designs from children aged between 6 and 9.

It’s been a privilege to share this space and its time with so many interested and enthusiastic people. To the parents and church members who helped with stewarding and cake – you’ve been amazing, and we couldn’t have done it without your help! It’s made the event feel special and connected to the community in new and exciting ways, so thank you. To the church PCC and the team at the Peacock Arts Trail, thank you too. I’ve really appreciated your professional support, with dedicated helpers and layers of expertise all working to make something magical happen – not just here but across the other trail venues. What a rich creative field in this corner of Wiltshire! Here’s to the next one in two years’ time…

Let the pulpit meet the pews

Methodist pulpit and pew
Methodist pulpit and pew

Back in February, I found myself applying for the gift of a Methodist pulpit, which was being offered to an artist(s) by The Fishermen’s Chapel in Leigh-on-Sea, Essex. My proposal met was met with enthusiasm, and follows below. Since then, with thanks to Trinity College, I have also been given two Methodist pews from the recently closed Wesley College in Bristol, who will happily join forces with the pulpit to form an even more exciting art work and installation. Once they’ve arrived at my studio over the summer, they will undergo a period of hibernation before the ideas below start to emerge…

This pulpit is a powerful and striking symbol of God’s word. To me, the clean design and structure of the object (as compared to, for example, the ornate stone ‘thrones’ of many a parish church) is something that needs to be celebrated. It bears in its image the specific focus of Wesley’s pioneering preaching of the word, which kept things simple. It also has fantastic resonance with Wesley’s peripatetic ministry, for being mobile. These two aspects of simplicity and mobility are what I would like to concentrate on with my proposal.

I would like to install in the pointed architraves (and possibly the lectern top area) a sequence of photographs or lenticular prints, so that it becomes a pulpit with photographic panels. I am keen to keep the look clean and clear, maintaining the integrity of the existing shapes and outlines.

The content of these photographs will have a starting point in one of my existing pieces of work, The New Passage, 2012, which is formed from the composite arrangement of photographs taken of the Severn Estuary, from the point at which the Wesley brothers crossed to Wales (as commemorated by a plaque at the site). Linking the New Passage with the pulpit from the New Road Methodist Church is the incredible geographical correspondence for having a near equal latitude, and for both being sea-facing sites. An east/west dimension is complemented by a north-facing/south-facing estuary view. In this respect, I would plan to create a photographic record of the tide at Leigh-on-Sea from the Fishermen’s Chapel itself at the end of September, when the autumn equinox brings the complementary highest tide to spring’s equinox (which is when my Severn Estuary pictures were taken).

I would later work with these two bodies of images to create a story of transition which could be ‘read’ across the face of the pulpit. The unique feature of lenticulars, if funding permits the use of this medium again, is the ability to engender a movement from the viewer, and therefore an engagement, which seems to me to reflect the intended effect of preaching itself. Extending this idea, and that of Wesley’s travels, I would want the finished pulpit to complete its own journey from New Passage to New Road, finding suitable stopping points on the way for display and engagement with the public. One such point would surely include the New Room in Bristol (where I have shown work before), and I would hope that others could include outdoor venues.

I am extremely excited by the opportunity to work with and on this pulpit, not least because it is a real gift and expression of faith in creative endeavour.