Gleaned fragments of a developing narrative

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‘the fruits of victory’ – a reflection

The rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series of thoughts.” Rebecca Solnit

The collection, Fragment of a Narrative1 evolved from two positions in my photography practice; the continued pursuit of ‘a search of time and place’, alongside the developing idea of ‘we search for something, we know not what’.

My inclination was to pursue image creation outside the framework of pre-planning and objectives, the photograph becomes a spontaneous observation reflecting conversations while walking.

The photographs belong to incomplete chapters (series) of a future book; the conversations, often with myself, are a search for understanding, a resolution of the past.

 

The Village  – Coach lights

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Part of this series, the caption states, “Fled are those times, if e’er such times were seen”. It is a reflection of nostalgia and the words are from the poem, The Village by George Crabbe published 1783.

The newly introduced Coach lights in the village have reduced the beauty of moonlight – gone are the soft shadows, the backlit outline of familiar buildings and the softly illuminated pathways. The composition is a reflection on ‘occupied space’ and how each element plays an important, and central role.

 

The Old Ways – Anthony Lane, part of the Devil’s Arrows Ley

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The Old Straight Track by Alfred Watkins was published in 1925, the author was an antiquarian and amateur photographer. He proposed that ancient trackways, often potential trading routes, aligned with significant points in the landscape, often showing signs of past human activity. He referred to them as ‘ley’.

He ascribed no mystical inference, that came later in the 60’s, with the misnaming of then as Ley Lines, Watkins always referred to them as archaic tracks. In folklore, the expression, ‘lay (ley) of the land’ shows a continuity based on usage.

You can read a copy of Watkins early thoughts in Early British Trackways.

 

Glimpse

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Extract from The Meeting a poem by John Rawson

“My cob-built home has crumbled. Hereabouts

Few folk remember me: and though you stare

Till time’s conclusion you’ll not glimpse me striding

The broad, bare down with flock or toiling team.

Yet in this landscape still my spirit lingers:”

Follow the link above for the full poem

 

Gateway

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“This is the solstice, the still point of the sun, its cusp and midnight, the year’s threshold and unlocking, where the past lets go of and becomes the future; the place of caught breath, the door of a vanquished house left ajar.”  Margaret Atwood

 

 

Further images can be found on my personal website.

1Fragment of a narrative was used by Clive Lancaster to describe the photographs of Raymond Moore in the Introduction to Every So Often. Hugo van Wadenoyen recognised the role fragments play in a narrative in his seminal 1947 Wayside Snapshots.

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‘a search of time and place’- guiding principles

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The Hill of Dreams

Place is where an event is deemed to have occurred and time is when the event transpired. The search the photographer is engaged upon is the why. Both elements of time and place must be explored equally.

It is important to distinguish between the inherent qualities of a place, where the purpose is ascribed – or space which awaits its meaning – and site which remains open to the imagination.

 

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The Old Straight Track

It is autobiographical as the search is conducted over sites with personal significance, a known landscape – where research and knowledge are applied to amplify its presence and distinguish its position.

The chosen space, place or site has meaning that can be described. Why this place was chosen, and what is the legacy? It contains the three tenets of Landscape Photography as proposed by Robert Adams; Geography, Autobiography and Metaphor.

 

Ritual in the Henge
Ritual at the Henge

It is established in lore, and often transient; potentially a story but all that remains is a clue. It is an investigation of our presence, our existence, our actions and ultimately our legacy. The location (place) and meaning (time) must have some bearing on the intended audience.

To visit and capture is not enough, a sense of place is something you can feel, with observations leading to insights often acquired over time. To correctly construct and compose these constraints reflects an understanding of what is being observed.