January 5, 2010
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Interesting and Unexpected

What an interesting and unexpected end to the year, I was inundated with photographic work. My interest in a photographic job seems to have a direct relationship to its difficulty, photographing in the dark, extreme high contrast, unsociable hours; often visually stimulating but people ask ?can you take photographs in this?? I?m a firm believer in ?if you can see it, you can photograph it? in fact I?d go further than this, I?m not really happy unless the photograph is better than the reality remembered.

One of my challenges was the documentation of a firing of Bideford?s community Kiln-in-the-Park. This was a joint project from the Friends of the Burton and Appledore Arts. The brick built kiln, which must be 20ft high is a rare example of such a large wood fired kiln in the UK. I was there whenever I could be from the building of the fence to enclose it, loading with hundreds of tiles and harvest jugs, lighting at 7am and bringing up to in excess of 1000 degrees c, to the grand opening almost a week later. As I obviously couldn?t be there 24/7 I had to anticipate the most photogenic moments in advance and get a general documentation of the process. One of the highlights was to be a flame out of the top of the kiln which sometimes happens so I made sure I stayed around as the temperature rose to it?s critical heat.

There was talk in the potting fraternity that if they didn?t work with clay they would all be pyromaniacs and there were many photographic examples of a fearless love for flames. The two pictures here are of Doug Fitch who has his own slipware blog: http://slipware.blogspot.com/

Another challenge was photographing the alternative physical theatre company Jammy Voo http://www.jammyvoo.com/ They had been working on a new play at Beaford Arts Centre and needed documentary/publicity pictures. Their play writing is quite improvised, the script to start with may not even have a beginning, middle or ending, so their time together as a company, who live in various parts of Britain and Europe, was spent developing their characters and the play. There seemed to be a days worth of photography to fit into the ? day with each new scene or location needing me to think on my feet to try and make the images say something about a play I knew little about. But it was quite a buzz and hopefully the final pictures made from merging 2 or 3 together will show the essence of the play.

October 31, 2009

Past and Present

Since the last post I?ve had another opportunity to combine the present with the past through the Beaford Arts ?Old Archive?. I was recently involved as an artist in a Beaford Arts residential for ?gifted and talented? year 9 pupils. It was hoped I could lead a ?drawing with light? exercise in the dark evening as the residential was loosely based on the ?big draw? national incentive to get people drawing. Rather than simply reiterating the previous residential I chose to also include the combining of the past with the present.

A mysterious Old Archive image of Greenwarren House (which now houses Beaford Arts) was found. Mysterious because there is no information attached to it except the description: ?Old view of Greenwarren House with different window heads and stucco and 2 horses and riders.? There is no date or reference to the riders, horses or dog in the picture. Technically I should have composed the photograph before dark to have obtained the same angle-of-view and comparable lens length. However the only real discrepancy is to the left of the house where the old stable block isn?t lined up but the advantage of this mismatch is that you see a photo-collage made on a previous residential pasted on a door.

The children, after making some long exposure night photos themselves, made light patterns with a number of coloured torches, drawing or painting with light in the darkness. Afterwards they had the opportunity of learning how to combine the old and new images in PhotoShop.

My final image is a combination of 2 ?drawing with light? exposures of 1 minute each plus the original ?Victorian? photograph. I?ve tried to photograph the present both actually, the house as it is in October 2009 with reference to art being made in the photo-collage seen on the door and metaphysically; children learning through art seen by the light traces and sometimes ghostly images as they move through time. I?ve also made reference to the past through the old windows and doors seen through the bleached out windows of the present and the trace image of the old building?s chimneys, flowerpots, garden sculptures and the 2 riders on horses and dog.

‘Old Archive, Contemporary Responce’ continues at Boston Tea Party in Exeter from 3rd of November follow this link for more information.

October 1, 2009

Working from the Beaford Old Archive

Recently I was asked to choose an image, any image, from the Beaford Old Archive http://www.beaford-arts.org.uk/index.php?id=5 and respond to it in a creative way. I had to limit my time to 3 hours, although this time restraint was creatively interpreted. If you want to see this image framed and hung on a wall, you’ll find it alongside other artists interpretations of Beaford Old Archive images, at the Boston Tea Party Cafe in Barnstaple, North Devon, during October and then it travels down to a cafe of the same name in Exeter.

Old Archive image chosen: ?On the beach, Appledore c1890? (ref. b08514)
Contemporary response titled: ?Still on the beach, Appledore 2009?
I?m drawn to pictures like this, they fascinate and excite me. They talk of a recent past, where our North Devon ports were full of sailing ships, importing tobacco and exporting products like our sgraffito slip-ware pottery to the Americas and all over the world. It?s surprising how few images there are showing scenes like this until they are compared to the modern day vernacular equivalent, the lorry park. I often catch myself imagining our rivers full of moored tall ships like ghosts of the past making a trace on our 21st century world. Walking on the quays in Bideford and Appledore I can feel the past, just like one can sense the layers of history in an old house.

This image from c1890 was most likely exposed onto a glass plate negative and printed onto light sensitive, fibre-based, silver-salt rich, photographic paper. It epitomises the worst attributes of the old silver based technology. Dust and hairs have left their white marks as they?ve stubbornly clung onto the negative at the printing stage; fingerprints have been left on the surface from the photographer who uses his hands to move the print from developer to fix but doesn?t clean and dry them properly; stains miraculously appear through uneven agitation, irregular fixing or uneven washing; more stains and marks are left from over 100 years of being passed from family member, to friend, to nostalgic collector. The photograph, like the image it holds, is a testament to the passing of time.

This image of Appledore?s shoreline is a fading reminder of it?s past. By this date our ports were little used, the railway had taken over transportation of goods although it hadn?t reached this village yet. Appledore here is a scant reminder of North Devon?s heyday in the Elizabethan era when ships sailed from here taking the 1st colonists to America and 5 ships under the leadership of Sir Richard Grenville left here to fight against the Spanish Armada.

We can learn a lot from old pictures, we can learn more from trying to re-photograph them. To place my camera where the original camera had be mounted I would need to dig up some of the car park today. The quay at Appledore has been raised and widened, quite considerably, although the part of the waterfront seen in this picture is relatively the same. New houses have been added and some of the original outhouses demolished.

The tide and position of the sun have proved to be my most difficult obstacles. From observing the shadow I estimated that the original picture was made mid-afternoon, and from observing where the tide was and it?s direction (or direction the boats are pointing) I estimated a couple of hours after high tide. To get the tide and sun like this I needed to make my new pictures around a neap tide, which I?d get every 2 weeks. Then, of course, I needed sunshine; something we never get on demand in North Devon. And finally 3 free hours, the allotted time for this commission, when all of the above were in place, to make my images and construct them together in PhotoShop.

I hope with this new digital image something of the view back, through the layers of time, can be seen.

September 22, 2009

Review in arts+culture magazine

Dave Green’s photo exhibition at the Tavistock Wharf revels in discovery of the North Devon coastline

By Heather Smith, on September 22nd, 2009 – from arts+culture magazine http://artsculture.newsandmediarepublic.org/

Dave Green, a Bideford-based photographer, reveals hidden parts of the North Devon coastline in his solo exhibition at Tavistock Wharf.

His work is a continuation of his childhood fascination with ?looking for that elusive hidden rock pool teeming with life or being the first person to tread over the sand and discover a cave?.

Seemingly undaunted by tides, he continues to ?discover?, squeezing his adult self into narrow tunnels formed by the pounding ocean and wedging himself at the back of sea caves. He documents his artistic endeavour using a digital camera. In Turbulent Passage, Baggy Point, North Devon 2008, a trail of sea foam on the smooth, untouched sand creates a feeling of isolation and imminent danger, but also wonder at being able to see something usually hidden from the human gaze.

In these meticulously-created Constructed Photographs, Green overcomes the problem of lighting in the cave that would result in dark, detail-less images by taking many different, long-exposure shots and stitching them together in Photoshop. The edges of his work are often left jagged, as if individual photographs have been placed together ? la Hockney. The results are images that reveal the exquisite tones and textures of the rocks within the cave and pictures that have both depth and movement. The viewer is taken on a journey from the dark space of the cave to the glare of the outside light, the secret openings and slick, smooth rocks provoking analogies to birth and ?the feminine.?

The biggest surprise, perhaps, is the way in which Green?s images manage to turn the most hostile and remote of environments into an almost comforting space.

Another highlight from the exhibition is the selection of camera-less images from the1990?s. Created by placing natural materials ? seaweed, nettles and leaves ? directly onto 5 x 7 photographic paper and using the action of sun, water, fixer and developer to form unique pictures, these ?photograms? have a surprisingly wide range of colour and tone. There is evidence of Green?s love of stitching here too as the smaller images are rearranged to create different ?wholes?.

The exhibition runs until Saturday, September 26.

September 20, 2009

Communication with Bats

I was making the most of the spring tide on Friday 18th September and exploring a bit of the North Devon coast I hadn?t accessed before, via Mouth Mill, on the Hartland Coast. At low tide, midday, I found a shallow but very high cave under Windbury Head with 2 grand pillars of rock holding the cliff up at it?s entrance. The shallowness of the cavern meant I couldn?t photograph it from the back as I usually would so I snuggled up to the wall on the left-hand-side and started to make my constructed image, photographing the boulders at my feet first and moving along the floor and up the right-hand wall with my camera. As my Olympus E3 focuses it emits a high pitched sound; this sound attracted the bats, I?m assuming, as I made no sound and used no flash. The bats, (I?m rubbish at identifying them, bigger than those seen on the Tarka Trail South of Bideford, you could clearly see their ears!) 2 of them flew in formation around the inside of the cave mapping it, then back to the top, out-of-sight, then after seconds, came out again and flew lower down until they were within a few feet of me; then they were gone taking exactly the same flight path back to their roost. I had stayed still all of this time, happy to watch them, and didn?t take anymore pictures whilst they were flying; I was shooting at 1/10 of a second anyway so I couldn?t have photographed them. It seemed as though as soon as they had discovered that it wasn?t another bat making the noise they were happy to go back to bed. I finished taking photographs and didn?t see them again.

It?s unusual to find bats in these sea caves because at high tide the sea is well inside of them and the surf is pounding up the sides and back. In fact, it?s rare to find any life in these places because the environment at high tide is so violent, only the most stubborn limpet will cling onto these walls. However, in this cave, the ceiling was so high, a good 30 feet, and with plenty of jagged crevices to make a home for a bat. I?ve only found bats in one other cave in the cliffs here, and that one was always dry.