Terra anachronista

As soon as you step away from the road, which crosses the heath like a causeway across water, you enter a different time zone: the wood is old and twisted (here washed into a temporary flow-line), the growth takes decades to inch upwards, everything is as if in suspended animation, freeze-framed by a long-forgotten spell. Its quite a relief, in some ways, an expanding time, but how can this anachronistic landscape find a place in the present? Must it always refer to the past? [I’m looking from some answers tomorrow when I meet with a Commoner and Forestry England.]

Between picture-postcard & petroleum

On the left, the unreal picture-postcard world of Beaulieu, on the right the holding tanks of the Fawley oil refinery, and in the middle Hilltop, with its open heathland – that’s our territory for this residency. This Lidar image shows the topography, captured from the air by bouncing a laser beam from a plane down onto the surface. The colour: that’s totally artificial; blue to show eastward-facing slopes, orange westward-facing slopes; yellow northward-facing slopes. [Thanks Lawrence for taking the time to meet with me and talk 3D. Looking forward to getting your drone over the heat to get some more detailed 3D.]

Tumulus that’s not a tumulus

A very full day in the New Forest, exploring Hilltop. This (the left hand one) was the highest point around, and not what it seemed. Time to head home now, so will have to post more details later.

Across the cattle grid

It’s exciting to arrive in the New Forest at night to begin a new residency. Across a cattle grid and then you know you are on the Commoning Land, where the New Forest ponies roam free. Looking forward to what I might find tomorrow. Tonight, I’m in the residency studio of SpudWorks, who are hosting this project. For the first time in many years I’m not working alone but with Reinhild Beuther.

Curtain up on Uluru

Last night was the opening night of ‘When the Rain Stops Falling’, the play for which I have been commissioned to produce video projections. It’s been a steep learning curve getting to know how the creative process in theatre works – very different from my usual way of doing things. The play is set in UK and Australia, including the great rock of Uluru. This is how I pictured that. I’ve really enjoyed working with Nathaniel Mason as Technical Stage Manager: we make a good team.

A fish fell from the sky…

Will need a fish for the play, so I made a quick scan at the fishmongers this morning to see what it might look like in 3D.  It was quite late in the day, which meant that many had already been sold. I will need to come back just after the fishmonger has laid out in the morning – that will be an early start! I will have to see whether I can get them to remove the orange price tickets for me.

Capturing a piece of driftwood

This is an initial ‘point cloud’, the first step in capturing the 3D shape of a piece of driftwood, needed for the play. I had it set up on a wire structure above my dining table. You can see the table (brown plane below), a blue picture on the wall, the green of the trees through the window, and suspended above the tabletop the piece of driftwood. I’ve isolated the wood inside a box ready for the next step of making a more detailed point cloud, and then the final 3D shape. I love the way these point clouds hint at the world, but leave you guessing about so much.