For this project, I wished to continue developing the ideas from the Nottingham Castle project, where I created a reliquary for an acorn. I enjoyed exploring the idea of nature as a spiritual experience, and wished to create an object that would allow a viewer to experience, as well as understand, the value of the natural world. I feel it is particularly important in safeguarding our environment. If future generations are able to feel connected to and build personal relationships with green spaces and water bodies, they will have reason to care about and protect them.
I started out by envisioning a place I feel personally connected to – a particular beach that I visited a lot and have childhood memories of. I visited the location again and documented the experience. I took photos, made sketches, took ambient sound recordings, used a contact microphone to take wave and rockpool recordings, collected shells, stones and seaweed. I savoured the experience and tried to pinpoint elements that exemplified it for me. I was interested in the sense of exchange between land and sea- the sea as a resource and provider, and also what it extracts from the earth that is slowly eroding into the water.
As I walked along the shoreline collecting seaweed, pebbles and shells, I was struck by the movement of the retreating water and the way in which it was gently delivering parts to me at my feet. Something about the way the sea offered them up made me want to use these pieces in my artwork. I pressed the seaweed to preserve it, and considered ways in which it could be displayed within an artwork. It felt natural to use glass because of its association with the sea. It would be an attractive way to display the seaweed, as well as having a relatively low environmental impact as a material. I wanted to create a precious and intimate artwork that would allow the viewer to experience what I had, so I designed a stained glass altarpiece based on the pattern of the retreating waves.
I was influenced by Damien Hirst’s butterfly pieces which utilise the colours of butterflies to create the colours of stained glass, Bill Viola’s merging of natural elements and the divine, Lindy Lee’s ability to create the feeling of a place, John Danvers’ commitment to environmental messaging, Keith Grant’s use of art objects for prayer, Ithell Colquohoun’s explorations of the Cornish coastline, and various artists’ depictions of the sea and use of altarpieces and triptychs.
I am pleased with the piece that I created and feel that I succeeded in creating an object of reverence where the viewer can appreciate elements of the natural world. The process of creating the piece was much longer and more labour-intensive than I had anticipated. If I didn’t need to allocate so much time to physically crafting the piece, I would have been able to create other pieces to include with it. Although I think it is successful on its own, and additional works might detract from its over-all impact, I do also wonder whether it would have been valuable to create a more immersive experience by using elements such as sounds and projections.
I experienced some difficulties with installing the piece within the space. My original plan had been to solder hinges to join the three panes, but during production I found that this was more complicated than I expected, and I lacked the knowledge and resources to do this. I was concerned that the hinges would pull the solder away from the glass at the sides of the piece, which I wouldn’t be able to easily fix or prevent. This caused difficulties however with making the panes stand up since they would not be as stable. I felt it was important that the piece stood up so that it was readable as a triptych and that viewers could interact with it as an altarpiece, so to compromise I used some acrylic stands.
I also feel that I should have considered earlier on in the design process, the effect that the exhibition layout would have on the work. I had intended it to be a quiet and contemplative piece, but sounds and visual noise from other student’s work nearby may have an impact on the quality of the experience of my piece. I should have thought of this and arranged for a more secluded location for the work.
I was pleased with the reception of the work by my peers and others who have complimented its uniqueness. It is a work that makes you want to look closer at its construction, and somebody commented that the combination of white glass, seaweed colours and black linework is visually striking and draws you in. It has generated discussions about the seaweed and its role in marine ecosystems so I feel that it is meeting some of its original aims. Next time, I would consider creating a small worksheet or guide for children and those keen to learn about the different species of seaweed, to help foster their enthusiasm into a lasting passion.