Interrupted Landscapes: Weftwood

I had this idea of creating another installation in the Copse.  Away from the main path there’s a small ‘clearing’ atop a low hillock. Someone created a swing there sometime in the past – a hunk of rope from a tree branch tied around a large piece of wood and, during last year (2016), a tepee ‘structure’ appeared off to one side, sometimes partially covered by some old faded green cloth/tarpaulin. Towards the end of that year, a somewhat dilapidated garden seat appeared in front of the tepee. Quite often I’d see the remains of a fire, empty drink cans, bits of paper and such scattered around. I never saw any people, though I’m guessing it’s some youngsters who occasionally gather together there.

The garden seat was slowly breaking down so, in July, I decided the seat needed to be rejuvenated in some way and decided to do this with wool – weaving different colours on its back. My usual question – “Am I creating litter?” – well there was litter there already (which I’ve occasionally cleared away) and whatever I created would be temporary and removed at an appropriate point.


Friday 14th – red and green wool bought from Sue Ryder Charity shop.

Saturday 15th – announced my intention at TV group

Sunday 16th – off to the Copse with wool, camera, and scissors. Made my first ‘mark’. Posted on Instagram.

Tuesday 18th – Copse – The second stage needs wool strands not from the skein because the skein won’t fit through the slats. I cut a long piece and placed scissors and skein back in my backpack. Just as I was making my first new knot I turned round – there was Digby chasing off with the skein – wool streaming behind it. I got it back, a bit bedraggled, unravelled and with bits of leaves sticking into it. Put it back ‘safely’ I thought. Next thing I know is that both dogs have the unravelled skein on the ground and are playing with it. Rescued – back in bag, do I leave the leaves in the wool now? New weaving done so 2 strands now. Created a beginnings video as well.

<p><a href=”″>In the Beginning</a> from <a href=””>Catherine Banks</a> on <a href=””>Vimeo</a&gt;.</p>

It then rained seemingly endlessly for days and there was too much mud to go on the Copse.


Friday 11th and Sunday 13th – six sets of strands now but knew I wouldn’t be able to do more for a while due to a forthcoming operation then having an extra dog to care for.


Monday 4th – Feeling stronger although not quite so sure about the amount of bending needed to weave the wool.  Wondering what had happened on the Copse though so picked a brighter spell of weather to have a look.  All seemed fine.

Saturday 9th – Oh No!  I couldn’t believe what had happened.  The ‘swing’ had been dismantled with a rope swung up to another tree, with the block of wood dangling, plus a pallet contraption.  Seemed like another version of Stig of the Dump . Found the bench, even more decrepit, at the top of an incline overlooking the clearing with just a few strands of red wool hanging from it.


<p><a href=”″>Weftwood 9th September 2017</a> from <a href=””>Catherine Banks</a> on <a href=””>Vimeo</a&gt;.</p>

Sunday 17th – all change again – just bits of wood left now and sad, red wool strands.

Reflecting further on this experience I think that I was seeking a response –  from these unknown strangers and maybe from other people who walk the Copse with their dogs.  I have occasionally seen people with young children there and the children utilising the ‘swing’ – even my own grandchildren have had a go. It was mainly the ones I was imagining as youngsters hanging out I was interested in though. Would they notice?  Well, did they notice or was there some kind of unconscious transference that led them to create their own strange installation.  I’m writing ‘strange’ but why should their actions be more strange than my own efforts and why would I think of my own project as more creative? Maybe it was that my intention was to interact with the landscape in a different less destructive way and leave a transient ‘mark’ rather than upend everything.

Part way through the project I had thought of ‘Interrupted Landscape” and decided that this would be a good name for an overall theme I could follow in different ways.  The work I’ve been doing with the poppy field will also fit this theme as there have been changes there too this year (another post to follow).

I intend to continue with my theme and see where it takes me. There’s some wool left …..


OCA Thames Valley Group Meeting – 16th September 2017

With sixteen of us present, plus tutor Jayne Taylor, it was a packed programme of presentations and discussion. Below is a PDF of my summary meeting notes – prepared for the OCASA website.

final Version Notes for OCASA on 16.9.17.OCA Thames Valley Group Meeting

My thoughts have circled around:-

Aspects of collaboration in preparing an Exhibition – how many of the images does one make public beforehand; when and where? In talking about their individual contributions to their forthcoming Exhibition at Oxford House both Keith and Sarah-Jane talked about how they were linking in with the theme and also with each other’s work in considering details, specific parts of the building, use of light and colour.

We discussed the relationship between text and image on looking at Teresa’s work I was interested in the aspect of whose words to use – the photographer’s based on knowledge and observation of the subject or the subject’s words. What about handwritten text?  When is it more appropriate than print? Duane Michals has a singular writing style and I know I’ve queried before whether or not this is actually his own handwriting or that of someone else. Cig Harvey also uses a singular text print – printed capitals interspersed with occasional ‘handwritten’ words.

From Gardening at Night Cig Harvey (2015)

I do actually have a font of my own handwriting which I’ve used for journal entries and also experimented with as below but I don’t feel so sure about using it.


Staying with Teresa’s work  I also thought what a good idea it can be to use one image as the fulcrum around which the other images arrange themselves.

I don’t know why but David’s images of the pony drift (the annual health check and marking-up)  in the New Forest  reminded me of Appleby Horse Fair  and also the work of Joseph Koudelka. I immediately thought of Koudelka’s image of the Roma gypsy with his horse   plus there was some discussion around colour or black and white. I guess for me it’s more to do with the intention of the photographer now that there is a choice. I have always thought that the New Forest ponies were wild/free but they’re not – they’re owned by New Forest Commoners – those who live locally and have grazing rights. I think this could turn out to be a fascinating project if David develops it.

We exchanged some differing views on the value, or not, of looking at other people/s blogs and whether we could be too influenced into certain ways of working by doing that.  I couldn’t say I’m influenced in terms of being drawn towards ‘copying’ what I see but I’m certainly inspired by the work that other students create, e.g. Kate’s experiments with deconstructing polaroids and how the extracted transparency of the window in Lacock Abbey both looks like and acts as window.  Similarly, Jonathan’s mirror images where one could see subject/photographer and one’s self.  One comment made was that it was hard to know which face to pay attention to and I thought this made the work a most creative metaphor for human interaction and how much we might see ourselves in another person.

My own work presentation created some amusement when I termed it my portfolio of failed experiments! Polaroid prints where I had used colour and black/pink film; cyanotypes of scanned letters and also photographs from Egypt printed on parchment paper. I had used the different types of Polaroid film to see how they worked with different subjects.  Examples of these are on my Instagram site. On balance I prefer the colour film the black/pink film has an interesting effect but I can’t think what kind of subject to use this on at present.  I have decided that cyanotypes won’t work with the letter from Egypt and, am thinking of experimenting with parchment paper which reminds me of papyrus. I am also currently experimenting with layering old photographs and letters  onto more recent photographs of Egypt. Additionally, I began a project on the Copse which came to a surprising conclusion. In fairness to myself, I can’t count these various projects as ‘failed’ because, after all, they were experiments.  Will do a separate post soon.



Harvey, C (2015) Gardening at Night, London, Thames & Hudson Ltd

2. “A Handful of Dust” Exhibition, Whitechapel Gallery, London

“A Handful of Dust” Exhibition at the Whitechapel Gallery, curated by David Campany
OCA Study Visit on 2nd September 2017

Thirteen of us met with tutor Jayne Taylor at the Whitechapel Gallery to explore the Exhibition, then have lunch together followed by a post prandial discussion.

The Exhibition begins with the long exposure photograph said to have been taken by the photographer Man Ray on the occasion of a visit to the studio of Marcel Duchamp in 1920 to photograph Duchamps’s work the Bride Stripped Bare by Her Bachelors, Even (The Large Glass).When you look here  you can see that Dust is even listed as a Medium of the work so I wondered if that’s a modern nod to Man Ray’s photograph or something originally intended by Duchamp.  Having now done some internet researching I found an MA thesis  (2007) by Jonathan R. Fardy  which refers to Duchamp having intentionally allowed an accumulation of dust to collect   Duchamp titled the photograph Dust Breeding but when it appeared in the October 1922 edition of Littérature  the text (written by both Man Ray and Duchamp) was credited View taken from an airplane by Man Ray 1921.

In a 2015 interview with Aperture Magazine discussing his book A Handful of Dust     David Campany (the curator of the Handful of Dust Exhibition) refers to his feeling that “….there was a whole history of the last century that could be extrapolated from that one image”. He goes on to say, “A thickness of dust is a measure of time.  It’s also a latent sign of actions or processes.  It’s domestic but cosmic too. To see the world from the point of view of dust will give a different perspective of history and civilization.” The Exhibition isn’t about dust as such, but uses it as a pivot around which to muse upon photography as a creative act. I think that includes the way text is used as well given that the same photograph with two different captions leads/misleads in different directions.

This was one of those occasions where I didn’t read up on the Exhibition before I visited and  I had two main responses to it on the day. Firstly, in answering the question afterwards as to what our response to the Exhibition might have been if we were not photographers, I answered along the lines of, “I would have walked straight through it”. I might have thought it interesting but no more than that. It had a rather grey, dessicated  atmosphere for me maybe because the images were mainly monochrome. I even thought that it was more of an Exhibition for photography students, especially considering that David Campany is an academic at the University of Westminster. There is something there around stretching a concept as far as possible in philosophical discourse, as does Lisa Stein in her article in Photocaptionist  (6 June 2016) where she muses upon Campany’s book; Man Ray’s photograph; Poussiere [Dust] George Bataille’s reimagining of the Sleeping Beauty fairy tale, and a quote from Winfried Georg Sebald which also appears in the Exhibition.

In discussing this quotation Lisa Stein turns the notion of ‘the decisive moment’ on its head by  referring to Bataille’s ‘total embrace of the experience of ‘not-knowing’ which he perceived to be prerequisite for the creative act”, so that creative potential lies dormant in any photograph and its meaning ‘might lie in what follows its circulation’. This can certainly be applied to Man Ray’s long exposure photograph.

Some images that drew my attention

Mona Kuhn

Ruins in Reverse (2012) a photograph of a computer screen showing a Google Earth view of California City, a planned but abandoned settlement in the desert. This is actually from Private  a series that links together nudes, desert, form, light, shade and shadow and David Campany wrote Stardust an essay for the book  of the series.

Royal Road Test  (1967) documents, in a quasi scientific manner,  the dropping of a royal typewriter from a speeding Buick car and what happens .  It was a collaboration between Mason Williams, Edward Ruscha and Patrick Blackwell  and it seems to me that they had fun doing it.  The book itself was one of a series of mass produced and cheaply printed books, created by Ruscha, that parodied the American romantic vision of ‘the road’. It was also, apparently, an influence in the making of the film California typewriter  ‘a documentary portrait of artists, writers, and collectors who remain steadfastly loyal to the typewriter as a tool and muse’ – an apposite bringing together of old/new, digital/analogue.

Xavier Ribas  (2008)

On the 24th February 2004 Necso-Acciona, owners of an empty industrial plot in Barcelona, evicted some 60 Gypsy families living there by digging and lifting the concrete floor of the site. The remains continue to give testimony of this displacement.

A large grid of photographs of the site is flanked by a smaller google earth composite view of the site as it was when the photographs were taken.

Jeff Mermelstein

Statue  from Ground Zero, September 11, 2001 (Series)


A powerful image for me, evoking my feelings and memories of that day with the cement dust-covered statue serving as an early monument here to all those who were killed.

Eva Stenram

Per Pulverem Ad Astra 3.AP1, (2007)


Stenram downloaded from NASA high-resolution digital files of images made of the surface of Mars. She then transferred these to colour negative film and left the negatives under her bed to gather dust before using them to make prints – thus combining the cosmic and the domestic as one.

Louise Oates

 Notes on Hydraulic Fracturing: The Desolate North-East 1, 2 and 3, 2014



Dirt shaped into maps of land where gas is being extracted by hydraulic fracking

Nick Waplington

 From his series The Patriarch’s Wardrobe (2010)


Photographs taken on a landfill site south of the city of Hebron (situated on land once called Palestine). The waste delivered there comes from Jewish Settlements in the Judea region of the West Bank. Before the waste is buried it is scavenged by Palestinian children working in groups for adult ‘handlers’. Waplington worked at a distance to avoid revealing identities.  The photographs are juxtaposed with paintings made of the landscape of the West Bank. Each painting represents a piece of this disputed land, and is based on colours caught by the photographs and then reworked in Waplington’s studio. The series as a whole has so much to say to me on ‘waste’ of people, cultures, lives not to mention commodities.

Some conclusions

Having now looked at the iPhone images I took in the Exhibition and researched/read about the photographs and their creators, I agree with George Bataille and Lisa Stein. Prompted, of course, by the words of David Campany, my mind has worked along the concept of dust, waste and creativity and so I have woven my own stories around particular photographs that attracted me; created my own tapestry view of the Exhibition. I’m aware as well that I have also picked out some colours from monochrome whilst also being mainly drawn to contemporary conceptual photography. I can understand the colour aspect because that’s always been my preference but less sure regarding conceptual photography as being the path for me given that I’m still drawn towards landscape photography. Let’s wait and see.

In the meantime below is a short video where David Campany introduces the Exhibition





OCA Thames Valley Group Meeting on 15th July 2017

Attached is a PDF of the notes I made for the OCASA website as they again provided funds for tutor Jayne Taylor to join us.

Notes for OCASA on 15th July 2017 OCA Thames Valley Group Meeting

I showed the group a selection from the Cyanotypes I created at the recent Workshop I attended (see here   ) and some further experiments using old glass negatives.

The glass negatives are fascinating to work with (I’ll be unpacking some more later today) and I am continuing to upload my ongoing experiments to my Instagram account . In addition to thinking about how I can ‘present’ these variously sized pieces of work I am also thinking whether I can use  cyanotypes of enlarged extracts from my father’s letters from Egypt as development of Assignment 2.


They haven’t exposed as clearly as I would have wanted but, as John said, the other cyanotypes I am creating can be regarded as practice models and some of them are very clear.  Both he and Jayne were also interested in the small negatives I had created to use

and thought it would be good to find ways of utilising them as items in themselves.

My brain is still circling around topics to use for the critical review (Assignment 3) but keeps leaping ahead as well to Assignment 4/5 so Jayne suggested I create a mind-map. I have used them in the past but need to guard against being distracted into spending too much time making sure that the map itself has ‘correct’ links.

I also mentioned my idea for a project which will take me back onto the Copse and my intention to use wool to create work in the landscape itself. I’ve already started on this and tagged it on Instagram first as #weftwood, but then decided that #interruptedlandscape would be good as an overarching title for this kind of work. Here’s a taster video I created when I first began

<p><a href=”″>In the Beginning</a> from <a href=””>Catherine Banks</a> on <a href=””>Vimeo</a&gt;.</p>

The project will build fairly slowly according to weather conditions and I’ll be writing more fully about in a later post.

Workshop : An Introduction to Cyanotypes

Workshop with Russell Squires at Aspex Gallery, Portsmouth

Russell Squires   is a photographer, based in Portsmouth, who uses both traditional and digital processes in his fine art practice.  He is an OCA tutor in addition to teaching at other Institutions. The Workshop was held at the Aspex Gallery  – a contemporary art gallery which is in a slightly hidden-away corner of Gunwharf Quays – a designer shopping outlet set in the re-developed historic waterfront of Portsmouth.  It’s a pleasant environment, especially on a lovely Summer’s day.

Russell had asked us to send him two jpegs beforehand so that he could convert them into digital negatives ready to use for cyanotypes (in fact he’d prepared two of each and explained to us that this gives a better contrast and structure) and had also prepared a set of treated paper to use (necessary given the relatively short amount of time we had). These were handed to us together with a proof contact frame to hold the prepared paper and objects/digital negatives.  Russell then quickly took us through aspects such as useful accessories; the formula/recipe for the cyanotype solution, how hydrogen peroxide can be used in one of the rinses after the print has been exposed (creates a deeper blue), the best type of brush for painting the solution on the paper (no metal parts),  and the type of paper that he uses ( Goldline Watercolour 200gsm )

We were shown how to weigh and prepare the solution (NB use de-ionised or mineral water to mix and a wooden stick – nothing metal) and then each of us prepared one sheet of paper ourselves which was then placed to dry, in a closed cardboard box to keep it in darkness,  ready to take home at the end of the day.  Next was to set up our first print, using a variety of objects and materials, place in the contact frame and then under a UV tube rather than out in sunlight.  Whilst waiting for the exposure to take, Russell told us some of the history of the Cyanotype process (John Herschel’s invention, Anna Atkins’s botanic prints) and how cyanotype prints came to be used for ‘blueprints’ and later family portraits because they were so cheap to make. Russell also showed us some of his own cyanotype  which varied from various kinds of blueprints  as here to cyanotype prints over-sewn with red thread. He also gave us names of some other contemporary artists who use the process in various ways including Stephen Turner who currently has an Exhibition of his work in the Gallery (see further information below).

Two prints were created using object/materials and then another using a digital negative.


2. After peroxide rinse


I enjoyed watching the prints emerge complete – through one water rinse, another rinse with water plus a couple of drops of hydrogen peroxide, further clean water rinse and then hung to dry out.  We prepared a further print but there was insufficient time to rinse it out. This proved to be my one ‘failure’ because I left it over a day to rinse out and it came out very pale.  I actually quite liked the paleness, but have begun to colour it in using Marshalls oil pencils for a different effect.


Some Contemporary Artists who use Cyanotype Process

Walead Beshty

Best known for his work in photography but he also uses many other media in his artistic process such as travelling with unexposed transparency film in his luggage and thus expxosing it to airport x-ray scannersHe has also exposed colour photographic paper to coloured light from a horizontal enlarger and processed this with a large-format colour processor, see here

A year of artistic process captured through cyanotypes

<p><a href=”″>Walead Beshty in The Curve</a> from <a href=””>Barbican Centre</a> on <a href=””>Vimeo</a&gt;.</p>

Annie Lopez has made dresses from old patterns using material that has been printed using the cyanotype process

Rosie Emerson  mainly works on representing the female form. She creates screen prints using unusual materials and has also created hand finished prints using cyanotypes and acrylic paint see here

Stephen Turner

Turner’s multi-media work focuses on changes between human-made and natural environments. His most recent Project has been The Exbury Egg   a collaborative with Space Place & Urban Design (SPUD) and PAD Studio architects. He worked with the designers to create the Egg  which he used as a self-sustaining work space . It’s a fascinating construction, as you can see if you follow the link, and Turner used it to study the life of a tidal creek and create artwork in response.

I missed seeing The Egg itself when it was installed at Gunwharf Quays but, fortunately, there is an ongoing Exhibition Everything Comes from the Egg   at the Aspex Gallery( from June to 3rd September).  I was able to visit during lunchtime and found it fascinating.  There are many cyanotypes which he created using different materials ,such as discarded packaging, as a base plus  architectural drawings; small egg-shaped sculptures and glass jars filled with local flora.  I found it all very inspiring.


Interim thoughts

This was a thoroughly enjoyable workshop for me and I was surprised how quickly the time went by.  The Gallery was a lovely space to be in and Russell had created an excellent structure for the day – entwining creative work with information, practical skills and discussions.  I felt good to come away with completed creative work, think I now have a good grasp of how to create Cyanotype prints and am already thinking of  ways I can use them in my coursework.







Cyanotype Process: Sun Prints

Two of my OCA student colleagues had recently uploaded Prussian blue solar prints to Instagram and I loved the deep blue colour so I decided to have a go myself using 4”x4” Sunprint paper.  Other companies make this type of paper as well so there’s plenty of choice on the internet. Technical descriptions of the process  completely miss the excitement of waiting for an exposure to be created – the timing, checking, slowly watching the blue paper turn white and then, after rinsing, see it all turn blue again and the image emerging more clearly (or not!) once the print has dried.

<p><a href=”″>'''Twas on a Wednesday morning …..</a> from <a href=””>Catherine Banks</a> on <a href=””>Vimeo</a&gt;.</p>

My first experiment was to layer some leaves on the paper.

The look of it appealed to me but I thought the process could work better if items placed have clearer outlines so I decided to create a digital contact sheet of some pressed poppies I had photographed


There are two versions, the first exposure was pale and there was a leach of colour for some reason. During second exposure I had moved the negative slightly when I was checking it and there is a ‘double’ effect which I think is more interesting. I had bought some wooden cut-outs of butterflies so I tried those next and then decided to add to them so I layered some flower heads on top of the sun-print. By serendipity there were two tiny greenflies I hadn’t noticed when I re-photographed and these can be seen.


I had photographed my hotel bedroom whilst staying in Bath so decided to create digital contact negatives from the images and see how these turned out. A good result.


I uploaded jpegs of some of the prints to my Instagram account which, of course, meant I had to scan/re-photograph.  What was interesting was the difference between the scan and photograph as the photograph retained the slightly crumpled look of the original sun-print but the scan image was flat. You can see the differences above.  I also prepared a contact sheet as I wanted to print on some washi bamboo paper (which I thought would suit the colour of the sun prints) and then take to show members of OCA Thames Valley Group. The contact sheet also shows the differences as seen below.


What next? Well I have some ideas in relation to Assignment 2 and my dad’s letters and have already begun experimenting. I am also booked into a Cyanotype Workshop on the 2nd July down in Portsmouth with Russell Squires who is an OCA tutor and was also my tutor for Context & Narrative so it’ll be good to see him. In the meantime, below is a little more information on the cyanotype process.

The Cyanotype Process

This process was invented by Sir John Herschel in June 1842, for contact-printing photographic images on paper in Prussian Blue see here  .  Anna Atkins, considered to be the first female photographer , quickly used the process to create photograms of botanical specimens and, with her friend Anne Dixon, hand-printed several cyanotype albums. Coincidentally, as I began to write this blogpost, John sent me a link to an article about Anna Atkins  in the online Guardian  However, the cyanotype process only came into wider use after Herschel’s death in 1871 when a French company (Marion et Cie) marketed a cyanotype paper mainly for plan-copying and it was from this that the word blueprint came to be used.

You can prepare your own light-sensitive cyanotype paper by treating it first with a solution of potassium ferricyanide and ferric ammonium citrate or buy paper (or fabric) which has been pre-treated and then place natural objects or photographic negatives to contact print using some form of daylight – natural or artificial. When the treated paper is exposed in this way the light reacts with the solution on the paper and causes a pigment Prussian Blue to form. When the exposure is correct the paper is rinsed to wash the unreacted iron away, then, as the paper dries, the Prussian Blue colour is revealed. I should add that treated paper can now be in different colours – green, yellow, violet. Also the resulting prints can be dyed with liquid such as tea.







1. Spring on the Copse April 2017




Spring eventually arrived on the Copse after some very wet and muddy weather. I uploaded the above video slideshow, created on Photoshop, onto my Facebook feed – images taken with my Canon DSLR with ambient sound (from my iPhone) added.

Feedback was that the images needed to stay on the screen a little longer, so I extended the timing and, as I wasn’t sure about the black background, changed it to a white one which I think worked better.


Feedback on that related to the slightly different sizes of the images, so I re-worked those to produce Version 3


Towards the end of the month I created another one purely with my iPhone and recording the sounds I heard at the time which I processed in iMovie.



It was quite an eerie feeling, hearing the music.

There doesn’t seem to be much difference in quality between Phosohop and iMovie processing so far but I have now downloaded Adobe Premiere Pro so will be experimenting with that at some point.  I’ve been uploading processed videos to both YouTube and Vimeo and have decided that Vimeo has better quality.