My most recent art project, Ode to Hope, is based on a poem of the same name by Pablo Neruda. Written between 1954-7, it is a haunting elegy about nature’s elemental power and beauty, and the uncertainty of our future and place within a rapidly changing landscape. The poem is set beside the sea and in many ways is a continuation of the maritime based ideas I explored with my DYCP grant, Holding the Horizon in 2021-2 and Deadpan 2019-2020. Like the poem itself, my aim with this artwork is to acknowledge the uncertainty of our times but also create a sense of groundedness and courage and demonstrate the vital role creativity has in helping us define a better and different future.
As with much of my previous work there is an interest in creating immersive environments with my paintings, playing with detail as a way of drawing the viewer’s attention and utilising repetition to generate a durational (elongated and expansive) sense of time and space. The difference with this work is that I want to be more experimental with the way it is exhibited, present it in different ways, settings and contexts and explore the different effects that this creates and alter the way it is can be achieved effect of the work and how it might be received by presenting it in different ways, settings and contexts. Ideally I am trying to encourage more direct engagement with my work across multiple spheres of life.
Ode to Hope consists of 64 panels (each 25 x 60cm) that, when combined, make a 16m long painting with a rotational/zoetrope like effect.
The sculpture on which the paintings are based. I have sewn Neruda’s poem on the fabric in Spanish and English and facing forwards and backwards. I then took a series of photographs of this cylindrical structure rotating 360 degrees. Each panel equates to one of the stills.
In March 2025, whilst the work was still in progress, I held a gathering with friends and colleagues to a work in progress review. I was interested to know if Ode to Hope was ‘working’ visually and if the insights of others could push my intentions for the work further.
Work in progress evening at The Storey Gallery, Lancaster, March, 2025
My daughter Tilda and Studio comrade and friend, Bonnie Craig seeing the work for the first time completed and its entirety at The Storey Gallery, Lancaster
Detail from Ode to Hope
Detail from Ode to Hope
Detail from Ode to Hope
Getting ready to install the work on Silverdale Beach. September 2025
Helping hands…Billy Gardner, Jamie Slater and Claire Potter, Silverdale September 2025
Helping hands…Claire Potter. The following day she sent me this lovely message “You know, in the podcast I was listening to (about creativity mostly), it said that whenever you are working on a creative project, an important way to think about it is ‘ Even if this fails, how can I make the process creating it enjoyable for me and good for my relationships with others.’ I liked that – and feel that’s what happened yesterday. xxxx”
Installing the work, Silverdale September 2025
Installing the work, Silverdale September 2025
Playing around…Silverdale September 2025
Shadows Silverdale September 2025
Installing the work, Silverdale September 2025
Silverdale September 2025
Silverdale September 2025
Silverdale September 2025
John Connell, assisting with his amazing photographic eye and camera skills.
Setting up the abridged version (8 panels instead of 64) on Mattarol Beach, Fuertaventura, December 2025
Setting up the abridged version on Mattarol Beach, Fuertaventura, December 2025
Gianni from Italy with my work, Mattarol Beach, Fuertaventura, December 2025
Mattarol Beach Fuertaventura, December 2025
Tide is coming in! Mattarol Beach Fuertaventura, December 2025
I didn’t necessarily want gaps between the panels but it had its advantagesMattarol Beach Fuertaventura