<b>Excerpt from <i>Night Fitties</i></b> // Fragmento de <i>Night Fitties</i>

Auteurs-es

DOI :

https://doi.org/10.37536/ECOZONA.2019.10.1.3008

Résumé

      We have worked since 2013 on and with a contested coastal community on one of the U.K.'s last existing plotlands, the Humberston Fitties in North East Lincolnshire.  Here, since between the wars, local people and visitors have erected their diverse dwellings, in order to enjoy the simple, restorative pleasures of seaside life. This painting and poems are from the series Night Fitties They explore the play of light and dark and the uncanny transformations of the chalets that take place after hours as well as notions of vulnerability, occupation and emptiness. The work considers, in the shadow of recent dramatic political changes, how notions of place and identity are constructed on domestic and larger scales, as reflected by the play on flags and other indications of Englishness. Our cross-disciplinary collaborative practice between poetry and visual art explores open, environmentally-aware engagements and methodologies with landscape and place. We investigate the relation of social, environmental and energy politics on micro and macro scales, looking out to land and sea and back to the community. We are interested in the effects of radical open form text and paintings presented innovatively together and how this challenges audiences' assumptions.

 

Resumen

     Hemos trabajado desde 2013 y con una disputada comunidad costera en uno de los últimos asentamientos temporales existentes en Reino Unido, los Humberston Fitties, al noreste de Lincolnshire. Aquí, desde el periodo de entreguerras, la gente local y los visitantes han erigido sus diversas moradas con el fin de disfrutar de los simples y vigorizantes placeres de la vida junto al mal. Esta pintura y poemas son de la serie Night Fitties. Exploran el juego de luces y sombras y las insólitas transformaciones de los chalets que tienen lugar después de hora, así como nociones de vulnerabilidad, ocupación y vacío. El trabajo considera, a la sombra de los dramáticos cambios políticos recientes, cómo las nociones de lugar e identidad se construyen a escala doméstica y a mayor escala, tal y como refleja el juego con las banderas y otras indicaciones de lo que es ser inglés. Nuestra práctica colaborativa interdisciplinar entre poesía y arte visual explora compromisos y metodologías con el paisaje y el lugar que son abiertos y medioambientalmente conscientes. Investigamos las políticas energéticas, sociales y medioambientales a menor y mayor escala, volviendo la vista hacia la tierra y al mar y de vuelta a la comunidad. Nos interesan los efectos de presentar juntos e innovadoramente textos de forma abierta y pinturas, y cómo esto desafía las suposiciones de la audiencia.

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Bibliographies de l'auteur-e

Judith Tucker, University of Leeds

Judith Tucker is an artist and academic, her work explores the meeting of social history, personal memory and geography; it investigates their relationship through drawing, painting and writing. She has a long-term collaboration with the radical landscape poet Harriet Tarlo.  In 2018 she was a finalist in the Jackson’s Open Painting Prize and she has been selected to be one of ten UK artists exhibiting in the inaugural Yantai Biennal, China. Exhibition venues include Arthouse1 and Collyer Bristow London and many regional galleries throughout the UK, and further afield in Brno, Czech Republic, Vienna, Austria, Minneapolis and Virginia USA and Yantai, Nanjing and Tianjin in China. She is co-convener of the Land2 and is part of Contemporary British Painting, a platform for contemporary painting in the UK. Tucker also writes academic essays which can be found in journals and in books published by Rodopi, Macmillan, MUP, Intellect. She is senior lecturer in the School of Design at the University of Leeds. https://www.axisweb.org/p/judithtucker/

Harriet Tarlo, Sheffield Hallam University

Harriet Tarlo is a poet and academic with an interest in landscape, place and environment. Her publications include Field; Poems 2004-2014; Poems 1990-2003 (Shearsman 2016, 2014, 2004); Nab (etruscan 2005) and, with Judith Tucker, Sound Unseen and behind land (Wild Pansy, 2013 and 2015). She is editor of The Ground Aslant: An Anthology of Radical Landscape Poetry (Shearsman, 2011) and special poetry editor for Plumwood Mountain 4:2 (2017) https://plumwoodmountain.com/. Critical work appears in volumes by Salt, Palgrave, Rodopi and Bloodaxe and in Pilot, Jacket, English and the Journal of Ecocriticism. Her collaborative work with Tucker has shown at galleries including the Catherine Nash Gallery Minneapolis, 2012; Musee de Moulages, Lyon, 2013; Southampton City Art Gallery 2013-14; The Muriel Barker Gallery, Grimsby and the New Hall College Art Collection, Cambridge, 2015. She is a Reader in Creative Writing at Sheffield Hallam University.

 

Marine bleu

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Fichiers supplémentaires

Publié-e

2019-04-27

Numéro

Vol. 10 No. 1 (2019): Toward an Ecopoetics of Randomness and Design

Rubrique

Creative Writing and Arts

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