I've realised that I need to sign up for emails to keep up with what's happening to a greater extent - if I read them, of course, which is partly why I previously haven't bothered very much. I get impatient and delete them in droves, unopened, though I'm trying to train myself not to do that. With increased connection in my mind I resubscribed to Warrington Museum and Art Gallery's one and the first thing that came up was a talk by Tracy Hill, connected to her exhibition there, Haecceity (the word described on google as being "that property or quality of a thing by virtue of which it is unique or describable as ‘this (one)’" - its thisness). As I drove west on the first sunny and warm day of the year - and I mean wall to wall sunshine and positively summery - I knew I should really be mowing (suddenly the grass is loooong!) or starting on the destruction of the rotting shed, but I am so glad I didn't give in to garden duties. I went because the pictures of work at the exhibition were like her prints that I had seen at WYPW at the end of last year, and I was keen to see more - and know more. The talk the artist gave rooted the work in her practice and gave it so much more depth than I could possibly have culled from the noticeboard. Her work could loosely be described as landscape art, but that on its own would tell you nothing about it - it derives from landscape (in this case Mosses, of the local geographical kind) and depicts landscape, but to recognise it immediately as landscape would take considerably more imagination than I have.
Gathering information from the board at the exhibition, her talk and her website I discovered that, more specifically, her practice is concerned with the historical legacy of post-industrial landscapes and ideas around place. She uses digital mapping technology to scan her chosen area of landscape, then manipulates the visual results. For Haecceity the results of this process were projected on to the black-painted walls and she produced her drawings (in limestone) starting from those projections. She is passionate about the Mosses, their slow destruction by drainage and their lack of consideration because they are - on initial glance - unattractive edgelands with little to recommend them. The works produced from this process - and her commitment to the landscapes behind them - are beautifully textural and airy, and inevitably I see them completely differently now that I know the back story. My only contact with this type of landscape has been a couple of brief visits to Red Moss near Bolton, as part of a son's geography project, and as we felt like borderline trespassers both times I didn't pay much attention except to a great flock of fieldfares and redwings making their way across the land, but now I'd like to find out more about this kind of terrain.
The artist has other works on show too - black on white instead of white on black, screenprinted, similar in style but made using conductive or capacitive ink. This means - in this case - that the viewer can press on the black areas of the print and trigger a recording from the Mosses. Four prints, four recordings, capable of being played individually or together if you wander round pressing them all in turn. I was a little sceptical at first - a gimmicky thing, I assumed - but it added a real sense of place, grounded the whole thing, and I was a total convert. I was particularly hooked by the noise of a plane passing overhead, which more than anything else put me right in the middle of this flat, bleak, soggy place and... just left me there. Fascinating talk, great exhibition, worth a couple of hours of anybody's time. Brilliant.