Literature Review

How Do Artists Perceive Sense Of Place In Their Work?

Introduction

My aim of this literature review is to analyse how artists express the notion of sense of place in their work with a view to inspire and challenge my own practice. I will explain how this concept sits with my narrative as well as offer a definition to the meaning of sense of place and why it is important to all of us in society. Finally, I will explore current interpretation within a variety of mediums and offer suggestions for further research.

Background

“From a geological fault comes an underground world where the imprint of a small clog tells its story” – abstract from Lilian Cooksey’s Poem: Coniston Miners

The Cumbrian landscape was formed after long periods of igneous intrusions and erosion, which led to our present-day environment. The rocks in the south of the Furness Peninsula include sandstone, a rock which was judged to be weak and erodible when used for construction, Cowgill (2014), slate, which is rock found along major fault lines that has been modified by heat and pressure and red sandstone, which was formed under desert conditions and shows oxidation. A comprehensive geology list of the area can be found in Appendix 1, Kenworthy (1955). The Lake District is many peoples initial view of Cumbria however the county has many hidden treasures and remains of once prosperous industries, Bennett & Bennett (1993).

From the Neolithic age, rock was worked by man as quarrying was undertaken in order to meet local demand, Bennett & Bennett (1993). Large deposits of iron ore were found on the south coast of Cumbria and its exploration was instrumental in Barrow-in-Furness growing from a little village to our present industrial town. It also took full advantage of its natural coastal position and became a prime location for the shipbuilding industry. This thread is common in Cumbria where an abundance of water and accessibility of raw materials has led to the spread of industries.

Barrow in Furness is the place where I was born, brought up in and the town I am planning to live in the foreseeable future. Furness is a special area for me and holds many happy memories, it’s my sense of place, my security blanket and my home. By using its local raw materials, the town grew, and it is this inspiration that will inform my research project and literature review. I, as a ceramic artist will use local raw materials to develop my signature style of work.

What Do I Mean By Sense Of Place

The term place has many meanings from ranking in a list, dwellings, geographic space, position in a social order to chronological ordering. Agnew & Duncan (1989) suggest that within the field of social science the geographical meaning has been overshadowed by the preoccupation of classes and status groups. However, in the last few years there has been a desire and drive to bring these fields together and consider the relationships between them. They further argue that the concept of place has been divided into the location or space, the locale (the everyday social interaction) and the sense of place, the symbolic identification from living in it through emotional attachment. Such aspects have, traditionally, not been complementary but competing definitions of place.

Due to globalisation and the emergence of a world economy, Spretnak (1997) highlights the irrelevance of the sense of place against a backdrop of technological innovation, economic growth and political authority. Place was viewed as a constraint that stemmed progression as it tied people to a community and to tradition. As such we may have lost some of our identity, local context, our connectedness and culture. This is a different view to other academics who suggest that globalisation has given a wider range of political structures rather than eroded localisation, Agnew (2002).

There has been a resurgence of interest in place and our sense of belonging, Spretnak (1997) suggests as illustrated by the independence wars and civil unrest. This view is supported by Paasi (2003) who acknowledges that people’s awareness of globalisation is helping to generate energy to strengthen old boundaries and to create new ones. Indigenous groups are trying to reclaim their ancient nations and claims to sovereignty, the establishment of community based alternatives as a direct response to the dominance of the global economy and the authorisation by the World Bank of some loans to small scale community based development projects are just a few examples.

Why Is Our Sense Of Place So Important

Due to technological advances, it is said we are connected as never before and yet in this “global village” sometimes it may feel less connected. Although I would agree that technology can help connect people over large distances, more people today are suffering mental health issues, particular the younger generation. In the older age bracket people can go days without seeing or speaking to another person, there are fears over job losses for our workforce and disengagement from the political arena for many. Our leisure time can often be spent at a second job or in front of the telly.

Spretnak (1997) states that “our way of thinking is grounded in our bodily experiences in nature and society” and that “all human thought, social or individual, is also situated in the processes of body, nature and place”. He suggests that nowadays we are living in more isolation. When I was a child, we would go around to our friends to play and socialise however children are now more likely to remain at home and interact with their friends online and be “friends” with people they may not personally know. His evaluation is that “it seems therefore that modern attitudes have displaced traditional ways of thinking about what is important in life”.

The solution to this he argues would be to regain the awareness of our context. Our earliest and fondest memories as children are often the people around us and the places we frequently visited, i.e. grandparents’ house, holiday destinations or a secret den with our friends. We hold these places in our thoughts throughout our life, presence of place first observed with fascination through a child’s eyes. Despite Agnew’s (2002) assertion of exaggeration, Spretnak’s analysis is that the pendulum of modern authoritarianism is heading towards liberty for the individual and a perceived real connectedness. The false homogeneity by governments and societies is thus facing adversary from the negated distinctiveness of self, ethnic group and nation.

Sense Of Place And Interdisciplinary Inquiry

Art is self-expression and how artists interpret the sense of place concept is a personal one, varying with each artist and discipline. I have examined the work of a series of artists to illustrate this point. Examples of their work can be seen in Appendix 2.

Colonials were familiar with bright bold colours however new shades were needed for artists capturing the Australian landscape, Bowers (2004). Newcomers, unlike Aboriginal inhabitants, have had to construct their personal connections to the land through experiences and observation as they do not have any ancient connection. He discusses how sense of place is being interpreted by three ceramic artists each of them, referencing the country’s environment. Robin Best is inspired by marine ecosystems whose work conveys uneasiness about nature that displays the narratives of geological time. Memories from childhood reflect Neville French’s work evoking quietness and transcendence of glowing skies and rolling hills in the landscape. Expressing contrast between urban and inland Australia, Merran Esson’s pierced vessels promote an exploration of polarisations with belonging/exclusion and interior/exterior. Within other mediums, Scottish painter Joan Eardley also uses urban/rural dimensions in her work to express sense of place.

Cornish landscapes were the inspiration for many of Barbara Hepworth’s sculptures particularly the closeness of land and sea, Davies & Knipe (1984). The form, Pelagos is said to represent the tension she felt between herself and the sea, wind and hills. Natural objects like pebbles, rocks, shells and driftwood provided Henry Moore with inspiration for organic forms. In his later work, pieces characterised by endurance and continuity, depicted his sense of England in the aftermath of World War Two.

The Sculpture Project at Grizedale Forest, Cumbria, exhibits every six-months a visiting sculptor’s reaction to the forest. David Nash created The Wooden Waterway to acknowledge the relationship of the forest and those who work in it, back in 1978. It has lasted longer than expected due to walkers regularly repairing it, Davies & Knipe (1984). Conservation of Andy Goldsworthy’s Taking A Wall For A Walk has made it an iconic spectacle in the forest. It’s a testament to both artists that others have felt compelled to preserve their work, after the artists have left the area, for future generations to enjoy.

As well as landscape, a sense of place can embody social meaning and a sense of locational identity, Bodenham (2018). He cites the practice of Atelier NL reacting to feelings of culture loss who respond in both practice-led research and socially engaged practice. Their Polderceramics Project was of interest to me as they used local raw materials to create locally sourced tableware. Each piece was made from the earth from farms where vegetables had grown and were now being served in vessels made from the same soil. For example, a milk jug was made from the mud underneath the grass that the cows ate.

Linking in with architecture, buildings become a symbol of a sense of place due to the use and range of materials (eg Lakeland stone), how specialised regional skills are applied (eg thatched roofs) and the region's cultural phenomena (eg white and blue buildings in Greece). The buildings and the functional pottery within the buildings share their story about time and location. On the Hebridean Island of Lewis women would make storage and cooking pots called craggans, a tradition which would later develop into Barvas Ware. Wilson (2008) suggests that these pots were linked to Scandinavia whose people occupied the isles in the 13th/14th centuries. Having been influenced by china tea sets and looking at ways to diversify to supplement their income, they developed their own rustic versions with a distinctive whiteish coating, glazing the low fired clay with milk to make them less porous, Mitchell (1880).

Sacred traditions and spiritual pursuits are captured by artists interpretation of sense of place, Smithy (2019). Alex O’Neal’s paintings portray shrines and monuments that refer to places that have informed him as a child coming of age in deep south America. Using symbols Roy Kortick’s ceramic tiles are inspired by religious monuments and mythology whilst Amelia Bauer uses similar inspiration and history to portray the natural world. Wijnando Deroo’s photos show a searching quality to interior places while Katharine Kreisher searches for her sense of self in the world through reworking of memories and rituals.

Interestingly Azolina MaMncube Ngema explores Zulu politics and history in her blackened pots honouring Zulu ancestral spirits but creates different styles and complexities of work for different audiences, Perrill (2008), based on what they can afford to pay. Having burnished her traditional round drinking pots, she then polishes her work depending on who is buying the piece eg shoe polish is used for locals, candle wax for white people.

Conclusion

I have found it invaluable to review how sense of place has been embedded within other fields of expression and the vast interpretations it has uncovered which will start to influence my own work. The concept feels important to our society and to individuals living in this global village as we try to reconnect with each other and share our identity, which gives validity to my own research project. From the artists point of view, I can see how empowering it is to share something so personal with others.

Although I have looked at how artists interpret sense of place, inspired by Zulu artists above, it would be interesting to do further research on how the concept impacts on the buyer of art. As artists we want to share our passion for ceramics but those making a living from it need to sell their work and therefore understanding the buying decisions of our customers will be vital to our success. It will help with marketing strategies as well as how and where we exhibit and sell our pieces.

Kathryn Stevens

MA Ceramics Degree

2050 words

References

Agnew JA (2002) Place & Politics In Modern Italy. Chicago

Agnew JA & Duncan JS (1989) The Power Of Place: Bringing Together Geographical And Sociological Imaginations. Boston: Unwin Hyman Publishers

Bennett J & Bennett J (1993) A Guide To The Industrial Archaeology Of Cumbria. Association For Industrial Archaeology Cumbria Industrial History Society

Bodenham P (2018) Ceramics And Locational Identity: Investigating The Symbolism Of Material Culture In Relation To A Sense Of Place. Craft Research, Sept 2018, Vol 9 Issue 2, p287 -310

Bowers S (2004) Australian Contemporary: A Survey Of A Sense Of Place. Ceramics: Art & Perception, 2004, Issue 58, p17-24

Cowgill J (2014) Rocks And Buildings Of The Lake District – How Geology Has Determined The Nature Of Lake District Traditional Buildings

Davies P & Knipe T (1984) A Sense Of Place: Sculpture In Landscape. Sunderland

Kenworthy J (1955) A Geographical Description Of The Furness District of Lancashire. BA Geography Dissertation, Oxford University

Mitchell Dr A (1880) The Past In The Present: What Is Civilization? Edinburgh

Paasi A (2003) Region And Place: Regional Identity In Question. Progress In Human Geography 27, 4, p 475-485

Perrill E (2008) Indigenous Knowledge Systems And Zulu Ceramic Arts: Azolina MaMncube Ngema, One Woman’s Story. Interpreting Ceramics, Issue 10. Accessed 06/12/2019. http://interpretingceramics.com/issue010/articles/01.htm

Smithy (2019) Personal Perspectives: Five Artists Sense Of Place, Companion Exhibition, Cooperstown, New York. Accessed 06/12/2019. https://www.glimmerglassfilmdays.org/new-gallery-56

Spretnak C (1997) The Resurgence Of The Real: Body, Nature And Place In A Hypermodern World. New York: Addison-Wesley Publishers

Wilson K (2008) Barvas Ware: Women Potters f Barvas, Isle Of Lewis, Outer Hebrides. Interpreting Ceramics, Issue 10. Accessed 06/12/2019.

http://interpretingceramics.com/issue010/articles/02.htm

Appendix 1

The Geology Landscape of the Furness Peninsula

Blown Sand

Alluvium

Rhaetic Keuper Marl

Bunter

Carboniferous Limestone (including Shale)

Basalts, Andesites and Tuffs

Coniston Limestone

Upper Silurian

St Bees Sandstone

Kirksanton Beds

Magnesium Limestone

Appendix 2

Interpretations Of Sense Of Place

Robin Best

Merran Esson

Neville French

Atelier NL

Barbara Hepworth

Henry Moore

Lakeland Stone Building

White & Blue Building Greece

Thatched Cottage

Barvas Ware

Craggans

David Nash

Andy Goldsworthy

Roy Kortick

Joan Eardley

Amelia Bauer

Alex O’Neal

Katharine Kreisher

Wijnanda Deroo

Azolina MaMncube Ngema