After finishing the work – and immediately being separated from it – I came to remember it as a representational piece, depicting things through the relief carving of a limewood board.
Refamiliarising myself with it nearly two years later, I had forgotten the sculptural feel of some of the areas of the carving and the rhythms inherent in those memories.
It became autobiographical and the marks were immediately there to see.
The weeks had seen a portrait sitting take place with Herefordshire countryman Jeff Glyn Jones, and this too became a part of the block.
More ambiguous areas brought back immediate memories of the trapped hedgehog in the gravel area around the bottom of the cottage, probably unrecognisable to anyone but the artist. I wonder what those forms relate to others, if any?
The poplars took on simplified form, and a fine stallion on the Estate was recorded. This also referenced a 1932 Hilaire Belloc song The Winged Horse, probably an allegory of his life and something which had been occupying my interest at the time.
The pigs in the woodland edge also crept in.
I was shown an email I had sent about the piece at the time:
the middle bit… the most muddled bit I think – there was a treehouse in the garden, and to the right of that, the end products of elsewhere started to come into a coppice stump of sorts. I knocked it back a good deal to try and separate the image a bit, but that’s the only really ambiguous bit, I think. Yes, I’m leaving it exactly as is – indeed I’ve left it there. Much less considered than the other but far more immediate.
Journal (2015) Limewood 200cm – private collection