September 18th – November 3rd 2019
HinterWater brings together poet Nick Allen from West Yorkshire investigating the concept of ‘confluence’, Myles Linley from York who creates visceral charcoal drawings and paintings in the tradition of the 19th century technique perfected by Seurat and Redon except with current content; Adele Howitt, Ceramic & Public Realm Artist who investigates the concept of living landscape, post – industrial sites, hedgerows, identity; Wai Wan, sound artist, researcher and music producer who investigates conceits of nostalgia, geography and identity, environment and landscape.
The collaboration will be a learning experience for the artists with methodologies discussed and interwoven. Philosophies of landscape and / or heritage will be tested and responded to; gaining a deeper understand of ‘message’ within the broader context of the work and on an individual basis. HinterWater suggests the geography, which poses an interesting question concerning globalisation and the environment within an isolated part of the UK. Our intention is to develop new work without boundaries that will explore the Humber environment and its history within the context of change. We aim to create a fresh history and a fresh experience of the post – industrial landscape with this new collaboration of mixing sound, drawing, clay, and poetry.
The man-made confluence of the Aire & Calder Navigation linking the Don Navigation and the Ouse and Humber in Yorkshire, was the inspiration to begin our collaboration. At the height of the south Yorkshire pottery industry from the 1700s – 1890s these manmade waterways brought the world famous Rockingham, Kilnhurst, and Mexborough Potteries, etc., to transport precious cargo along these waterways. Utilising an important route by barge and ‘Tom Puddings’ to export the goods to the world from the ports of Goole and Hull, the divergent rivers are still difficult to navigate, and experienced sailors know their dangers.
The landscape now has a melancholy image of its past, with battered fencing, rusty cranes, triumphed by Budlea’s, Rosebay Willowherb, Meadow Grass, and Thistle. Sounds of redundant metal wavering in the weather fronts and the horizon crossing the flat lands are inspiration to investigate its’ geography.
We want to capture this moment of industrial past where the port was an interesting land / sea industry and note the wave of contemporary globalisation which has led to the next environmental phase. Now nature is reclaiming it’s waterway and flatlands. At low tides, the clay structures stand proud before the tidal surge ebbs and flows again. New drawings, sound art, poetry, and pottery will be mixed and created through experiencing and investigating this landscape together.
The performance combines the live sound–scape created from field recordings by Wai Wan and channelled through modular synthesis, with poetry readings from Nick Allen within the installation.