Originally published 10 April 2021 on Somerset Art Works’ website
Fifty works by SAW Members feature in a new exhibition at Black Swan Arts in Frome, celebrating the book of the same name by Edward Thomas.
In Pursuit of Spring sees Thomas setting out from London, westwards by bike to find spring, but it also marks another journey; his transition from critic and biographer to poet. Thomas produced all of his poetry in the last three years of his life, which was tragically cut short by his death in 1917 at the Battle of Arras in World War I.
The launch of the exhibition has been timed to coincide with the weekend on which Thomas finished his journey to find spring, on 28 March 1913, with an online catalogue featuring artwork, artists’ statements and quotes from the book, creating a rich and diverse response by Somerset artists to the themes expressed as well as the places on the Somerset leg of his journey. The exhibition not only explores ideas around hope, renewal and reflection, but also reveals some of the preoccupations of Somerset Art Works members as they have made work over a difficult winter, looking for signs of change and a collective reassurance as we emerge from the third national lockdown. The exhibition will run until the end of June, allowing for a phased return of the shop and exhibition spaces at Black Swan Arts in line with the Government Roadmap through April and May.
For those unfamiliar with the book, Edward Thomas sets out from his parents’ home in Balham, by bicycle and heads west, entering the county near Tellisford and tracing a route through Radstock, Shepton Mallet, Wells, Glastonbury, the Polden Hills, Bridgwater and Kilve to meet Spring, and Winter’s Grave, on Cothelstone Hill in the Quantocks. It’s a unique account, delicately observed in places, of a rural roadtrip with World War I a few months away, but the writing also produces some poignant observations which are ripe for artistic interpretation.
This is an unsettling time for us all and planning an open call exhibition has it’s own challenges, so why put on an exhibition like this during a pandemic?
The plans for the show were seeded in an idea for a Somerset Art Works Member’s winter exhibition at Black Swan Arts, for a themed exhibition responding to Thomas Hardy’s poem ‘The Darkling Thrush’. As with everything in 2020, this had to be parked but the idea of a Somerset Art Works members’ exhibition, responding to a literary theme or prompt persisted. In Pursuit of Spring provides many happy coincidences of timing and theming with Thomas’ book; a journey with an undetermined end point, emergence from difficulty and a moment where things are turning.
As a visual arts organisation not attached to a venue, Somerset Art Works often collaborate with regional arts centres to create high quality exhibition opportunities, often as part of it’s biennial Festival event. Covid-19 has had an impact on that approach, although showcase opportunities for members have always been part of the membership offer, but the importance to unite and provide additional opportunities at this time is apparent to many.
The exhibition has unique benefits for those involved. Artists have the opportunity to get their work seen online, with a specially-created online catalogue as well as online shop and the promise of a physical exhibition, as restrictions hopefully lift. The timing is apt as it’s a show which has only been planned since the New Year so the idea of re-emergence feels fresh and vital. Black Swan Arts have the opportunity to see if an online offer can work as part of a future exhibition programme. There are other benefits too- better digital resources mean that the work is more accessible, and more sustainable as people can experience the work without the need to travel. Having said that, many of us are craving a return to seeing the work up close so the flexibility to provide an exhibition which can work online but also ‘live’ when the time allows is really welcome.
Curating and planning has been facilitated by the team at Black Swan Arts; Emma Warren, David Daniels, Hans Borgonjon and Rosie Hart, and has been sensitively curated by Emma Tuck from the gallery’s programming group. Black Swan Arts were successful in applying to the Culture Recovery Fund last autumn, receiving a lifeline grant from Arts Council England which has helped the organisation transition to a viable and sustainable operating model this spring. The exhibition is an ambitious-yet-cautious, absorbing and thoroughly engaging return for Black Swan Art’s exhibition programme as they plan their route out of lockdown and the challenges of the pandemic. Exploratory conversations and subsequent planning have been facilitated by Zoom meetings- frequent catchups were held throughout January and February, with efficient agendas and clear actions speeding up the process and ensuring swift decision making! A callout was planned, with artists asked to respond to the book and submit work within a five-week period. The results are impressive; diverse and personal responses to the timeframe of Thomas’ journey mirrored by a contemporary response to our own unique and challenging experience.
In terms of the physical exhibition, artwork occupies two spaces at Black Swan Arts- the former shop and downstairs gallery, and the Round Tower, a beautiful space which is a former wool-drying store. As with the online catalogue, the display of work is punctuated with quotes from Thomas’ book. The figure of a traveller looms throughout the show. Sally Muir’s work consists of an interesting composite monoprint and drypoint work, responding to a couple of Thomas’ own photographs that feature in the Little Toller edition of the book, which has been used to plan and research the exhibition. Although David Brayne’s cyclist is clearly shown, he encounters a ‘pale mist at an uncertain distance’ and as David says, Thomas seemed to enjoy the fleeting and often skewed impressions he experienced. This is a journey full of particular incidents and observations, but with a fluid sense of steady movement and a moment passing.
Some of the takes are personal and moving; Jenny Mellings and Benedict Mackay have both previously undertaken Thomas’ journey, also by bike, with Benedict producing a series of walks along the route. Hans Borgonjon and Pauline Lerry talk about their families’ accounts of World War I. Much of the work is a direct response to now, with some artists creating new work made under lockdown such as Jenny Graham and Matilda Morton who both use mud and local materials in their work.
There’s a good variety of mediums represented too with stained glass, collage, poetry, photography, printmaking, ceramics and sculpture as well as abstract and figurative responses. A display of contributing artists’ sketchbooks provides an insight into how some of the work was conceived.
Although Thomas passed through towns including Radstock, Shepton Mallet, Wells, Street, Glastonbury and Bridgwater, the built environment hardly features in artists’ responses although Thomas’ own photos do record places clearly identifiable as well as those unknown. They provide a fascinating insight into his visual and poetic eye and a record of the county just over a century ago.
Splashes of colour provide highlights amongst the restrained palette of much of the work, moods shift as artwork captures the hope which dares after the subdued winter we’ve just passed through. Contours are mapped and puddles splashed in work that acknowledges a darker than normal winter and all that this spring might now offer.
The first part of the exhibition and shop opens on 16 April with a full launch and events planned in May in line with the Government Roadmap. If you cannot get to Frome, or just want to experience the exhibition from home, the catalogue can be viewed on the Black Swan Arts and Somerset Art Works’ websites where you can also see the artwork available to purchase in an online shop.
With thanks to Black Swan Arts, Somerset Art Works and Little Toller Books
Words and images by Paul Newman
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