Nicholas Hedges

Art, Writing and Research

Two Worlds

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I was thinking about the post World War I landscape and how the years after 1918 saw a surge in spiritualism with grieving parents, wives and children seeking solace in the idea of their loved ones’ continued existence on ‘the other side’. There is, I think, a link with the Pastoral landscapes I’ve been thinking about of late, a place which seems best expressed by the poet Rilke:

And gently she guides him through the vast Keening landscape, shows him temple columns, ruins of castles from which the Keening princes Once wisely governed the land. She shows him the towering trees of tears, the fields of melancholy in bloom (the living know this only in gentle leaf).

In tandem with this boom was the beginning of battlefield tours; tourists would visit the western front when the guns had hardly stopped firing. And I thought how interesting it was that there were these two different ways of looking for those who had gone: one, in a landscape of the imagination, the other, in the physical world; a pastoral plane and a place torn apart by war. And in many respects this reflects my work; the real world which we inhabit today and the plane of the past – a place in which we search for the dead in order that we might empathise with them.

Proxies

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Following on from my last entry I’ve been wondering whether an empathetic link between ourselves and those who fought and died in the First World War can – based on Paul Fussel’s quote regarding “moments of pastoral” (“if the opposite of war is peace, the opposite of experiencing moments of war is proposing moments of pastoral”) – be found in the idea of the garden.

Can the garden – that domestic, pastoral space – become a space of memory and, therefore, experience shared with those who died in the violent landscape of the Western Front?

My grandparents’ garden in Oxford in the late 1970s
One of the main difficulties faced in trying to empathise with individuals who lived and died before we were born is that to think them alive we must think too of our own non-existence (and if we’re imagining our own non-existence we cannot truly empathise). Furthermore, experiences of people such as victims of the Holocaust or World War 1 soldiers are so far beyond our own, it’s impossible, even with a keen imagination, to bridge that divide.

We therefore need a proxy, and that proxy is place. Being in a place where an historic event has taken place can help us empathise, in that we can do so through a shared experience of that particular place or landscape.

This was certainly the case for me at Auschwitz where it was through observing the trees that I could best empathise with the people who were there, even though their experiences were so unimaginably different.

Trees at Birkenau

(One might imagine that a consideration of non-existence might lead to empathy through a shared consideration of death, but as Jean Amery wrote:”Dying was omnipresent, death vanished from sight.”

Non-existence bears only a passing resemblance to death and non whatsoever to dying.)

With soldiers of the First World War it’s also impossible for us to empathise with what they experienced. We can empathise through being in the landscape of Ypres or The Somme – i.e. we can empathise through a shared experience of presentness, of, in effect, being alive – but the fact the landscape looks so different today makes this especially hard.

Mouse Trap Farm c1915 – a place near where Jonah Rogers fell

Paul Fussel’s quote however helps us begin to bridge that divide: the concept of the garden, that pastoral space on a domestic scale, becomes the proxy – a space which we in the present could be said to have shared with many of those who fought in the war.

My Grandparent’s garden is as much a part of the past as the garden in which Jonah (above) is sitting. It’s almost as if the past becomes a single remembered landscape – a garden in which we can find those who lived and died long before we were born.

Me as a small boy with my mum, nan, aunt and great-grandmother (born in 1878)

Landscape Therapy

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It isn’t uncommon, when faced with an issue or issues in one’s life, to seek help from a psychotherapist or counsellor. I have recently done just that and found it a rewarding experience. I spoke at length, the therapist listened intently, then aimed a well-honed question. In an instant the angle from which I’d been viewing my problem shifted; there wasn’t an answer as such, but an increased sense of clarity. It was almost like walking lost through a thicket, meeting a guide and being taken to hitherto unknown vantage points from which the landscape could be seen more clearly. By the end of the session, I not only had a better understanding – and appreciation – of the ‘terrain’ through which I’d come, but I could see the path along which I’d walked, with all its twists and many wrong turns.

IMG_1243.jpg

Traumatic landscapes have always interested me and my work over the last six or seven years has looked at how we – through art – can empathise with those who suffered in such environments, for example in the Holocaust or World War I. These landscapes – and I’m thinking in particular of battlefield sites on the Western Front – have suffered incredible trauma and as we walk through them, the relationship between landscape and walker becomes like that between patient and therapist.

In those moments of clarity I mentioned before, it was as if my therapist and I had for second become one and I have often experienced the same thing when walking, where for a second, I become one with the landscape and vice-versa. A turn of the head, a shift in viewpoint becomes the well honed question, to which the landscape responds with an answer; a depth is revealed, empathy established with some unknown person in the past. Often its fleeting, but one’s understanding of that particular place is enhanced beyond measure.

The landscape knows itself a little better. So does the walker.

“For the things of this world are their stories, identified not by fixed attributes but by their paths of movement in an unfolding field of relations. Each is the focus of ongoing activity. Thus in the storied world… things do not exist, they occur.” Tim Ingold, Being Alive: Essays on Movement, Knowledge and Description.

WWI Portraits: Inside, Outside

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Below are two portraits, each of a soldier about to leave home to fight in what we now know as the Great War.

I’m interested in these two particular pictures because they reveal how differences in their immediate surroundings affect out ability to empathise with them as individuals.

In the first picture, taken in a studio, the soldier is pictured in front of a painted backdrop. In this idealised landscape, the leaves of the trees are out,  the flowers are always in bloom, and behind an incongruous chair a river flows nowhere beneath a bridge. In the second picture the trees are bare, there are no flowers and a path leads to the rear of what appears to be a garden.

In the first picture, the soldier could almost be an actor standing on a stage. In the second, the soldier is – one assumes – at home, although in a sense, he too is playing a part. His however is a picture of departure; an image pregnant with the weight of all we know was about to befall him and thousands like him. The image of the soldier standing in the studio, tells me only about that time between the shutter’s opening and closing. There is no sense of an entrance or indeed an exit – whereas with the second image, one can imagine the soldier standing in place, then leaving once the picture was taken.

I can empathise with the second soldier much more readily because I know what it’s like to stand in a garden in winter. Somehow, the fact the trees are bare, along with the hedge running the length of the garden helps me make a connection. The branches and twigs are stark, vivid, real. With the first soldier, the backdrop is a fantasy and connecting with him is like trying to connect with someone else’s dream.

The main difference between the image above and those below is that in all those below I can feel the scene I’m looking at. I can almost hear it.

It was, I think, taken as the sun came up in the morning or as it set in the late afternoon…

You can almost feel the dampness of the grass and smell the earth…

Looking at it, I’m reminded of a photograph from my own childhood (below), taken in the winter of 1984.

Sukey and Her Ball
The bare cherry tree at the bottom of the garden echoes the tree in the one above (as does, in some respects, the path). I can clearly remember the dog (Sukey) and the places beyond the limits of the photograph; the image – and my memory – opens out like a flower. 
The same is true in part of the image of the soldier standing in his own garden; his world opens out, not in terms of the surroundings beyond the limits of the picture (the gardens of his neighbours for example) but rather the history of the war about to be played out. I know what happened on an historical level, but now I can imagine this war from a different angle; from that of this small patch of ground in an undisclosed part of the UK; from the perspective of this particular soldier in the cold, milky light of a winter’s morning or afternoon.
I look at his image not only with my eyes but with my body – with an embodied imagination. I use my own memories to ‘colour in’ this image taken almost a hundred years ago, not in terms of green for grass, blue for sky etc. but in terms of the cold, the sharpness of the temperature. With the the soldier in the studio, there is very little to support any sense of an empathetic connection. His image is, a sense, just that – an image; one no different to the painted backdrop in front of which he stands. 

The Material World

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“What, then, is this material world? Of what does it consist?”

So asks Tim Ingold, in his book, Being Alive, Essays on Movement, Knowledge and Description. It seems an obvious question, or rather, a question for which there is an obvious answer, but in terms of the field Material Culture it would seem to be not so straightforward. Citing a number of works on the subject, Ingold writes how “their engagements, for the most part, are not with the tangible stuff of craftsmen and manufacturers but with the abstract ruminations of philosophers and theorists.” Furthermore, “literature in anthropology and archaeology that deals explicitly with the subjects of materiality and material culture seems to have hardly anything to say about materials.” Ingold then goes on to cite an inventory of materials one might expect to see when dealing with this subject, as can be found in a book by Henry Hodges called Artefacts.

pottery
glazes
glass and enamels
copper and copper alloys
iron and steel
gold, silver, lead and mercury
stone
wood
fibres and threads
textiles and baskets
hides and leather
antler, bone, horn, ivory
dyes, pigments and paints
adhesives

In an array of books on his bookshelf, all dealing in some form with the subject of material culture, Ingold states that one looks in vain for any “comprehensible explanation of what ‘materiality’ actually means, or for any account of materials and their properties.” 

To cut a long story short, Ingold goes on to question what the material world actually is – thus the question at the top: “What, then, is this material world? Of what does it consist?”

He writes:

“Christopher Gosden suggests, we could divide it into two broad components: landscape and artefacts. Thus it seems that we have human minds on the one hand, and a material world of landscape and artefacts on the other. That, you might think, should cover just about everything. But does it? Consider, for a moment, what is left out. Starting with landscape, does this include the sky? Where do we put the sun, the moon and the stars? We can reach for the stars but cannot touch them: are they, then, material realities with which humans can make contact, or do they exist only for us in the mind? is the moon part of the material world for terrestrial travellers, or only for cosmonauts who touch down on the lunar landscape? How about sunlight? Life depends on it. But if sunlight were a constituent of the material world, then we would have to admit not only that the diurnal landscape differs materially from the nocturnal one, but also that the shadow of a landscape feature, such as a rock or tree, is as much a part of the material world as the feature itself. For creatures that live in the shade, it does indeed make a difference! What, then, of the air? When you breathe, or feel the wind on your face, are you engaging with the material world? When the fog descends, and everything around you looks dim and mysterious, has the material world changed, or are you just seeing the same world differently? Does rain belong to the material world, or only the puddles that it leaves in ditches and pot-holes? Does falling snow join the material world only once it settles on the ground? As engineers and builders know all too well, rain and frost can break up roads and buildings. How then can we claim that roads and buildings are part of the material world, if rain and frost are not? And where would we place fire and smoke, molten lava and volcanic ash, not to mention liquids of all kinds from ink to running water? … If, moreover, they are part of the material world, then the same must be true of my own body. So where does this fit in? If I and my body are one and the same, and if my body indeed partakes of the material world, then how can the body-that-I-am engage with that world?”

When I read this, I thought about the dig I went on last year at Bartlemas Chapel in Oxford, when I found a small but rather beautiful piece of mediaeval (I think) pottery.

Bartlemas Chapel Excavation

There are many ways in which one could interpret this find, but what I thought about was how this was like a missing piece of the present, and how, before it was lost to the soil, it had existed in a mediaeval present that was (save for the obvious differences) just like ours today. There was the wind, there were trees and flowers, the clouds, the sky and of course the sun, by whose light the beautiful glaze could be seen again, just as it had been by someone living hundreds of years ago. Reading what Tim Ingold has written about materiality and material culture above therefore made perfect sense.

And as regards my work with empathy and the importance in this respect of materiality and material culture, the idea of the body as part of the material world was also of interest. We are not set outside the material world but are an integral part – therefore it’s easier to engage empathetically with an individual through the objects those individuals once used. Empathy is as I’ve said before an augmented discourse between bodily experience and knowledge. Knowledge as Ingold writes derives through movement: “It is by moving that we know, and it is by moving, too, that we describe.” When I discovered the piece of pottery (through moving), I uncovered not only the object itself, but the material world by which it was once surrounded, including those people who once used it, or the person who even made it.

Projections

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Having completed my last stitching project based on trench maps from World War I, I decided to try and superimpose some postcard portraits onto them, of soldiers headed for the Front. In the first (below) I used the photograph of a family which I ‘projected’ onto the map as shown hanging on a washing line.


What strikes me about this image as a whole, is the contrast between now and then as it exists in the contrast between the black and white of the photograph and the colour of the day. This colour, and the sense of the nowness of the present, helps strengthen my own empathetic feelings towards those long since lost – and all but forgotten – to history.

The fact the map hangs on a line like an item of washing, also reinforces the sense of domesticity which is a theme running through some of the postcard portraits, many of which were taken in the backyards of soldiers (or their parents), where evidence of the everydayness of domestic life is in abundance.

One such photograph shows a young couple who’ve recently been married. They stand, unsure of what the future brings, both wearing a look full of apprehension, staring into the lens of the camera, as if this ‘clock for seeing’ as Barthes once referred to them, really could show them the future.

The image onto which their portrait has been projected shows the reverse side of the map, where the threads used to stitch the past together hang like the cut threads of countless lives.

Empathy and Entropy

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On Saturday, as part of the East Oxford Archaeology Project, I took part in a sorting session, sifting through bags of soil samples which had been filtered, sieved and then divided up according to the size of the fragments they contained. I was given 4 bags of the larger size fragments which in the main were between 4mm and 10mm in size with some bits (mainly stones) larger than this.

The idea was to sort through the bags, using tweezers to pick out various things – such as bone fragments – which one would then place into dishes according to what they were (other catergories included, iron, charcoal, mortar, organic matter, glass and flint).

My best finds were a tiny, well-preserved seed pod, some splinters of glass and a human tooth but it was the whole process which interested me; the very fact that countless numbers of lives lived so very long ago had been reduced to these tiny, inconqequential fragments which, bit by bit, I sorted through and placed into dishes ready for further investigation. At the end of the session, having sifted through 4 large bags, I was left with a few tiny fragments, and yet, from these fragments, one can – with the aid of the imagination – find oneself back in the world to which they once belonged.

Entropy, as defined (one of several definitions) by dictionary.com is “a measure of the loss of information in a transmitted signal or message” and as I sifted through my box of fragments, I began to see the distinction between the past and present as one which is essentially entropic. I always try to remember how the past was once now, but in fact there is only now, a span of time which we might divide, not into days or nights, years or centuries, but into varying degrees of entropy.

Belzec Video: Snow 3

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What interests me about the video footage from the archaeological dig at Belzec (1999) is the sense of colour and movement. Often, when one is researching the Holocaust and sites like Belzec, most of the imagery one encounters is black and white and often still (although of course there is a great deal of moving footage as well).

As I’ve said, it’s difficult, given the quality of the footage, to make anything that would resemble a narrative of the investigation carried out there. So taking the idea of colour and movement as something I wanted to work with, I decided to process the video and to use a mosaic filter to reduce the image to pure forms.

When I was an undergraduate in the early 1990s, I produced a series of paintings based on this idea in a work entitled ‘A Single Death is a Tragedy, a Million Deaths is a Statistic.’ I was looking at the idea of anonymity and the past as anonymous (something which I’m still looking at today) reducing the image of a man, through a series of canvases to a single coloured pixel.

One of the ways of understanding an event as horrific as the Holocaust on an empathetic level (as far as is possible) is through understanding that the past was once the present that what happened in places such as Belzec happened when the past was now. When I sit here now and look out the window, I see the trees move, I see their colours, I see the sky, the clouds drifting and so on. I see movement and colour.

Whenever I look at images of the past, especially those in black and white, I try to imagine the scene as if it was now. I colour it, I imagine what happened immediately after the shutter was released. The smallest details become especially important. When I myself visited Belzec in 2007, I was aware of the world moving all around me, of the trees especially; of the sounds they made and the colour. Putting this together with what I knew had happened there, enabled me in some small way to empathise with those who died.

The stills below are taken from the processed video and even though they reduce the place to pixels (and therefore render it anonymous) there is something about the individual squares of colour which serve somehow to represent both the anonymous individual and the nownes of the present.

Mosaic Stills

Mosaic Stills

Mosaic Stills

Belzec Video: Snow

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About two years ago I was given recordings of an archaeological investigation at the site of the Belzec Death Camp in Poland (1999). These investigations were carried out prior to the construction of the memorial there and my task was to edit the videos into something that could be seen as a narrative of those events.

The videos however were less than brilliant and any documentary-type video was going to prove impossible. However, I wanted to work with the video in some way or another and in 2010, as part of Holocaust Memorial Day, I exhibited a number of images based in part on the original video.

This year, I want to make a piece based on the video and the stills I exhibited in 2010. The initial idea is to capture all the pieces of ‘snow’ from the recordings and to arrange them in a sequence. The ‘snow’ represents the end of something, and it’s the idea of something ending which interests me as regards this piece.

Eventually I will develop the video using the colour/documentary footage on the tapes, intercutting them with the ‘snow’ elements. I will put up extracts of each stage as and when they’re complete.

Below is a short extract of the snow sequence.

Empathy and the First World War (Part 5)

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The backgrounds of these postcards have become of great interest to me in as far as they help elicit a sense of empathy with those who are pictured. Some of the postcards feature no backgrounds at all and are simply headshots which make an empathetic response a little more difficult. What I want to look at here are natural and studio-based backgrounds, examples of which can be found below.
I’ve already looked at two postcards with photographs taken in natural settings and these settings can be further subdivided into those which are domestic and non-domestic. It’s those taken in what are clearly domestic settings – for example the backyards of houses – which are the most poignant, for the obvious reason that they are photographs of homes these men would soon be leaving. And again the question begs to be asked, would they ever return?
This photograph is clear

Empathy and the First World War (Part 5)

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The backgrounds of these postcards have become of great interest to me in as far as they help elicit a sense of empathy with those who are pictured. Some of the postcards feature no backgrounds at all and are simply headshots which make an empathetic response a little more difficult. What I want to look at here are natural and studio-based backgrounds, examples of which can be found below.

I’ve already looked at two postcards (see Part 3 and Part 4) with photographs taken in natural settings and these settings can be further subdivided into those which are domestic and non-domestic. It’s those taken in what are clearly domestic settings – for example the backyards of houses – which are the most poignant, for the obvious reason that they are photographs of homes these men would soon be leaving. And again the question begs to be asked, would they ever return?

This photograph was clearly taken in a back garden, one which seems to comprise little more than dirt. In the background, the backs of other houses are visible and next door appears to have what looks like a chicken coup, with chicken wire fixed above the fence. What is striking about this image is the cleanliness of the soldier’s uniform. His coat is spotless; it’s almost as if this young man is little more than a child playing soldiers in the garden, and it’s difficult to look at him knowing full well what he’s about to endure.

I’ve already discussed windows in old photographs and in the background of the image above one can see a window of one of the houses behind.

I wonder what the same scene would be like if I was standing behind, looking through the net curtains? I’d see the back of the young man being photographed and those who are taking the picture – more proud parents perhaps? I’d watch for a while, then turn my back and return to my own life within the terraced house. It’s imaginative wanderings like this which serve to animate the scene, to remind us that the past was once ‘now’.

I imagine this photograph was taken in the garden of the soldier’s parents’ house. I can imagine them holding this image, just as I’m doing now and walking outside to see that corner of the garden in which he’d been standing. The dilapidated fences, the dirt ground, the trees and the houses behind would all resonate with his presence. If I walk outside into my own garden, with this image in my hand, everything that makes ‘now’ what it is, would serve to animate it. The feel of the wind, the sounds of the birds in the trees, the feel of the ground beneath my feet etc.

This photograph was obviously taken in a studio and whereas in the previous image the backdrop is a real scene, the one above is like something from an 18th century painting. In the foreground we can see bunches of wild flowers growing alongside a quiet country track, leading off through an idealised landscape complete with ‘Rococoesque’ trees, a river and a picturesque bridge. One almost expects the solider to turn away from the incongruous chair and to walk off up the path and out of sight.

With the first image, the domestic backdrop of a garden, its fences, the chicken coup and the backs of neighbours’ houses provides a stark and disturbing contrast with what we know awaited the young man being photographed. This contrast is just as stark in the studio picture above, and in some respects even more disturbing.

Whereas the fictional scene could at least be imagined by the artist, what the man standing before it was about to face on the battlefield would never have been conceivable even with the keenest of imaginations. Reality was in a way even less real than this Arcadian backdrop which seems to depict something akin to Paradise. Perhaps this is why I find this image so haunting?

The reverse of the postcard contains text which reads: To Mr J Wade, With happy memories of past days spent at Waresley House. 

I did some research into Waresley House and discovered that it was once the home of both the Peel family (Robert Peel) and the Perrins family of Worcester Sauce fame. A large Georgian pile, I wondered what the soldier did there, who Mr J Wade was and whether or not he was the owner of the house. Having looked at the 1911 census however, I could find no record of Mr Wade. The house was owned by a Mr Gibbons, an 87 year old widower who lived there with his two daughters (both single and aged 49 and 47) and nine domestic servants.

It is possible that Mr Gibbons died soon after 1911 and that Mr Wade took over the house thereafter. Looking for Mr Gibbons on Ancestry, I found him in the same house in 1891 along with 13 children. The cook in 1911, Mary Pugh was also listed. 

Empathy and the First World War (Part 4)

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Another postcard from my World War One collection:

It’s a rather faded image but we can see that it shows a man standing outside a gate to what looks like the back yard of a house. Like the previous image (see Part 3) the man is dressed in his uniform, ready to head off to war. Or perhaps he’s returned, on leave maybe, about to go back to the Front? We’ll never know, but looking at his face, there’s something about his expression which looks weary at the very least. Of course this is probably reading too much into the picture, but there is something about his face which makes me wonder. To make it easier to see, I’ve enhanced the image a little:

Detail of the soldier’s face:

Like the previous postcard, I can well imagine the scene without the soldier standing there; the feel and the colour of the ivy, the bricks and the old, rather battered door. My imagination colours the image, and through this colouring, the textures of the bricks and the door become apparent. And like the other postcard, it is in itself a tactile object which speaks of the soldier’s absence more than his presence – after all, a postcard is a form of communication sent by someone who is, at the moment, absent from the life of the receiver. Turning it over and looking at the reverse, I could see that it had been addressed to a Miss V. J. Edwards. I wondered if she was the man’s fiancee, but looking at his hands, I could see that he was wearing what appears to be a wedding ring. And again the hands are like those I’ve discussed previously (see Part 1 and Part 3).

Could Miss Edwards be his sister? As I hold the postcard, and turn it over in my hand, I find myself performing an action she herself would have performed. What would she have thought as she read the rather enigmatic text?

 

1919 16.Puzzle BLA.

I’m assuming that the number at the top is the date (1919) which means we can perhaps also assume the soldier on the front survived the war. Was the photograph itself taken when the war was over? Would that account for his rather tired expression? It seems unlikely, and given the rest of the text, it might be that this isn’t the date at all. Sadly, the franking mark on the stamp isn’t clear enough to tell. What does 16.Puzzle BLA mean? Is it No.16 in a series of puzzles? Is BLA itself the puzzle – a secret code shared between the two; between the soldier and Miss Edwards? Interestingly, in the image itself, we can see in the bottom left hand corner, a notebook on a wooden bench. Did the soldier conceive his puzzles within its pages?

 
A hand rolled cigarette lays next to it, and the two together serve to animate the image – or rather the soldier in the image; I can picture him smoking, writing in his notebook, in a hand like that on the reverse. Holding the postcard and reading it, I can also ‘animate’ the person to whom it was sent.

With this single image then, a relationship long forgotten has been re-established.

Empathy and the First World War (Part 3)

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It’s hard to tell where this image was taken, whether in a garden or a public park, but clearly it shows a young man in his new army uniform about to head to war.  He stands to attention, albeit somewhat awkwardly, staring into the camera – almost through it, into the distance. I wonder as I look at him who is on the other side taking the photograph? A proud parent perhaps, an anxious one? A friend or maybe some other relative? The young man in question would, I imagine, have left soon after the image was taken and the question is there to be asked: would they – whoever it was – have seen him again? Behind him a tangle of brambles foreshadows the barbed wire entanglements laid out in front of the trenches, wire on which so many like this young man lost their lives.

As with the previous images I’ve discussed (see Empathy and the First World War Part 1 and Part 2) I’m interested in how I can find a way of empathising with this individual, a young man whose name has been lost and who, for all I know, exists only within the image on this postcard. The difference between this ‘image’ and those discussed previously are that this is a physical object – a postcard; one of a number printed as keepsakes. However, as I look at it, I try as I do with other photographs to imagine the moment in which it was taken. I imagine the click of the camera , satisfied comments from the photographer, after which the young man picks up his cap, puts it on and walks off down the path. The crunch of footsteps dissipates along with the voices and I am for that moment left standing looking at the brambles and the undergrowth.

For some reason it’s hard for me to visualise this young man in colour – there’s something in his face which prevents me from seeing him talk. But without him there I can picture the rest of the scene easily enough in colour; I can see the colour of the bricks, the undergrowth and the path. I can see the leaves move and then imagine myself moving, turning and seeing people walking in the distance. I can hear sounds – birds and so on, perhaps because I can hear them outside my window on what is a beautiful spring-like day. It’s a photograph which depicts the presence of the young man in the picture and yet speaks of his absence, which is of course hardly surprising given that it was taken almost 100 years ago. Whether he survived the war or not he’s going to be absent from the world today.

The way in which I hold the postcard and look at the image is important, for it no doubt echoes that of those who knew him, who whilst he was away looked at the image and remembered their friend or loved one; someone who was present in their minds and yet absent from their immediate world.

On the reverse are the words ‘POST CARD’ and a ‘T’ shaped divide between correspondence and address. The postcard itself is blank, save for the 15p pencilled in the corner – the apparent monetary value of the image. I’ve worked before on the idea of the ‘T’ shape as being like a makeshift grave-marker and having looked at the photograph on the other side and having imagined him walking away – leaving just the image of the brambles – it becomes all the more poignant. There is no message, no address. Just ’15p’.

When looking at the previous images (see Empathy and the First World War Part 1 and Part 2)  there was one moment with which I could attempt to empathise – that being when the image was captured, but with the postcard there are many more which I can narrow down to two, one specific, the other more general. The first of course is again when the image was taken, the second an amalgamation of all the times it was handled, held between two hands just as I’ve been holding it today. The postcard, as an object, fits physically into a sequence of ‘gestures’, a moment in which the stark boundary between now and then – as described when a photograph is taken – is blurred. Empathy in this respect is not necessarily with the young man, but with those who remembered him; not with the man within the image, but with those who held the image.

Thinking about my hands holding the postcard, turning it round now, I find myself looking at the young man’s hands hanging at his side. They remind me of the hands of the corpse in the first image I looked at (see Part 1) and again an empathetic link is established. I wrote earlier how I found it hard to imagine his face moving in any way – it seems definitively frozen by the camera – and yet looking at his hands the opposite is true. I can well imagine them twitching nervously, unsure of what to do as he stands to attention.

I think too of the grass in the second image (see Part 2) growing over the turned earth and can well imagine the brambles behind the man doing the same.

I’ve written before how empathy is a kind of feedback loop, where our own bodily experience is influenced by our knowledge and vice-versa, growing all the while so that bodily experience influences knowledge whether, in the case of this subject, standing on a battlefield or looking at a photograph. I can see this loop working as regards the images I’ve discussed so far, how empathy accumulates slowly over time.

Empathy and the First World War (Part 2)

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This image was taken almost a year after the end of the First World War, on August 27th 1919 and is unusual in that, unlike the vast majority of photographs from this period, it’s in colour. What it shares with the image I described previously however – see Empathy and the First World War (Part 1) – is that it shows the process of burying the dead, long after the last guns have fired. We don’t see any corpses here, but we see the holes in the ground. On the right hand side, three crosses mark recent burials, while seven men look at the camera. A man sitting down by the tree seems to be writing.
With this photograph I can, perhaps not surprisingly, engage much more easily on an empathetic level compared with that I discussed previously. The colour and the texture of the soil, which the colour conveys, means that I can almost feel the ground. I can imagine walking into it, whereas with the previous image I’m kept at a distance. This photograph is about the soil and if the previous image seemed to me, to be about the thin divide between life and death, this image seems to say much the same thing. Like the (living) men in the previous image, these men are also all dead. The graves they’ve dug could easily be their own. But whereas the men in the previous image were looking at the bodies of their fallen friends, the gravediggers in this image, look directly at us. This is what awaits us all.

In many respects then, this image is, for me, quite an unsettling one – even more than that I discussed before. ‘The men that we’re about to bury,’ the men seem to be saying, ‘are just like you’. (I was reminded, looking at this image, of the fact that when soldiers marched to the front, just before an attack, they sometimes saw the huge pits dug in preparation for their deaths.)

But would such interpretations arise if the image were black and white? My feeling is they wouldn’t and having made the image monochrome, I can see why.

For one thing, it ceases to be an image into which I feel I could step; it remains very much an image. Colour delineates distance, whereas in black and white the image seems a lot flatter. (I have to point out that I’m not suggesting black and white photos don’t convey distance, or that this colour image, made black and white accurately reflects how it would look if shot on black and white film. The autochrome process, when made black and white like this, makes the resulting image very grainy). Secondly, the men no longer seem to be looking at me, but rather at the photographer. But most importantly, as a black and white image, this picture ceases to be about the soil, the substance which, during the war claimed both the living and the dead. The distinction between the soil and the grass is lost – a distinction which, in light of the time (1919), is especially poignant. Nature returns to reclaim what’s hers, and following the gaze of the diggers, that includes us. World War I was about, amongst many other things, the soil and vast ruination – and that is what this image is about. The grass comes as it comes upon castles ruined over long stretches of time. But as Christopher Woodward writes in his book In Ruins ‘Nature’s agent does not have to be flowers or fig-trees. In the case of Van Gogh, it was the miserable mud of Flanders.’

I see this photograph very much in terms of its texture. I see its weight, as if its colour makes it synaesthetic: I see in terms of touch. Empathy – as regards an empathetic understanding of this image – does not mean I empathise with what these men were doing when the photograph was taken, or what they too had certainly endured in the preceding years of war, but that I can see this moment as having once been now. As I wrote before, if anything hinders an empathetic engagement with the war, it’s the sense that it’s always already happened. In this image, it has already happened, but the wounds are still raw.

Empathy is a dialogue between bodily experience and knowledge. Visiting a battlefield, what we know of the war influences our bodily experience and vice-versa. Empathy is in many respects articulated through metaphor. The same is true of the photograph; but whereas on a battlefield we stand in the landscape, we can only look at the image, such is where a synaesthetic response is so important, and synaesthesia is after all a kind of metaphorical discourse.

Empathy and the First World War (Part 1)

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Windmill Military Cemetery, Monchy le Preux, east of Arras, 1918

This image was taken during the last months of World War I and shows a scene which became all too common during the long and bloody years it lasted. The four men at the back, almost silhouetted against the grey sky, locate the image in its context, reminiscent as they are of the lone figure in Ernest Brooks’ photo taken on Pilkem Ridge near Ypres in 1917.

The shadow figure of a survivor reflecting at the side of a grave is the image of the Great War and while these men are not quite silhouettes, they are nonetheless unknowable, just like the dead next to whom they stand. In Brook’s iconographic photo the silhouetted man and the corpse are one and the same thing, as if the dead man’s shadow, is for a time, living a while longer. There is then little to divide the four men and the two on either side from those over whom they stand, just as throughout the war, the gap between life and death could be measured by the thickness of a cigarette paper.

In the image from the Windmill Military Cemetery, over a dozen men await burial, some with makeshift crosses on which their names and dates of death would have been inscribed. Behind the men, crosses planted in the ground, stand like a wood, broken into matchsticks by the relentless pounding of shells. Everything in this image has been reduced. Men have been reduced to corpses, corpses reduced to names, the landscape reduced to ruin. On top of it all, the whole scene has been reduced to a picture; time itself reduced to a moment. There’s no colour and little by way of life.
An area in which I’ve become particularly interested as regards historic trauma and in particular, World War I, is our ability to empathise with those who suffered. If anything hinders an empathetic engagement with the war, it’s the sense that it’s always already happened, that its victims have always been dead. Reminding ourselves that the past was once the present, through an awareness of our own contemporary experience, is a vital part of the empathetic process. In this image we see a number of men. Those who ‘live’ within the image we know are now dead. Those who are dead, seem always to have been so. So how can we empathise with an image such as this; an image which is very much of its time and very much removed from our own?
The bodies are clearly dead, but the difference between them and the six men surrounding is, as I’ve said, slight. Looking at the hand of the body in the bottom right hand corner of the image, I can easily imagine how it once moved, once wrote a letter to a loved one back home, one touched a loved one, held a cigarette or a pint of beer.

There is something about it that’s painfully alive, as if it reminds us, that this photograph is a moment in time behind which there were many more moments, that those who died lived as we do today. Beneath the crosses in the background are many more bodies, of men who once lived. Their presence, or rather absent-presence, extends well beyond the limits of the moment, just as the landscape extends well beyond the limits of the photograph.
A photograph is captured in an instant and yet we ourselves are rarely aware of an instant in time. Of course we are aware of time passing and the difference between now and a few moments ago, but the moment we experience as ‘now’ is smudged to take in a part of the past. And of course, within our bodies, we carry our entire past, albeit one accessible only through the fragments of what we can remember. When a photograph is taken, the difference between the past and the present in which it was captured is much more stark. The shutter is like a knife, cutting one away from the other. But through thinking about ourselves and our own experience of the world, that sharp edge can be softened.
In an image like this, that process is made more difficult, not only because it was taken so long ago, but because what it depicts is so far beyond our own understanding. But the hand of the body I’ve described helps us bridge the divide. It’s something with which we can all easily identify; a way, albeit small, in which we can begin to empathise. 

An Archaeology of the Moment

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I’m currently reading an excellent book by Colin Renfrew, Senior Fellow of the McDonald Institute for Archaeological Research, entitled ‘Figuring it Out’, in which the author examines what he describes as ‘the parallel visions of artists and archaeologists,’ with an emphasis on contemporary art practice. As an artist with a deep interest in archaeology, I had to buy the book, and I’m very glad I did, for it’s helped me pull together numerous strands of thinking which have emerged from my research over the course of the last four years; in particular, the idea of the physical or ‘sensed’ present as a lens through which to ‘see’ the past. Professor Renfrew writes: “The past reality too was made up of a complex of experiences and feelings, and it also was experienced by human beings similar in some ways to ourselves.” The way we experience the present then, tells us a great deal about how people experienced the past when it too was the present.

I’ve written before how one of the problems we have in considering past events is the temporal distance which separates us. Reading a history book, although we know its content is‘ factual’, is nonetheless an interpretation of events; an outline at best no matter how well researched and well written it is. There may be a structure, just as in a novel, with a beginning, a middle and an end. But of course reality isn’t really like that – the boundaries are much more fluid. Necessarily therefore, a history of any event will be full of holes and it’s these holes which interest me.

In October 2006, I stood on the Ramp at Auschwitz-Birkenau and my experience there is something with which I’ve been working ever since, even whilst researching different places – whether other camps such as Bełżec or the battlefields of World War One – it’s that particular moment which I have been researching, peeling back the layers comprising the moment, much as an archaeologist digs through layers of stratified soil to uncover a whole range of times.

History is, in some respects, like fiction. What is known and written about can only be surmised from surviving evidence and what we ‘see’ as receivers of that knowledge, can only be imagined. What’s always missing is a sense of the present, as if what happened in the past always followed a script, one in which the main protagonists took their cues and delivered their lines accordingly. Hindsight, which one can hardly escape, joins all the dots, but leaves many gaps between the lines.

In the foreword to Peter Weiss’ book The Aesthetics of Resistance, Frederic Jameson writes how for the critic Georges Lukács, the world historical individual should never be the novel’s main protagonist, but rather seen from afar by the average or mediocre witness. We could say the same for history; that events described in history books are ‘best’ when seen through the eyes of those ‘average’ or ‘mediocre’ witnesses; people which history labels as ‘the mob’ or the ‘masses’; who are often buried beneath unimaginable numbers – mass graves within which, their names and individual identities are forgotten.

I’ve produced numerous works which examine this idea of the anonymous individual in history, but there’s another element I try to show, and that’s the ‘everydayness’ of any historic event. This is, I believe, key to our understanding of the past, for not only is history best seen by the ‘average’ or ‘mediocre’ witness, but – for me at least – when the main event is glimpsed as a backdrop to an individual’s own life experience. That’s not to say the event should always be viewed through the eyes of someone far away from the scene, but that it should always be seen behind the individual, rather than the individual being buried somewhere beneath.

In the time after my visit to Auschwitz-Birkenau, I wanted to find a way of identifying with those who died there. That’s not to say that I can identify with what they went through, no-one who wasn’t there can ever claim to understand what it was like to suffer, but we can seek to separate the individual from the grim statistics and site the camp in the landscape of the everyday world. Again, that’s not to say that Auschwitz-Birkenau was an everyday place, but what’s important for me, in understanding the past, in filling in the gaps which history inevitably leaves behind, is an understanding that the everyday world was happening at the time. Whatever event in whatever period we’re researching, the world was happening around it. The wind blew in the trees; the birds sang and the rain fell. The sun rose in the morning; the sky was just as blue or grey as it is today. There were clouds with their shadows, and during the night, the moon might be reflected in small pools of water, like that described by Auschwitz survivor, Filip Muller – in a pit soon to be filled with bodies. The events like the place were not everyday, but they took place regardless in an everyday world and understanding this ‘everydayness’ can help us understand and picture much more clearly events of the past.

For example, we can read hundreds of titles about the Holocaust and World War One, but when we read in the Diary of Adam Czerniakow – the ‘mayor’ of the Warsaw Ghetto – what the weather was like on a particular day, suddenly, in words like ‘beautiful weather,’ the full horror of the Holocaust is revealed, because, with these words at least, we can identify and – albeit in a very small way – empathise with someone who suffered; the past in effect becomes very much present.

In Birkenau, it wasn’t so much the sight of the gas chambers which was so horrific, or even the gaze of the infamous gatetower, but rather the way the trees moved, just as they’ve always moved, right throughout history.

Similarly, on the battlefields of the Somme, just as we cannot comprehend the horrors faced by the soldiers – the incessant shelling and machine gun fire – we can nonetheless see and feel the ground beneath our feet; we can see the sun in the sky, and feel the wind on our faces, and it’s these everyday details which take us, albeit just a little, into the midst of a battle. Of course we still need history to draw in the outlines, but it’s these other details which prevent history being a script. Events in history were not preordained, people made choices and choices can only be made and acted upon in a moment – in the present. Understanding the present therefore – that space wherein reside all our hopes and fears, our dreams and ambitions, and into which we bring our memories – is key to our understanding of the past.

In a passage written by Tadeusz Borowski, another Auschwitz survivor, we read the following: “do you really think,” he asks, that without hope such a world is possible, that the rights of man will be restored again, we could stand the concentration camp even for a day? It is that very hope that makes people go without a murmur to the gas chambers, keeps them from risking a revolt, paralyses them into numb inactivity.” People often ask why, when faced with certain death people didn’t revolt or even attempt to escape? If we read history as a script we might well feel obliged to ask that question, but when one’s alive in a moment, that in which we continue to exist, we will do anything to maintain that existence, and second by second that was achieved by doing nothing, right up to the end, for up to the end there was always the hope that something would change. Again, it’s through understanding what it means to live in the present that we can understand the past a little better.

In his book ‘The Materiality of Stone, Explorations in Landscape Phenomenology,’ Christopher Tilley writes: ‘The painter sees the tree and the trees see the painter, not because the trees have eyes, but because the trees affect, move the painter, become part of the painting that would be impossible without their presence. In this sense the trees have agency and are not merely passive objects. Dillon comments: “The trees ‘see’ the painter in a manner comparable to that in which the mirror ‘sees’ the painter: that is, the trees, like the mirror, let him become visible: they define a point of view on him which renders visible for him something that otherwise would remain invisible – his outside, his physiognomy, his carnal presence… The trees and mirror function as Other.”’ Just as the trees function as Other therefore, so must the sun, the stars, the clouds, hills, mountains, the sea, rivers, the wind, the rain and so on. Objects too, excavated during digs or on display in museums, act in much the same way.

Through archaeology, we excavate moments. We might come to better understand epochs and eras, but revealing a stone beneath a field which once belonged to part of a road reveals the movement of individuals and thereby an individual. And as we in the present stand on that stone and sense the world around us, we can bridge the gap between the past and present, even if that gap is one, two or three thousands years. If we walk along the line of the road, what we know of any relevant history becomes animated. With the aid of the ‘everydayness’ of the world we can position ourselves within an event – even if that event took place many miles away. We can become the ‘average’ or ‘mediocre’ witness, and rather than seeing a past event as one sandwiched between two pasts (those more and those less distant) we can instead bring to that past, the concept of the present and consequently the unknown future.

At the beginning of his book, ‘Figuring it Out’, Professor Renfrew looks at Paul Gauguin’s painting ‘Where Do We Come From? What Are We? Where Are We Going to?’ (1897) a title, and a question, which many artists and archaeologists alike have tried to answer. The questions posed in the title of are of course about the past, the present and the future and in reading this book I could see how these questions have always been there behind my work. After visiting Auschwitz-Birkenau and in an attempt to find anonymous individuals in history to whom I was related I began to investigate my own family tree, and, over the course of the last few years I’ve found several hundred ancestors going back on some lines as far as 1550. A year before she died, my grandmother told me about her childhood in Wales and in particular about my great grandfather who died in 1929 after years working in the mines. The following is an extract from that conversation:

‘I can see him now because he went up our garden over the road and the mountain started from there up… and he’d go so far up and he’d turn back and wave to us, and if we went out to play, our Mam would say, ‘you can go up the mountain to play…’ but every now and then our Mam would come out in the garden and we had to wave to her to know that we were alright you know… always remember going up the mountain…’

On visiting Hafodyrynys, the small town where my grandmother grew up, I walked up the ‘mountain’ she’d described and followed the path my great grandfather would have taken to work in the mines at Llanhilleth. On top of the hill I stood and looked at the view. One hundred years ago, when I did not exist, he would have seen the very same thing. One hundred years later, long after his death, I found myself – through being in that place – identifying with him, not because I know what it was like to work in the mines (of course I don’t), but because I saw the same horizon, felt the same wind, saw the same sun and so on. I’d found him there on the path (one which would in time lead to my being born).

I realised too in Hafodyrynys, that I’m not only who I am because of the genes passed down by my ancestors, but because of the things they did throughout their lives, not least because of the roads and paths they travelled, such as that upon the ‘mountain’. Anything different, no matter how seemingly irrelevant and I would not be here, and in a sense, that which I described earlier in relation to my standing on the Ramp at Auschwitz-Birkenau, where the way the trees moved seemed pregnant with the horrors of the Holocaust, is relevant here, albeit for different reasons; the everyday, insignificant details which make up a moment, are key to our existences. Until the time of our conceptions, we were always one step away (many times over) from never existing and again this refers back to what I described at the beginning of this piece; the idea of my own non-existence in relation to past events.

For the catalogue to the third in my series of exhibitions entitled ‘Mine the Mountain’ I wrote the following, in an attempt to summarise my thinking: ‘The Past is Time without a ticking clock. A place where paths and roads are measured in years. The Present is a place where the clock ticks but always only for a second. Where, upon those same paths and roads we continue, for that second, with our existence.’

The last line resonates when considered alongside what I described earlier regarding hope – that emotion which Borowski describes as ‘paralysing’ those who died in the camp.

I wrote earlier too, that through archaeology we excavate moments, that although we might come to better understand epochs and eras, revealing a stone beneath a field which once belonged to part of a road reveals the movement of individuals and thereby an individual, one continuing his or her existence for a second along the way. Artist Bill Viola wrote: ‘We have been living this same moment ever since we were conceived. It is memory, and to some extent sleep, that gives the impression of a life of discrete parts, periods or sections, of certain times or highlights.’ If we take what he says regarding this ‘same moment’ – that which we’ve been living continuously – along with what I’ve written above regarding pathways taken by our ancestors, we can see that that ‘same moment’ extends beyond the limits of our own existence and that moments and epochs are in the end, one and the same thing. The gap between the past and present – however big or small the temporal divide – is removed.

To conclude…

An ancient road, uncovered beneath a field, may be thousands of years old but nonetheless it will have been ‘written’ in terms of moments, where one individual amongst many others has carried his or her existence from one moment to the next. And as we walk ahead towards the future, along the line of the road, carrying our own existence with us; as we feel the ground beneath our feet and watch the wind blowing through the trees. As we listen to the birds and smell the scent of the grass, we’ll find ourselves in empathy with every individual who’s gone that way before us. Somewhere, beyond the horizon, Stonehenge is being built; the Romans have landed in England and the Mary Rose is sinking beneath the waves.

© Nicholas Hedges 2006-20

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