Nicholas Hedges

Art, Writing and Research

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Dead Birds and Footprints

November 7, 2010 by Nicholas Hedges

Yesterday I walked along Newcastle Beach and discovered, as I’d seen before, dozens of dead birds washed up on the sand. The shape in which the sea had left them was, in many cases, beautiful and so I began to photograph them.

Dead Birds and Footprints

As I did so, I also became aware of the many footprints left in the sand, all different shapes and sizes, and so I started to photograph those as well, and in doing so, began connecting one with the other.

Dead Birds and Footprints

To see all photos, visit my Flickr pages.

Filed Under: Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Birds, Everydayness, Family Hedges, Family History, Hedges, Lines, Stephen Hedges, Walks

Completed Walks

November 6, 2010 by Nicholas Hedges

During the first week of this residency, I carried out a number of walks, the routes of which I recorded using GPS.Collecting all these walks together, I created a map of all the walks which can be seen in two images below. The first shows the pattern as revealed in the GPS software, the second in Google Earth.

Final Map of Walks

all as of 05-11-10

The next phase for this work is to divide the the first image into segments, each of which can then be tranferred to heavyweight tracing paper, after which the lines will be cut and the pieces left behind (i.e. the spaces in between the walks) transferred to canvas.

Filed Under: Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, GPS, Hedges, Lines, Positioning, Stephen Hedges, Stitchwork, Walks

Big Ships on the Horizon

November 6, 2010 by Nicholas Hedges

The big coal ships have fascinated me ever since I first saw them when I arrived in Newcastle. Like the huge clouds above them, they seem on the face of it not to be moving, but rather – like a photograph – fixed in their shape. Only over a period of time, as one watches, do the ships reveal themselves as moving, changing their course, just as the seemingly immutable clouds change their shape.

Coal Ships - Video Stills

The past too is like this. It appears to us fixed in its final shape by history, but when we observe at length we begin to see things differently – just as with the ships and the clouds, the past changes shape not unlike the way the present constantly changes its shape around us; because the past was once the present.

I have for a long while been interested in old photographs, in the distant parts of photographs where things are not the ‘subject’ of the picture. For example, the image below is a detail from a holiday snap taken some time in the early 1980s. I’ve no idea who the girl is and only noticed her when I enlarged the image.

16

Merleau-Ponty once wrote how distance was not a property of the horizon, and distance too – we might say – is not a property of those people occupying the background of these photographs. They are – or were – as much a part of the scene as those of us in the foreground – the subjects of the photograph. We are always as much a part of the distance and the foreground as everyone else; we are both these things at one and the same time. In terms of history, we in the present are like the subject of a photograph, and those in the past are like those in the distance. Everything is the same part of the present, just seen from different perspectives.

The past is as much about movement as is the present (just as the distance contains as much movement as the foreground) and to observe this movement in the past (or the distance) requires us to be patient – to watch and to listen.

It is interesting that watching and listening to the distance has become a theme during my residency here, and that the image above – a video still of the ships and the sky – was filmed from Shepherd’s Point, a place from which the Services would listen and watch for the enemy during World War 2.

Filed Under: Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Creatures, Family Hedges, Family History, GPS, Hedges, Lines, Merleau-Ponty, Photographs, Positioning, Stephen Hedges, Walks

Thoughts so far

November 3, 2010 by Nicholas Hedges

A few days into the residency now and I’ve managed to do a fair bit of research around Newcastle, carrying out a number of walks and working on some video pieces down on the beach. I came to Australia with ideas as regards work I wanted to carry out and that is going according to plan, but it’s always important when coming to something like this to leave room for work to develop as a consequence of initial and ongoing research. The first week was always going to be a time for gathering information, which I’ve done as a result of the walks around town, and through these, a number of areas which I couldn’t have known about before coming here have interested me. One of those areas is the story of Yi-ran-na-li, the Aboriginal name for cliffs near Newcastle beach. To see them surrounded (for reasons of safety) by a wire fence is a little sad to say the least, and the fact the sign describing the cliffs and the lack of respect they’ve received (‘it’s not too late to show the respect Yi-ran-na-li deserves‘) – contains spelling mistakes is far from encouraging. It’s a small thing, mis-spelling ‘the’ as ‘thre’ but it seems to speak volumes nevertheless. A work about this, entitled ‘Thre’ might therefore be on the cards.

The town of Newcastle is the world’s biggest exporter of coal, and the vast ships which come and take the coal away interest me a great deal. They look almost like a photoshopped image when you see them lined across the horizon, as if someone has done a cut and paste job with a single ship. Nobbys island – now attached to the mainland via the Macquarie Pier – was surveyed in 1797 by John Shortland who spotted coal seams and set to work having the island mined. The island itself was regarded by the Awabakal people as having been created in the time of the Dreaming by the great rainbow serpent as it pushed itself onto the land after dropping from the sky. It was also thought to be home to a giant Kangaroo, and again its rather sad to see it reduced from its original height of 62 metres to just 28.

Below is an image from the State Library of New South Wales showing Nobbys Island and Pier in 1820.

Compare this with how Nobbys Island looks today.

Nobbys Island

The importance placed on rocks by the Awabakal people finds a connection with the importance placed on coal by ‘modern man’. Seeing the ships come and take the coal away seems almost a metaphor for the ships which brought the convicts and took away something of the country’s ‘innocence’. Of course, one has to be careful not sound accusatory, rather, this is analogous to modern man’s destruction of the world for the sake of capital gain. Something is lost and the cliffs of Yi-ran-na-li remind us that sometimes we just need to listen.

Listening was something carried out not far from Yi-ran-na-li, up on Shepherd’s Hill. The idea of the Radar as a metaphor for listening interests me, as well as the idea of looking out across the sea for approaching ships etc. The ships bringing the convicts, and the ships coming to take away the coal.

Whilst taking notes on one of my walks (walk 4) I wrote: The radar beeps of several crossings. This alludes to the crossings here which beep continuously until, with what sounds like a blast from a ray gun, you are given the go ahead to walk.

The idea of looking for the individual – a theme central to my work – becomes important here. In order to find those people, we sometimes have to listen to what the rocks have to tell us. Of course, for rocks we might substitute buildings, houses, roads, pathways etc. And as we walk amongst them, we are like a radar, a signal which looks for that which is invisible, and which returns – not a blip or a shadow on a screen – but what we might term an empathetic response.

Whilst videoing on the beach, I became interested in the clouds, in the way they changed almost imperceptibly, looking – at a glance – as fixed as any sculpture, or in fact a photograph. Given the colour of the rain clouds, the contrast between dark grey and white, the connection with an early black and white photograph is strong – at least in my mind! Of course photographs don’t change, but the movement of clouds when studied over a period of time reminds us perhaps that the people photographed were part of a moving world, and that that world also had its clouds. Like the past, the world carried on beneath them, just as it does today.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, Hedges, Lines, Stephen Hedges, Walks

Undermined

November 2, 2010 by Nicholas Hedges

During Walk No.4 I discovered a sign entitled ‘Undermined’ about the coal industry in Newcastle. Given the importance of coal to the area, I’ve reproduced the information below in its entirety.

‘Awabakal clans used Newcastle’s coal in their fires and ceremonies for millennia, and explain its origins in their ancient Dreaming stories. Europeans also sought this valuable substance, so when Lieutenant Shortland noted coal deposits here in 1797, shops were quickly dispatched to return quantities of coal to Sydney. In 1799 The Hunter exported a shipment of coal to Bengal, and Newcastle coal was later shipped to the Cape of Good Hope by the Anna Joseph.

During the early years of settlement, the Colonial Government declared Hunter River coal to be the property of the Crown and prohibited free individuals and companies from mining here. Convict gangs were obliged to work the coal seams and load the vessels.

In 1826 private enterprise was finally permitted to mine coal and the Australian Agricultural Company obtained the first lease. In 1831 the company sunk its initial shaft near the Anglican Cathedral and innumerable tunnels chasing the buried coal seams have since been excavated below Newcastle’s streets. The success of the Australian Agricultural Company soon attracted other companies and mining operations spread to the extensive coalfields of East Maitland in 1844.

Fast-loading steam cranes were installed at King’s Wharf in 1860. But the demand for coal still exceeded the loading capacity of the port so the Bullock Island mud flats were reclaimed and new coal loading wharves were constructed. In 1888, twelve hydraulic cranes were in position.

During the late nineteenth century, sailing vessels berthed two or three deep along the length of the Bullock Island dyke, creating a forest of masts, while hundreds of sailors of all nationalities flocked to the city of Newcastle on Saturday nights. Throughout the twentieth century, further developments in mining and loading saw Newcastle’s exports soar, and by 1907 coal shipments exceeded 4,500,000 tons.

The port of Newcastle has long been the economic and trade centre for the Hunter region. In the 1989-90 financial year Newcastle handled 68.2 million tonnes to become the world’s largest coal export port and Australia’s largest tonnage dock.’

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, Hedges, Lines, Stephen Hedges, Walks

Walks

October 31, 2010 by Nicholas Hedges

As part of my research during this residency, I’m undertaking a number of walks in and around Newcastle. During the walks, I write lists of observations; typically things which are seemingly insignificant or everday occurrences. Each walk is also recorded using GPS as are the number of steps using a pedometer.

The first two lists can be found via the links below:

Walk 1
www.nicholashedges.co.uk/lockup/walk1.htm

Walk 2
www.nicholashedges.co.uk/lockup/walk2.htm

Filed Under: Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, Hedges, Lines, Stephen Hedges, Walks

Shepherds Hill

October 31, 2010 by Nicholas Hedges

Whilst on my walk today, I took some time to explore the concrete ruins of what I discovered was the Shepherds Hill complex, described on a plaque fixed to one of the walls.

The text of the plaque is as follows: 

The Shepherds Hill complex is unique to in Australia for housing, during 1942, all three services at one time. A fortress observation post (army) coordinated the guns at Fort Wallace, Fort Scratchley and Park Battery. A Radar station (RAAF) assisted in locating air and seabourne targets. A port war signal station (Navy) monitored shipping movements to identify if friendly or enemy. A directing station (Army) coordinated the coastal searchlights which were used to illuminate seabourne targets. The army also took over nearby houses as well as King Edward Park, closing it to the public.

The empty concrete rooms, all stopped up with bars are strangely enigmatic. Full of detritus, graffiti and fragments of rusted metal like fossilised bones, they’re also full of lines, the movements of people busy at the time of the second world war.

The steps that lead nowhere lead one nonetheless back to a time when they had a purpose, when they weren’t incongruous but rather banal and a part of everyday activity.

As I looked around the ruins, casting my eyes like the sonic pulse of a radar, I could imagine the individuals who once worked there, picking them out like blips on a radar screen. And it was interesting, given what I wrote about yesterday, that this space had once been used for the purpose of listening, just a few hundred yards from Yi-ran-na-li, where people haven’t listened enough.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, Hedges, Lines, Stephen Hedges, Walks

Yi-ran-na-li

October 30, 2010 by Nicholas Hedges

At the end of Nobbys beach can be found Nobbys Island. Once a rocky outcrop, the island was joined to the mainland through work carried out by convict gangs between 1818 and 1846. In 1855, the quarried summit of the island (the rock of which had been used to create the pier joining the island with the mainland) was cut down from 62 metres to his present height of 28 metres. A sign near the island explains how the local Aboriginal people, the Awabakal, believe Nobbys Island was created in the time of the Dreaming by the great rainbow serpent as it pushed itself onto the land after it had dropped from the sky into the island. To read how it was mined for coal (after being surveyed by Lieutenant John Shortland who surveyed the bluff during the 1790s) and then – being a danger to ships – reduced by almost a third in height, makes one feel sorry, especially in light of the beliefs of the Awabakal people.

The importance placed on rocks by Aboriginal people is also described near Newcastle beach, where a sign describes Yi-ran-na-li, the Aboriginal name for the cliff which, the sign tells us, is known by them as being a place of silence and respect. The cliff was – or rather is – a sacred place and the sign itself something of an apologia, the text of which is worth repeating here in full:

“In the 1880s, John McGill, an Awakbal man, also known as Biraban (Eaglehawk) told the missionary Reverend Lancelot Threlkeld the story of Yi-ran-na-li whilst passing beneath the cliff one day.

‘There is a sort of scared place near Newcastle on the sea-beach, beneath a high cliff named Yi-ran-na-li, it is said, that if any person speaks, the stones will fall  down upon them, from the high arched rocks above, the crumbling state of which is such as to render it extremely probable, that the mere concussion of air from the voice would cause the effect to take place.

I was walking beneath the projecting rock and called loudly to McGill , who with other blacks, were with me. He instantly beckoned me to be silent, at which I wondered, a few small stones fell down from the crumbling overshadowing cliff at that moment, and they urged me on.

When we had passed out the precincts of the fearful place, I asked what they meant by commanding my silence, and pushing on so quickly without speaking? This elicited the tradition of the place as a very fearful one, for if any one speaks whilst passing beneath the overhanging rocks, stones would invariably fall as we had just witnessed.’ (Threkeld in Gunson 1974:65)

The large rock fall in 2002 perhaps marked Yi-ran-na-li’s final stand. It was a rock so large that we couldn’t ignore it. The rock was a statement about our inability to live within the constraints and sensitivities of place. Despite the removal of the rock and the total reshaping of the cliff face to make it ‘safer’ we should not forget the cultural belief of the local Aboriginal people that this place was to be feared and respected.

The cliff speaks to us with a wisdom that is thousands of years old. McGill knew this cultural wisdom but we have failed to listen, and today we still have so much to learn about the many other aspects of an endemic sense of place and about the environment we live in.

It is not too late to show the respect that Yi-ran-na-li deserves.’

The photograph below, shows Yi-ran-na-li today:

I was struck by the last paragraph admitting to the country’s failings as regard its indigenous population and their ancient heritage (although this is in no way only an Australian problem: America, Europe, and in particular Britain have shown throughout history a blatant disregard for the culture of those people on whose countries it has claimed dominion). As regards Yi-ran-na-li, how can such respect be shown when, as the text also describes the rocks – like Nobbys Island – have been reshaped? Should the fallen rock have been removed? Would it not have been a good idea to leave it as a reminder of cultural ignorance and its consequences? It seems to me there is a strong correlation between failing to listen and speaking when we shouldn’t. Also, the fact the sign contained a few typos didn’t really help as regards the sincerity of its message. I’ve no doubt that it is sincere, but small things like spelling the ‘thre’ undermines its message nevertheless.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Everydayness, Family Hedges, Family History, Hedges, Lines, Silence, Stephen Hedges, Walks

The Road to New South Wales

October 8, 2010 by Nicholas Hedges

On Monday 28th January 1828, a sawyer by the name of Richard Burgess was travelling from Abingdon to Oxford with a cartload of bone for sale in town. On the road to Oxford, Burgess met with three men; Stephen Hedges – a young Abingdon man in his late teens, Henry Stockwell, originally from Aberdeen and a few years older than Hedges, and a man called John Harper. Hedges – described later by Stockwell as the ‘captain’ as regards the events about to follow – asked Burgess if he was going to Oxford and whether he’d carry a parcel for them. Burgess agreed, at which point Harper left the group, while Hedges and Stockwell continued on towards Oxford with the cart.

1875 Map of Radley showing Radley House

Radley House as painted by Turner in 1789

On the Oxford Road, near the lodge of what was then Radley House, Burgess was asked to stop. At first Burgess refused, but relented, stopping as he said later for about five minutes. At that time the house was owned by Sir George Bowyer (who in 1815 had been forced to sell its contents to help his struggling finances) and rented from him by a Mr. Benjamin Kent. When Harper arrived back on the scene with a bag, the three men went off into the gardens.

1875 Map of Radley showing the Lodge and Driveway of Radley House

After five minutes the men returned carrying the bag which Burgess described as being very heavy. What was in the bag, Burgess didn’t know, but given that Stockwell was carrying a piece of lead on his shoulder, it must have been obvious.

The road from Abingdon to Oxford. The parked car on the right marks the spot where Burgess stopped the cart.

A path next to the Oxford Road showing the parked car.

On the way into Oxford, the men – still travelling with Burgess –  met a Charles Jones whereupon, according to Burgess, they engaged in conversation. Burgess went on into Oxford, to Mr. Round’s wharf and near the gates set down the lead and delivered his cargo of bone for weighing. Half an hour later, Stockwell and Jones reappeared and put the lead back on the cart. Burgess asked him where they were going to take it, to which he was told to follow Jones.

Burgess followed Jones up the ‘City Road’ and near the Castle met with Hedges and Harper. They turned back through Butcher Row to the place where the lead was to be delivered, and here, for his trouble Burgess was paid sixpence.

The next day, on Tuesday 29th January, James Smith, servant to Benjamin Kent, discovered three ‘hips’ of the larder roof had been stripped of their lead. Two weeks later, on Wednesday, 13th February, Stephen Hedges appeared in Abingdon before the mayor  T. Knight Esq. on suspicion of stealing lead from an outhouse belonging to B. Morland Esq. (I’m assuming here that B Morland and B. Kent are in fact the same person). He was fully committed to the Bridewell whereas Stockwell and Harper were, at that point, still on the run.

Jackson’s Oxford Journal, Saturday 16th February 1828

Justice however soon caught up with them, and together with Hedges they were tried at the Berkshire Easter Sessions on Tuesday, 15th April. Stephen Hedges and Henry Stockwell were found guilty of stealing 154 lbs of lead. The sentence passed was transportation for a period of 7 years. The report in Jackson’s Oxford Journal makes no mention of Harper’s fate. Charles Jones was acquitted.

Jackson’s Oxford Journal, Saturday 19th April 1828

Having been convicted and sentenced, Hedges and Stockwell were taken to Portsmouth, and on Monday 28th April, received aboard the prison hulk York.

The system of prison hulks had been established by an act of Parliament in 1776 (following the declaration of American Independence which meant the loss of penal colonies there) to ease overcrowding in British prisons. Old warships moored on the Thames and those in other ports, were converted into prisons, and despite the terrible conditions suffered by the prisoners within, the system remained in place for another 80 years.

The prison hulk York from an engraving by E.W. Cooke. The National Maritime Museum, London.

The York, in which Hedges and Stockwell were incarcerated, was the eighth ship in the Navy to bear the name and had once been a 74-gun, third rate of 1,743 tons. Launched in 1807, she’d been posted to the West Indies where she was involved in the capture of the island stronghold of Martinique. She continued the war in the Mediterranean Squadron off Toulon and in 1819, returned to Portsmouth to serve as a prison hulk – home to some 500 inmates.

Entering a hulk was demoralising to say the very least. Prisoners were stripped of their clothes,  after which cold buckets of water were thrown over them. They received their slops and looked on as their own clothes were thrown into the sea – a baptism of their status as a convict and a ‘ceremonial drowning’ of their lives before that time. Finally, they were led into the darkest, foulest-smelling parts of the ship, to await their transportation – the last stage in the process of being forgotten.

The final column of the York’s Muster reads rather ominously: how disposed of?

And this is just what was being done with all the men and women sentenced in this manner. In this column, next to the names of Stephen Hedges and Henry Stockwell, are the words: 24 Jun ’28 NSW; NSW being their final destination – New South Wales.

The York’s documentation also tells us something – albeit somewhat succinctly –about Stephen Hedges’ character. Whereas other prisoners are described as being badly connected, not known here, orderly or good in gaol, Hedges is described simply as bad. To be fair to him however, he wasn’t described as being very bad, which was a term applied to a certain John Head, who was being shipped abroad for 7 years for receiving stolen goods.

Conditions aboard the York were appalling, and Stephen Hedges and Henry Stockwell had to endure them for 2 months before they left for New South Wales, Australia. Finally, on Sunday, 29th June 1828, they left Portsmouth on the convict ship The Marquis of Hastings never to see England, or their families, again.

List of prisoners embarked on the Marquis of Hastings, bound for New South Wales, 27th June 1828

The journey to New South Wales took them 4 months and onboard the ship, travelling with the crew and the prisoners was the ship’s surgeon William Rae, who, as part of his duties, kept a journal of illnesses and treatments suffered throughout the voyage.

The Journal of William Rae at the National Archives, Kew.

Given the length of the voyage, the appalling conditions and the terrible diet the prisoners (and indeed the crew) had to endure, it’s surprising that so few people passed through William Rae’s sick bay. In total, 17 people were in his care during the course of the voyage, of whom 13 were discharged cured and 3 discharged convalescent in Sydney. Only one person died –  from Hydrocephalus (water on the brain).

During the voyage, Rae made notes on the weather which, even in brief descriptions of the clouds, paints a vivid picture of the journey. For example: July 24th 1828. The ship was located at Latitude 10.2o N and Longitude 23.50o S. The temperature was 80oF with a light West-South-Westerly breeze. ‘Cloudy with rain’ Rae has added, in the column marked ‘weather for the day’.

We might not know how it feels to be fettered by the ankles and the waist, locked inside a cramped, stinking space with dozens of other criminals, but we all know the weather. When we read about the conditions suffered by the convicts, it always seems – so long ago did it happen – comparable to a fiction. Strong breeze, squally with rain however is just as much a part of now. When we look at a cumulus cloud as Rae had done, we can get a little closer to the plight of the convicts in the hold.

Plotting the coordinates of the voyage allows us to see the journey. The following stills are taken from Google Earth, in which I plotted Rae’s longitude and latitude.

Stephen Hedges would have had no idea what to expect in Australia, and the same could be said for most of those onboard. Australia itself had only recently emerged from the world of myth. It was still little more than an outline, a vast oubliette for the convicts on board.

On maps throughout the 18th century, Australia’s outlines slowly emerged, as various explorers happened upon her shores. It seems inconceivable that so vast a landmass could ever have been missed, but it just goes to show how big the oceans are by which it is surrounded.

The contrast between its (then) vague geography, its being a kind of oubliette and the realities of the present along with its unforgiving landscape, is something which interests me a great deal.

A map showing an as yet, unmapped east coast of Australia.

After four months at sea, bound for New South Wales, the prisoners disembarked at Sydney, on Tuesday, October 28th.

Stephen Hedges was assigned to James Bowman who’d been appointed principal surgeon for New South Wales after arriving on the John Barry in 1819. By 1832, Bowman had established a sheep run on more than 11,000 acres of land at Ravensworth, Patrick Plains. Hedges may well have been used to help construct it.

Detail from NSW 1828 Census, showing Stephen Hedges being assigned as a labourer to James Bowman at Patrick’s Plains.

On 24th December 1838, Stephen Hedges, now a free man, married Elizabeth Carter in Parramatta, New South Wales.

He died in Australia in 1885, at the age of 74.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Stephen Hedges

Stephen Hedges

October 8, 2010 by Nicholas Hedges

On Monday 28th January 1828, a sawyer by the name of Richard Burgess was travelling from Abingdon to Oxford with a cartload of bone for sale in town. On the road to Oxford, Burgess met with three men; Stephen Hedges – a young Abingdon man in his late teens, Henry Stockwell, originally from Aberdeen and a few years older than Hedges, and a man called John Harper. Hedges – described later by Stockwell as the ‘captain’ as regards the events about to follow – asked Burgess if he was going to Oxford and whether he’d carry a parcel for them. Burgess agreed, at which point Harper left the group, while Hedges and Stockwell continued on towards Oxford with the cart.
On the Oxford Road, near the lodge of what was then Radley House, Burgess was asked to stop. At first Burgess refused, but relented, stopping as he said later for about five minutes. At that time the house was owned by Sir George Bowyer (who in 1815 had been forced to sell its contents to help his struggling finances) and rented from him by a Mr. Benjamin Kent. When Harper arrived back on the scene with a bag, the three men went off into the gardens.
After five minutes the men returned carrying the bag which Burgess described as being very heavy. What was in the bag, Burgess didn’t know, but given that Stockwell was carrying a piece of lead on his shoulder, it must have been obvious.
On the way into Oxford, the men – still travelling with Burgess –  met a Charles Jones whereupon, according to Burgess, they engaged in conversation. Burgess went on into Oxford, to Mr. Round’s wharf and near the gates set down the lead and delivered his cargo of bone for weighing. Half an hour later, Stockwell and Jones reappeared and put the lead back on the cart. Burgess asked him where they were going to take it, to which he was told to follow Jones.
Burges followed Jones up the ‘City Road’ and near the Castle met with Hedges and Harper. They turned back through Butcher Row to the place where the lead was to be delivered, and here, for his trouble Burgess was paid sixpence.
The next day, on Tuesday 29th January, James Smith, servant to Benjamin Kent, discovered three ‘hips’ of the larder roof had been stripped of their lead. Two weeks later, on Wednesday, 13th February, Stephen Hedges appeared in Abingdon before the mayor  T. Knight Esq. on suspicion of stealing lead from an outhouse belonging to B. Morland Esq. (I’m assuming here that B Morland and B. Kent are in fact the same person). He was fully committed to the Bridewell whereas Stockwell and Harper were, at that point, still on the run.
Justice however soon caught up with them, and together with Hedges they were tried at the Berkshire Easter Sessions on Tuesday, 15th April. Stephen Hedges and Henry Stockwell were found guilty of stealing 154 lbs of lead. The sentence passed was transportation for a period of 7 years. The report in Jackson’s Oxford Journal makes no mention of Harper’s fate. Charles Jones was acquitted.
Having been convicted and sentenced, Hedges and Stockwell were taken to Portsmouth, and on Monday 28th April, received aboard the prison hulk York. The hulk system had been established by an act of Parliament in 1776 (following the declaration of American Independence which meant the loss of penal colonies there) to ease overcrowding in British prisons. Old warships moored on the Thames and those in other ports, were converted into prisons, and despite the terrible conditions suffered by the prisoners within, the system remained in place for another 80 years.
The York, in which Hedges and Stockwell were incarcerated, was the eighth ship to bear the name and had once been a 74-gun, third rate of 1,743 tons. Launched in 1807, she’d been posted to the West Indies where she was involved in the capture of the island stronghold of Martinique. She continued the war in the Mediterranean Squadron off Toulon and in 1819, returned to Portsmouth to serve as a prison hulk – home to some 500 inmates.
Entering a hulk was demoralising to say the very least. Stripped of their clothes, cold buckets of water were thrown over the prisoners. They received their slops and looked on as their own clothes were thrown into the sea – a baptism of their status as a convict and a ‘ceremonial drowning’ of their lives before that time. Finally, they were led into the darkest, foulest-smelling parts of the ship, to await their transportation – the last stage in the process of being forgotten.
The final column on the York’s Muster reads rather ominously: how disposed of? And this is just what was being done with all the men and women sentenced in this manner. And written in this column, next to the names of Stephen Hedges and Henry Stockwell, are the words: 24 Jun ’28 NSW.
Conditions on the York were appalling but Hedges and Stockwell had to endure them for 2 months, until Sunday, 29th June 1828, when ‘at last’ they left England aboard The Marquis of Hastings. After four months at sea, bound for New South Wales, the prisoners disembarked at Sydney, on Tuesday, October 28th.
Stephen Hedges was assigned to James Bowman who’d been appointed principal surgeon for New South Wales after arriving on the John Barry in 1819. By 1832, Bowman had established a sheep run on more than 11,000 acres of land at Ravensworth, Patrick Plains. Hedges may well have been used to help construct it.
On 24th December 1838, Stephen Hedges, now a free man, married Elizabeth Carter in Parramatta, New South Wales.
He died in Australia in 1885, at the age of 74.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Stephen Hedges

Lead Walk – Photos

October 4, 2010 by Nicholas Hedges

The following photographs were taken during a walk I made along the route as described in the previous entry Lead Walk – Maps.

The road from Abingdon, down which Richard Burgess drove with his cart of bones for delivery in Oxford.

It was near here, where the red car is parked – slightly hidden from view – that Stephen Hedges and his accomplices asked Richard Burgess to stop, before heading off to steal the 154 lbs of lead. From that moment on, Hedges’ fate – along with that of Henry Stockwell – was sealed.

The entrance to Radley House where the car is parked on the right hand side.

When there were no cars driving past – which didn’t seem very often – I would find myself imagining Stephen Hedges looking around him, just as I was doing. I’d see a bird against the clouds and for a second I was him, walking down the road with the horse and cart. I could almost hear their conversation, muffled as if I had an ear to the ground.

When I did imagine a moment in 1828, for some reason my mind returned to my childhood, to Risinghurst where my Nana lived. I wondered about Stephen’s past and his childhood.

I’ve no idea of course what the clouds were like above the road that fateful day, but with the document I have recording the clouds on the voyage to Australia, the fairweather clouds above seemed ominous.

It wasn’t the safest walk I’ve ever done. Walking has long been forgotten here. But empathising with individuals long since lost to the past can only be done at that speed.

A bin bag. It reminded me of the heavy bag Burgess describes. Little did he know it was full of lead.

A milestone – one you can see if you’re going slowly enough.

Bagley Wood. The same shape it seems as it was in 1828.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Stephen Hedges

Lead Walk – Maps

October 4, 2010 by Nicholas Hedges

On the trail of my ancestor Stephen Hedges (my great, great, great, great uncle) I wanted to walk the route I think he would have travelled (along with Henry Stockwell, J Harper and the innocent Abingdon Sawyer, Richard Burgess) with the lead stolen from what was then Radley Hall or House. Below is a screenshot from Google Earth, showing the route as recorded on my GPS.

The following image is another screenshot from Google Earth, this time with a map of 1811 overlaid and the same GPS route placed over the top.

I was quite surprised how well they married up and below are the same two images combined. What is interesting is how the shape of Bagley Wood has hardly changed.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Maps, Stephen Hedges

Mapping the Voyage of the Marquis of Hastings

October 4, 2010 by Nicholas Hedges

Below is a screenshot of a transcription I’ve made from the journal of William Rae, who served aboard the Marquis of Hastings in 1828 in the capacity of Surgeon. A PDF of the transcription is available here.

On August 16th, Rae states that the Island of Trinidad was in sight. But having looked at the route I’d plotted and then at the location of Trinidad I realised I must have made a mistake. However, on zooming in on Google Earth I found that the location plotted for that day was near the Trindade seachannel, and having searched for Trindade, discovered that on August 16th the ship was in fact in sight of Ilha de Trindade (see image below).

Filed Under: Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Maps, Stephen Hedges

Prison Hulk – York

October 3, 2010 by Nicholas Hedges

Following his conviction at the Berkshire Assizes on 15th April 1828, Stephen Hedges was sent to Portsmouth to serve time before his transportation on the prison hulk, York, pictured below.

This HMS York was the eighth ship to bear the name, and was a 74-gun third rate of 1,743 tons. Launched in 1807, she was posted to the West Indies where she was involved in the bold capture of the island stronghold of Martinique. She continued the war in the Mediterranean Squadron off Toulon and in 1819, returned to Portsmouth to serve as a prison hulk. She was broken up in 1854.

Having researched Hulks, I found the following on the Southern Life website:

“Embarking on board the hulks was a very demoralising affair; the convicts had to climb labourously up with their irons still on, stripped of their clothes, had buckets of cold water thrown over them; were issued with slops, saw their own clothes thrown overboard; were re-chained and then sent down into the lowest deck of the hulk – the darkest and most foul-smelling part of the ship.”

There’s something horribly poetic in the action of throwing the clothes overboard. Roland Barthes, in his book Camera Lucida, said that clothes made a second grave for the loved being. In this case, we could say the grave was that of a drowned man; one made before the man had actually died. Of course in many ways it really did symbolise their deaths.

For a ship with such an illustrious past, there is something pitiful about her condition in the picture above. De-masted and with her sails removed, she has instead the regulation clothes (?) of the inmates to catch the wind. She is very much the outward appearance of those locked away out of view.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Stephen Hedges

The Voyage of The Marquis of Hastings

October 2, 2010 by Nicholas Hedges

After my research in the National Archives, I took the document I’d discovered (the Surgeon’s Journal from teh voyage of the Marquis of Hatings’ 1828 voyage) and plotted the longitude and latitude references into Google Earth. Given that these measurements were taken in 1828, I wasn’t sure what the results would be, but having entered them, I was pleased with what I ended up with.

The voyage began on the 29th June 1828 in Portsmouth. The weather that day is described as ‘Dry, Cirrus, Cirrus Cumuli,’ and the temperature 74F. In reading these tiny details, the moment is straight away prised from the pages of history, as if a character from a fictional tale has, all of a sudden, become reality. They are small details but manage in their succinctness to paint a bigger picture.


Below is a screenshot from Google Earth showing the start of the voyage and the first 7 days of the journey.

One can only guess at what the prisoners must have felt leaving the country for what they surely knew would be the last time. Given the conditions some (including my ancestor, Stephen Hedges) had suffered on the prison hulks (the York in his case) it might have come as some relief that they were finally moving – not that the conditions would be be much of an improvement during the voyage.

Below are screenshots showing the route of the ship, with each yellow pin representing one day of the voyage.

Having mapped the journey in this way, and having read the descriptions of weather and  temperature, the voyage and indeed the ordeal of my ancestor’s Transportation suddenly became more real. It was as if beforehand, the world of 1828 was purely a fiction, and that the names of the towns, islands and landmarks – Portsmouth, The Lizard, Tenerife and Sydney for example – just happened to have the same names as those – unconnected – places in the present day. Suddenly, the world of the past and the world of the present had collided.

The image below shows the last leg of the journey.

The last entry by William Rae (the ship’s surgeon) is dated the 28th October 1828 and reads: ‘nearing the same (Sydney Cove) since the 23rd. Prisoners disembarked.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Stephen Hedges

The National Archives

October 1, 2010 by Nicholas Hedges

I’d never been to the National Archives and had only ever seen it on TV, on Who Do You Think You Are. As I approached the doors, I could almost hear Mark Strong (who narrates the progarmme) say, “Nick is going to the National Archives to find some information on….”

So what information was I looking for? Well, I wanted to find something on the voyage of the Marquis of Hastings, the convict ship which took Stephen Hedges and 177 other felons to Australia in 1828. Having gone through all the first time procedures and having obatined my Reader’s Ticket, I consulted the catalogue and found two documents.

 
I only had time to look at one which was the Surgeon’s Journal (above) written during the voyage by William Rae. This sounded particularly helpful, and although my ancestor wasn’t one of the patients (fortunately for him of course), the document gives a great insight into the prisoners and their health – not least the conditions they must have endured.

Furthermore, the document contains a daily list of longitiude and latitude, wind direction and weather conditions which, for me, is just the sort of thing I wanted to know from an artistic point of view – especially as regards the weather and cloud formations.

I will transcribe some in due course and return to the Archives soon to look at the other documents.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, National Archives, Stephen Hedges

Thoughts about my Nan

September 27, 2010 by Nicholas Hedges

As I stood in the church hall following the service of thanksgiving for my Nan who died on September 16th at the age of 98, I looked towards the stage at the back of the hall, through the door on the left hand side and into the short corridor behind. At that moment, in a split second, a number of memories crashed down around me, as if the way I was standing – the shape of my body – had unlocked the door behind which they’d been piled. The Christmas Bazaar, when I was a child was one of them, in particular the lucky dip box filled with sawdust and prizes. That was the first. It had stood there, just before the stage near the steps. I can still smell the sawdust; I can feel it on my hands as I search, in my mind, for a prize. Father Christmas had always made an appearance and would hand out gifts in his grotto. It was, in many ways when Christmas began, even though it was always held in the last week of November. It was at the Christmas Bazaar that I bought Nan a hideous ornament – china flowers in a china pot; gaudy coloured and chipped.

When I heard my Nan had died (I was on holiday in Spain at the time) my mind, for some reason, took me into the room which once ran the width of the church behind the large cross at the front. It was once an open gallery (you can see it in a photo of my aunt and uncle’s wedding), but had long since been blocked off from the church. Back then, when I was a child, it was always full of junk. It was where Father Christmas has his Grotto, and whatever the time of year, there was something of Grotto about it, with or without the old man in the red suit.

Back in the hall on the day of my Nan’s funeral, I could see the stage in my mind’s eye complete with the box at the front, one which ran the length of the stage, which when it was opened revealed a long line of lightbulbs. When I was a child, most of the bulbs were missing. You could see the sockets and the wires, but they hadn’t been used for years. There was a lighting box on the left hand side – just before the door through which I was looking – in which the old switches and levers had become grown over with time. In the single wooden panel, dividing it from the stage, was a hole through which you could see what was going on. My cousin and I had operated a tape player in there, some time in the mid 1980s for the performance of a pantomime whose name for the moment escapes me.

Inevitably, as I write, my thoughts are going to wander, as one memory leads to another, but back on the day of my Nan’s funeral, I thought about what I’d just remembered; the lucky dip, the Christmas Bazaar and the lightbulbs underneath the box. These were not isolated memories, they didn’t come to me like pictures in a gallery, one after the other. Instead they were physical and part of a web of memories, the threads of which seemed to vibrate with all that I had felt and experienced before. For a moment, when I moved, I could almost feel them again, I could hear the hubbub of the bazaar, see the stalls piled with jumble and the Christmas decorations hanging above. I was in the company of people who’d long since gone.

The photo below is of my Aunt and Uncle’s wedding reception, which took place in the hall. Very little has changed, apart from all the people.

Back to the day my Nan died – it’s interesting that my first thought was of the room immediately behind the church, but hardly surprising when you consider, that along with my Grandad, she’d lived in a house just opposite the hall. The house and the church were linked by Sundays, on which day we would cross the road to the house to select our sweets from the sweet-tin. Bon-bons, lemon sherbets, candied peanuts, mint imperials… we could choose 5, 6 or 7; the number changed from week to week. I can see the tin now – a round biscuit tin, I can hear the sweets rattle as the lid is prised off.

 Whenever we slept at Nan’s, my brother and I would find paper bags beneath our pillows in the morning, with a few sweets inside. Before bed, we’d have Ritz biscuits and grated cheese whilst watching TV. The television was one that had to warm up before the picture was fully revealed. I’m always reminded of Boxing Day when I think of the front room. That and the Two Ronnies – and in particular the Phantom Raspberry Blower. Seaside Summer Special too. I can feel the texture of the chairs and the sofa. It’s the afternoon on Boxing Day as I think of it now, and while some have gone to the football, everyone else stays in the warm, getting things ready for tea; cold meats, pickles etc.

I remember once, when I was 5 or 6, when my brother and I slept over at my Nan’s. It was in the summer, late at night. The night was warm and a storm was brewing. We couldn’t sleep and at about 11 or 12 o’clock, my Nan came upstairs and asked if we wanted to run around in the garden. Of course we did, and so out we went, into the garden with Nan as the storm approached. It was a simple thing, but in many ways a magical one. Back then, as can be seen from the photograph above, there was a large apple tree in the garden which I remember vividly that night. It’s gone now. A house has been built on top.

In the 1980s, the church was remodelled, with the space between the church and the church hall – which until then had been open to the elements – covered over. Many of the rooms were also remodelled. It was necessary, and no doubt it made the church more comfortable, but of course something was inevitably lost as a result, just as it was when the church itself was changed several years before. The corridor down which I’d looked from the front of the church hall, had once been part of a single room in which we had our Sunday school classes. I remember the tiny chairs and the out-of-tune piano in the corner. Leaving this room, you’d find yourself outside. A door straight ahead led to the toilet (always cold and full of spiders) and one to the left into the gallery room – or Santa’s Grotto. To the left, after the door to the Gallery Room and the just before the loo, a flight of metal steps led down to the church. A green gate blocked the way to the street, while the steps themselves were hazardous by today’s standards, especially in winter. I can still hear the sound they made as you walked down. At the bottom, you turned left and in front of you was another room (The Fellowship Room) and another toilet opposite (even colder and with even more spiders). In my mind it’s always damp here. I can always see puddles outside, and in the Fellowship Room there is the smell of old clothes; costumes which were always kept in a walk-in cupboard (blankets for Shepherds in the Nativity).

Filed Under: Family History Tagged With: Death, Family History, Memory, Nan

Convict Trail III

September 26, 2010 by Nicholas Hedges

Having written to Radley College about my project, I received some very helpful information for which I’m very grateful. I was interested to know the location of Sir G.Bowyer’s lodge, next to which Richard Burgess was asked to stop by Stephen Hedges and his co-conspirators. Below is a map from 1875 showing St. Peter’s College, of which Radley Hall or House is a part. The house is circled in yellow. To the far left, is the lodge circled in green, at the end of a drive which leads out to the Oxford Road.

Below are two details taken from the map; first the lodge…

and then the house…

I think therefore we can assume that Richard Burgess was taking the route I suggested from Abingdon to Oxford. He stopped outside the Lodge whereupon Stephen Hedges, Stockwell and Harper left him to steal the lead from the ‘larder.’ The location of the larder is perhaps a little more difficult to ascertain. Benjamin Kent, who was renting the property from Sir George Bowyer, stated that the larder was about 100 yards from the ‘office’. In the painting of Radley Hall below, made by Turner in 1789 when he was just 14 years old, there is a collection a outbuildings on the left hand side, near to which, perhaps, the larder stood. Having stopped at the Lodge, Hedges and his accomplices left with a bag and returned five minutes later with the lead. If the larder was near the house, they must have worked very quickly to get to the larder, strip the roof, and return to the cart, suggesting perhaps they were well practiced in their ‘art’.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Maps, Stephen Hedges

Convict Trail II

September 24, 2010 by Nicholas Hedges

This afternoon I visited the library and found a map of Radley and its surrounds dating from 1811; 17 years before Stephen Hedges stole the lead from Radley Hall. On the map, Radley Hall (or House) is shown, along with a road – or drive – leading up, which, I think, corresponds to the satellite view I posted previously.

First the satellite view again:

And next, the 1811 map:

This map is aligned a little differently, but Radley Hall is circled in yellow and the drive indicated by the yellow arrow corresponds to that shown by the white arrow on the left hand side in the picture above. I’m not sure if the Lodge was located here, but the drive extends from the Oxford Road and would (I assume) have been the route taken by Richard Burgess on his way from Abingdon to Oxford. A little more research will be needed.

Having stolen the lead, I again assume that they would have travelled into the city via the Oxford Road through Bagley Wood, down Hinksey Hill and up the Abingdon Road. Once in the city, they made their way to the castle precincts and turned back up Butcher Row (modern day Queen Street) as indicated by the newspaper report. Of course I cannot be sure that this is how they travelled, but it seems much more likely compared with what I’d thought earlier.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Maps, Stephen Hedges

Convict Trail

September 24, 2010 by Nicholas Hedges

Prior to my residency in Australia, I want to trace – as far as I can – the route my ancestor, Stephen Hedges, took with the lead stolen from Radley Hall. Radley Hall is now part of Radley College and in the newspaper article regarding the trial, the name of Sir G.Bowyer is given as the proprieter. Having Googled him, I was led to Wikipedia, where I discovered that he – George – was a Baronet and MP for Abingdon. In 1815, financial difficulties forced him to sell the contents of Radley Hall and by 1828, the house was being rented to Mr. Benjamin Kent. The article states that Richard Burgess – a sawyer – who was on his way from Abingdon to Oxford with a cart, met the defendents – Stockwell, Hedges and Harper – who asked if he could carry a parcel for them. He was asked to stop later on next to ‘Sir G. Bowyer’s Lodge’, after which the defendents went into a ‘plantation’ and returned with a heavy bag (full of lead).

Discovering the location of the Lodge will be important in helping me establish the route taken and looking at Google Maps, I have spotted a couple of possible locations for the old driveway. On the map below, the 18th century mansion is indicated with a yellow arrow, and the possible driveways with white arrows.

To be sure, I’ll need to try and find a map of the area as near to 1828 as I can, which means a trip to the library.

Filed Under: A Line Drawn in Water, Artist in Residence Tagged With: A Line Drawn In Water, Artist in Residence, Australia, Family Hedges, Family History, Hedges, Maps, Stephen Hedges

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