Nicholas Hedges

Art, Writing and Research

Day 11

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I’ve been looking at my work so far and have started to think about what I will have to show and how I will show it.

“The Smell of an English Summer 1916 (Fresh Cut Grass)”
Deckchairs and Graphite
This piece takes the memory of a thing (in this case, lazy summer’s days before the outbreak of World War One) and using objects to symbolise this thing (e.g. deckchairs), reinterpret the objects so that they come to represent something new (the horrors of war, the hopeless wish for peace).

“Broken Hayes”
Oil, Pencil and Graphite on Canvas
This canvas will be covered with words written on each of the walks that I’ll make over the coming days, and where the words are crossed out on successive walks, so they’ll be rubbed out on the canvas, much like the names on old tombstones, smoothed over by feet. This link with feet, fits with the walks themselves.

The title ‘Broken Hayes’ is the old name for Gloucester Green and describes a place which, in a sense, no longer exists, although, like the ghostly dwellings on John Gwynn’s survey (1772) it’s ‘footprint’ is still visible in the boundaries of the Green. Many of the items rubbed out on the canvas no longer exist in the places where I ‘found’ them; they are, in name only memories, just like Broken Hayes, yet like the physical aspect of that place, they still exist.

“The Light of the Moon “
Found Disposable Cups, Graphite and Water
This will be an installation of paper cups found in the city centre. The contents of each have all been consumed by tourists and residents alike; people who now might be spread throughout the globe. This fits with Dogen Zenji’s quote: “The light of the moon covers the earth, yet it can be contained in a single bowl of water.”

Also, the act of looking in bins to make this installation has been interesting in that when I’m walking through town, I’m sure that no-one is looking; I’m just a part of the mass of people. Yet when I start rummaging through bins, I feel as if everyone is looking at me – I feel like an individual, a ‘single bowl of water.’
I’ve also started the walks again now that I know what I’m looking to do. I’m following the same route, the first words of which are as follows:

engine purrs
yellow clothes
hiss
reverse warning sounds
food
pie ‘n’ pint
Leffe
thumbs up
zebra crossing
fat stomach
boarded windows
hooded top
red car waits
suitcases
red
red and amber
two police officers
Jericho voyager
piggy back ride
two trees
tinny music
diagonal shadow
man crouches
iron gate
French flag
wedding party
green man disappears
404
empty street
shopping bags
new confetti
castle tower
child’s coat
discarded blanket
child cries
letterbox
old confetti
empty cycle tracks
gate slams
footsteps
sandals
sun shines on houses
arch
birdsong
gentle sound of water
a bird calls
Russians
dirty water
weir
sand
paving slabs
gravel
litter
ancient windows
lifebuoy
sun sparkles
car turns right
a distant siren
118
drowned bicycle
submerged traffic cone
plastic bags
old walls
the stain of a splash
weeds
petals
little Derick’s doin ok
car starts
CCTV
arrow
concrete monster
an old acquaintance
conversation
posters
bricks
plaster cast
scaffolding
balloon
bird shit
pigeon
cigarette ends
e3
steps
strong shadow
church bells
green lights
Leffe beer
doorbell
barbed wire
satellite dish
green spire
traffic noise
birdsong
no.2
no.3
ivy
gutter
no.4
plastic sheet
step over the gutter
half-painted
parking ticket
dragon
no.8
red bins
mixed glass only
arch in the wall
disinfectant
litter bin
suitcase
red door
blue door
bicycle
pillar box
plastic bottle
checking a map
confused faces
popcorn
French flags
pink sandals
ham
long queue
luminous jacket
engine purrs
telephone boxes
laughter

The prose version:

An engine purrs. A woman with yellow clothes walks towards me. The hiss of a bus’s brakes, and then its reverse warning sounds, telling of its departure. Outside the pub on a blackboard food is advertised; a pie ‘n’ pint. Leffe is also served here. A man gives a thumbs up as I cross the zebra crossing. A man with a fat stomach walks towards and then past me. Ahead, on the opposite side of the street, a shop and a restaurant stand empty with boarded windows. A young man with a hooded top saunters down the road while a red car waits at the traffic lights. I see people with suitcases making their way to the train station. The lights are red, then red and amber and the traffic moves. Two police officers are on patrol. A bus called the Jericho voyager drives past and a man gives his daughter a piggy back ride. There are two trees on this side of the street. I hear tinny music come from a car, while up ahead, a diagonal shadow cuts the pavement in two. Up another road, in the distance, a man crouches. I walk past an iron gate and on some railings see a French flag – a poster advertising a market. A wedding party stands on the pavement. The green man disappears just before I reach the road and so I wait a while. On the lamppost, a sticker with 404 has been stuck on. I look up the empty street towards the city centre. A couple carry identical shopping bags, happy with their purchases. I cross the road and see new confetti littering the pavement. One of the wedding guests talks about sales. Ahead is the castle tower. A child’s lost coat hangs on a bollard and nearby lies a discarded blanket. Up ahead, a child cries. I look; a letterbox takes my attention for some reason. On the pavement, old confetti appears stuck down. There’s a row of empty cycle tracks. The street is quiet, a gate slams and I hear footsteps. A man wearing sandals walks towards me. Round the corner, the sun shines on houses and ahead I see an arch over the entrance to a courtyard. Birdsong is mixed with the gentle sound of water. A bird calls and a group of Russians talk as they walk past. Dirty water gathers at the weir. On the road, a cordon contains sand, paving slabs and gravel. There’s litter too. Above me, the ancient windows of the tower look out. A lifebuoy waits for an emergency while the sun sparkles on the water. A car turns right and I hear a distant siren 118 is written on a sign. I don’t look at the rest of it. Below the bridge is a drowned bicycle and a submerged traffic cone. There are some old plastic bags snared in the branches. I walk beside the old walls. On the pavement is the stain of a splash just where the weeds grow and where petals gather like the paper confetti. Little Derick’s doin ok – a scrawled message on a hoarding says. I wonder who he is. A car starts and on the wall of a building I’m made aware of CCTV. An arrow points towards another road while up ahead, the concrete monster looms large. An old acquaintance appears on his bike and we engage in conversation, mainly about the weather. Posters look tatty beside that ugly building – all bricks and shadow. A man with plaster cast on his arm waits while scaffolding is erected nearby. Are they going to knock the ugly stuff down? I wish they would. A balloon bobs on the opposite side of the street but on my side it’s all bird shit. A pigeon scuttles across the path, in amongst the cigarette ends. E3 says a sign at one of the bus stops. Ahead I see the steps I’ll walk up. A strong shadow cuts across and in the distance I hear church bells – a wedding perhaps? Green lights but I cross anyway, there’s no traffic. A bottle of Leffe beer has been left by the steps. There’s a doorbell waiting for a visitor, but above it a roll of barbed wire warns against intrusion. A satellite dish sits silently on the wall of another house and above it, a green spire shoots like some massive flower. Here it’s traffic noise and birdsong. I pass lampposts no.2 and no.3 and see ivy clambering over the wall like a thief. Below the gutter runs, as if unsure of its path. Lamppost no.4. Like the ivy, a plastic sheet escapes over another wall. I see an old step over the lost gutter which now goes nowhere. Ahead is a half-painted bollard. A parking ticket has been left on a car parked on double-yellow lines. The driver’s seat is decorated with a dragon. Here is lamppost no.8 and a gathering of red bins. Mixed glass only says one of them. I notice an arch in the wall just as the smell of disinfectant fills the air; someone is cleaning. Ahead is a litter bin past which a man pulls a suitcase. I pass a red door then a blue door, a bicycle and a pillar box. On the pavement is a plastic bottle. I round the corner and see two people checking a map. There are a few confused faces. On the pavement is a load of spilled popcorn. There are French flags again. The market’s here. A girl in pink sandals walks towards me and I walk past a stall selling ham and on towards a long queue which snakes its way down one side of the square. A man in a luminous jacket walks past me. An engine purrs. Ahead, three telephone boxes wait for conversation, but for the moment, there’s just the sound of laughter.

The Unknown Soldier

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“The Post Office Rifles and the 6th Battalion – ‘the Cast-Iron Sixth – in turn would then pass through their lines to continue the advance to the next objectives on the downward slope of the ridge, the ‘Cough Drop,’ also known as ‘Leicester Square’, and the ‘Starfish Line’. The London Irish and the Poplar and Stepney Rifles were to lead the advance to the west of High Wood, before being succeeded by the 19th and 20th Battalions. ‘The postmen from quiet little hamlets or clerks who had spent their lives hitherto in snug offices, talked about these future regimental mortuaries with the homely names with astonishing calmness…'”

What struck me about this quote from Neil Hanson’s book, was how soldiers used the names of well known and familiar places, to name those places which were not only unfamiliar, but also terrifying, often places of horror and death on a scale which could never be imagined within those more familiar places back home. Trenches were named in a similar fashion: Oxford Circus, Oxford Street, George Street, Broad Street and so on.

“By day, the screams and groans of the wounded and dying had been drowned by the deafening clamour of the battle. At nightfall, though still counterpointed by the rumble of the guns, their pitiful cries and please for help could be hear echoing through the shattered wood…”

This quote reiterates how this war was a war of sounds; how men could be reduced to tears and much worse by sounds; those of the incessant shells or the solitary man crying in a dark wood.

“‘The reading of the battalion roll-call must have broken the hearts of all who heard it – ‘a hollow square of jaded, muddy figures… A strong voice… calls one name after another from a Roll lit by a fluttering candle, shaded by the hand of one of the remaining Sergeant Majors.’ Name after name went unanswered; each silence, another man wounded, missing or dead.'”

This very poignant passage reminded me of some text-based work I did whilst investigating the site of Auschwitz-Birkenau. These text-based pieces started as free-written prose and through a process of increasing the spacing between the letters changed to become squares where the words were reduced to a scattering of letters. As soon as I read the words ‘a hollow square’ I thought at once of those.

The Unknown Soldier

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“The Post Office Rifles and the 6th Battalion – ‘the Cast-Iron Sixth – in turn would then pass through their lines to continue the advance to the next objectives on the downward slope of the ridge, the ‘Cough Drop,’ also known as ‘Leicester Square’, and the ‘Starfish Line’. The London Irish and the Poplar and Stepney Rifles were to lead the advance to the west of High Wood, before being succeeded by the 19th and 20th Battalions. ‘The postmen from quiet little hamlets or clerks who had spent their lives hitherto in snug offices, talked about these future regimental mortuaries with the homely names with astonishing calmness…'”

“By day, the screams and groans of the wounded and dying had been drowned by the deafening clamour of the battle. At nightfall, though still counterpointed by the rumble of the guns, their pitiful cries and please for help could be hear echoing through the shattered wood…”

“‘The reading of the battalion roll-call must have broken the hearts of all who heard it – ‘a hollow square of jaded, muddy figures… A strong voice… calls one name after another from a Roll lit by a fluttering candle, shaded by the hand of one of the remaining Sergeant Majors.’ Name after name went unanswered; each silence, another man wounded, missing or dead.'”

Silence

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It was after reading a poem by Edmund Blunden that I started to think much more about silence as a space in which to remember. In ‘1916 seen from 1921,’ we get a glimpse of what it was like for Blunden, for a survivor of the Great War, as he looks back at the horrors of the conflict and ahead towards the future.

“…Those ruined houses seared themselves in me,
Passionate I look for their dumb story still,
And the charred stub outspeaks the living tree…”

In my previous entry, ‘Night and Day’ I touched on emptiness as a means by which we (or a place) might best remember an event or events:

“It is better to form one’s memory loci in a deserted and solitary place, for crowds of passing people tend to weaken the impression…”

Emptiness equates of course with silence, and, particularly in the case of the war, and all proceeding wars, silence is the means by which we collectively remember those who lost their lives. It is only now, having visited Auschwitz-Birkenau and Ieper, that I see the two minutes silence as a metaphor for the holes left by those who died; holes made by the absence of sound, the absence of voices. It is not only our voices which are stopped as we remember, but rather those of the dead.

Maps and Walking

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The main theme of much of my work has so far been the Holocaust and in particular its sites, such as those at Auschwitz-Birkenau, Belzec and Babi Yar. I’ve also been studying memory and how memories within objects and buildings might allow us a glimpse of the past; a theme which has fascinated me ever since I was a child. It was through reading Bill Viola’s writings a few months back that I was reminded of the mnemonic techniques practiced by the ancient Greeks:

“The idea of art as a kind of diagram has for the most part not made it down from the Middle Ages into modern European Consciousness. The Renaissance was the turning point… The structural aspect of art, and the idea of a ‘data-space’ was preserved through the Renaissance however in the continued relations between image and architecture. Painting became an architectural, spatial form which the viewer experienced by physically walking through it. The older concept of an idea and an image architecture, a memory ‘place’ like the mnemonic temples of the Greeks is carried through in the great European cathedrals and palaces, as is the relation between memory, spatial movement and storage (recording) of ideas.”

When I first read this quote, I was at the time researching The University Parks in Oxford, and in particular examining the plaques on the benches. I realised then, that my act of walking and ‘remembering’ those who have passed away, was in a broad and rather loose sense, like walking through one of those ‘mnemonic temples’ albeit in a physical sense. I was constructing a bigger picture of the place.

More recently, walking has started to play an important role in my work on the Holocaust (one of the themes which has struck me through my research has been that of walking. Many photos of the Holocaust show people walking, usually, and tragically, to their deaths). I’ve started to look at the Operation Reinhard camps and in particular Belzec. Laurence Rees, in his book, ‘Auschwitz’, describes the unimaginable scale of death and contrasts it with the disproportionately tiny size of Belzec Death Camp, which measured less less than 300m x 300m. I knew this was a small size, but it wasn’t until I walked around some familiar spaces in Oxford – including the University Parks – that I realised just how small it was.

Since then I’ve started looking for more evidence of the size of Belzec (and other camps) so that I might walk specific distances around the city, and have since discovered a number of maps drawn by survivors, SS men and archaeologists. These roughly sketched maps, these ‘memories,’ are a poignant reminder of the camp’s existence and might help me in my attempts to bring people closer to the Holocaust, which should never be forgotten.

“All things fade away in time, but time itself is made fadeless and undying by recollection.” Apollonius of Tyana
“We have to describe and to explain a building the upper story of which was erected in the nineteenth century; the ground-floor dates from the sixteenth century, and a careful examination of the masonry discloses the fact that it was reconstructed from a dwelling-tower of the eleventh century. In the cellar we discover Roman foundation walls, and under the cellar a filled-in cave, in the floor of which stone tool are found and remnants of glacial fauna is the layers below… Not only our memories, but the things we have forgotten are ‘housed’.” C.G. Jung
“Memory, whether individual or generational, political or public is always more than the prison house of the past.” Andreas Huyssen

Here I must return to the ancient Greeks and their mnenomic temples. With a place or loci, such as a house, fixed in the mind, the person remembering would place various objects in its rooms (“…what I have spoken of as being done in a house can also be done in public buildings, or on a long journey, or going through a city…”), objects which by association would remind them of part of the whole thing – such as a speech – to be remembered. Here I saw at once a correlation with my work on Belzec. The ancient Greeks were walking as a means of remembering, of not forgetting; their memory loci were in effect maps which one could sketch, maps of the mind. Therefore, the maps drawn by survivors, are in effect maps of their minds and bring us closer to the horrors of the time – closer to the individuals who suffered.

The fact that objects were used to create associations, and therefore build (through ‘walking’) a bigger ‘picture’ of something also fits in with the recent work I’ve been doing on Auschwitz, looking at the possessions left by the victims and trying to build a picture of the individuals before the Holocaust, to see them not only as victims, but people who lived lives before its horror.

Through walking distances which I’ve taken from descriptions of the camp, I have found myself walking back into my own past and the past of the city in general; for example, walking the route of Cuckoo Lane and the Old London Road at Shotover. My own past confirms my individuality and the past of the city confirms my place as a small part in the mass of memories associated with this place (this also correlates with my work on Auschwitz, trying to find the individuals amongst the huge number of dead, individual possessions from amongst the mountains, names rather than inconceivable numbers). The fact these walks have been derived from a map or a description of Belzec, helps me to identify further with the individuals who suffered there; not because I can in anyway conceive of their suffering – no-one could ever imagine the horrors they endured – but because I can imagine their own pasts and that of the places they knew so well, places from which they were taken to their deaths.

Bill Viola

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From ‘Reasons for Knocking at an Empty House – Writings 1973 – 1994’

“Chartres and other edifices like it have been described as ‘music frozen in stone’. References to sound and acoustics are twofold. Not only are there the actual sonic characteristics of the cavernous interior, but the form and structure of the building itself reflects the principles of sacred proportion and universal harmony – a sort of ‘acoustics of acoustics’. When one enters a Gothic sanctuary, it is immediately noticeable that sound commands the space. This is not just a simple echo effect at work, but rather all sounds, no matter how near, far or loud, appear to be originating at the same place. They seem to be detached from the immediate scene, floating somewhere where the point of view has become the entire space.”

© Nicholas Hedges 2024