I’ve been thinking these last few weeks about a new body of work based on the First World War. For a long time – as will be evident from my blog – I’ve been looking at ways of using the backdrops of numerous World War I postcards.
A quote from Paul Fussell has been especially helpful in this regard.
“…if the opposite of war is peace, the opposite of experiencing moments of war is proposing moments of pastoral.”
The images on the backdrops are these proposed moments.
As a contemporary artist living so long after the war, it is of course impossible for me to create works about the war itself. What I can do however is comment on my relationship to the war (and those affected by it) by creating scenes – pastoral scenes – which use as their starting point the backdrops of World War I postcards.
The pastoral will, therefore, be articulated through the language of war.
These pastoral images will, predominantly, be woodscapes based on places I have visited over the last few years including Hafodyrynys (where my great-great-uncle, Jonah Rogers (1892-1915) grew up), Verdun and the Somme. They might contain – to quote Rilke – ‘…temple columns, ruins of castles’ as per the slightly less pastoral backdrops. They will be devoid of people; the soldiers absent as if they had melted into the backdrops – as if these pastoral scenes represent the Keening landscape of Rilke’s Duino Elegies.
As I’ve written before: it is this absence which the trees express so silently, so eloquently. As Rilke so perfectly puts it:
‘Look, trees exist.
The houses we live in continue to stand. Only we
pass away like air traded for air and everything
conspires to maintain silence about us, perhaps
half out of shame, half out of unspeakable hope.’
The woods I paint will be based, as I’ve said, on those places I have visited as well as those idealised scenes in front of which the soldiers stand in the postcards. They will be – as Richard Hayman puts it – woods “poised between reality and imagination…” – shame and unspeakable hope.
Again as I’ve written before: After the war, the sense of emptiness must have been everywhere. Every insignificant moment – barely acknowledged before the war – now pregnant with a sense of incomprehensible loss. The world, outwardly the same, had shifted just a little, but it had taken the lives of millions to push it there.
There is in this text a sense of absence but also of movement, of continuation – however slight or small (something I want to record in my work). And there’s a link between this and a quote from William Wordsworth who wrote in his Guide to the District of the Lakes: we can only imagine ‘the primeval woods shedding and renewing their leaves with no human eye to notice or human heart to regret or welcome the change.’ I somehow want to turn this quote on its head and borrow from Rilke, who in his Duino Elegies describes the towering trees of tears. I want to paint scenes where there are no people, but in which their absence is recorded, primarily by the trees silently remembering.
“The painter sees the trees, the trees see the painter.”
