Pitted metal, sinking, taking its stories down. Broken remnants of an excavation that shattered our bonds with this earth.
And now we pit ourselves against the tide of time, to build a fire once more. Our fingers and minds picking and unpicking, scratching and collecting.
In order to get on with designing forward-looking schools activities I felt a strong need to first make some work about the industrial past of Bolton Fell Moss. This is enabling me to consider and process the history of the site, freeing myself to move on in my creative mind.
Often we only understand a place in the context of what we can see there now, but the now is built on layers and layers of history. To understand a place more fully, we need to go back in time. This is particularly true of a peat bog.
I anchored Determined pasts around rusted metal fragments scavenged from the peat bog, left behind when the peat excavation came to an end. I think I have coined a new term: peatcombing. A Google search for the word reports that “it looks like there aren’t many great matches for your search”, which is a rare and rather lovely thing to read.
I embellished these industrial remnants of peat excavation with waxed linen, a natural, malleable material. The colours of the thread are inspired by field visits to the bog, evident in the flora and fauna and the huge sky it shares with all of us.
By weaving the colours of a bright future around the redundant machinery parts I am wrapping up the destructive, invasive history, swathing and choking it with our newfound determination, our will to change things for the better. I am packing it away into the past and changing its context, but preserving its memory for a new and thoughtful audience.
Borrowing from ancient craft techniques, like weaving and basketwork, lends these pieces the aesthetic of archaeological relics or talismen. They toy with our recognition of time, seeming older than their rusty components, like trinkets from a pre-mechanised age. They blur the boundary between artworks and artefacts, between gallery pieces and museum exhibits.
And so I look back into the past and forward to the future. Understanding the long, deep passage of time, well beyond our own generation, is crucial in our quest to protect and nurture our peatbog environments.
Anne is one of the PLACE collective artists working on Moss of Many Layers. As part of her work, she is running creative activities with young people from nearby schools, helping them enjoy and engage with Bolton Fell Moss, a peat bog in north east Cumbria. The bog has been intensively excavated and depleted, the peat extracted for compost over a number of years, resulting in severe degradation. It is now a National Nature Reserve, and is being slowly restored.
We’re so excited to announce 3 opportunities to carry out practice-led research from May-November 2022, connecting with the wider Deep Time programme, and focusing on the west coast of Cumbria.
The PLACE Collective will be working with the Deep Time programme, Copeland Borough Council and the University of Cumbria, to support three artists in residence and to connect them with researchers at the Centre for National Parks and Protected areas for their period of residency.
Residency: May – November 2022
Deadline for application: May 8th, 2022
Artist award: £5000
For details about the residency, including dates for research and engagement and potential for involvement in the wider Deep Time project, and notes on how to apply, please download the PDF.
Deep Time: Commissions for the Lake District Coast is a major new public art programme for Copeland in West Cumbria. Launching in September 2022, the project will see 6 new artists commissions installed along 60km of the Irish Sea, proposals by international artists for a major new landmark artwork, and a series of new writing commissions. Deep Time also includes a curated programme of film, talks, performances and site-specific artworks to be launched during the opening weekend in mid-September.
The practice-led research residencies will provide an opportunity for three artists / creative and cultural practitioners to carry out a period of research by embedding themselves in the West Cumbrian landscape. Copeland is home to four of the thirteen valleys of the UNESCO Lake District World Heritage site, Wast Water (England’s deepest lake), and Scafell Pike (England’s highest mountain). The borough also takes in the iconic Sellafield nuclear site, the Georgian town of Whitehaven and historic landmarks including Muncaster Castle, Ravenglass, and remains of Roman occupation.
The selected artists / creative and cultural practitioners will be partnered with an academic/researcher from the CNPPA (Centre for National Parks and Protected Areas) to frame their research within one of the CNPPA’s four research strands: (1) cultural landscapes, (2) wildlife conservation and ecology, (3) rural and visitor economy and (4) human-nature relationships. The academic will be selected in consultation between the resident artist, and University staff.
Our aim is to explore Copeland and expand upon the core themes of the arts programme, including its rich history of geology and mineral extraction, the ‘deep time’ evoked by the presence of the nuclear industry, and the cultural heritage of rural dwelling and patterns of land use over the centuries.
As part of the NERC-funded ‘Moss of Many Layers’ project, Helen has been commissioned to create an artist map of Bolton Fell Moss – a 400-hectare site that has experienced large-scale peat extraction and is now being restored. Helen’s map will show the bog’s industrial peat cutting heritage, ongoing restoration, and its future state as a National Nature Reserve, which will also be a massive carbon sink.
Helen has been busy researching from a distance, and has been talking to other members of the Moss of Many Layers team and was finally able to visit the bog to find out for herself just how it looks and feels. The blog is Helen’s description of her day there last week when she visited with Rob Fraser (photographer).
“We walk over the old milling grounds to the Reserve Field, the four of us – the current warden, the volunteer (an ex-warden), the artist and mapmaker. Most of us know the lines of this land. I do not.
I have mapped it in my head, of course, researching online, digitally flicking through the yellowing pages of ancient books written in Cumbrian dialect and old land documents. I have an idea of Bolton Fell Moss but, like those papers viewed through a screen, that idea misses any kind of real life energy.
Now I’m here.
It’s different to how I’d imagined. Wide skies. Less bleak. Parts are still scarred a burnt black, as if scorched. The evidence of peat milling shows as giant scrapes across the land but in places, those lines are softening with moss and rush, or silvered with water reflecting the early spring clouds. The landscape has shifted to something else over the past few years as it’s started to recover.
We stand on the Reserve – the small part of the Moss that was untouched by industry. To demonstrate the surface instability, the warden and the volunteer jump up and down. As they land, I watch ripples spread out across the mounds of moss like a small earthquake. This whole world feels like a strange but perfect animal – part plant, earth and water and forever moving. The sphagnum moss on the surface holds water like a sponge, keeping the peat underneath it wet; exactly how it needs to be for the bog to act as a carbon sink and for its delicate ecology to survive.
We walk further. It’s clear we’re not alone and share this space with many others. We hear the bubbling call of the curlews before we see them. Blunt tailed, they fly as a pair, their scythe-like beaks almost half the size of their bodies. They’re an unlikely-looking bird for sure.
A hare sits against the black earth in the distance. She turns her pale eyes towards us – and then she is gone.
Against the sphagnum and the silver heathers basks an adder, his back a graphic pattern of blacks and whites. The bog trembles as we step closer. The snake must be able to feel us but the sun is too seductive and he flattens his body some more against the highest hillock. We walk on. When I turn back, I’ve lost him, camouflaged against the grey of the ling. The warden finds the spot again, practised in reading the mounds of moss like a sailor can read the waves.
The volunteer and warden offer to take a core from the bog for us. A huge pipe, open on one side, perhaps a couple of centimetres in diameter and many metres in length, is slowly twisted into the ground like a corkscrew. The pipe is pushed down through, perhaps, 8 metres of peat until it hits the bottom. They pull it out with a cheer, as if unbottling champagne. Inside the core it’s clear to see the layers of peat changing in colour and texture as climate and interaction with the land has changed. This place has always been shifting.
At the very bottom of the core sits grey glacial mud full of tiny stones. It comes from a shallow lake that must have been here during the Holocene. I scrape some of the clay out and ball it in my hands, pushing my thumbs in to make a simple pot. An age-old human interaction with the earth.
The colour of the layers in the core rises to warm, wet browns of moss and plant debris that once fell into that lake, eventually to compact and create peat. I find an 8,000 year old birch twig, its bark still preserved, and the husk of a seed, the ghost of a life.
Rob and I tread the boardwalk to a small central island of trees to take photographs. The boardwalk is being relaid and there’s a smell of fresh cut pine. It mixes with the yellowgreen scents of the Moss, cut with sharp ice off the Fells and the warmth of valley silage. The wind brings the calls of lapwing and greylag geese.
We sit on a massive bog oak that reclines languidly now, although at one point, no doubt, it was pulled roughly from the peat as inconvenience to the digging machines. Its dry, silver bark reminds me of the patterns of moth wings.
I look out over the site. It’s a work in progress and will be for decades to come. Ideas are being trialled and constantly readjusted to calibrate to a shifting environment’s needs. The belief in the restoration of Bolton Fell Moss as a carbon sink and nature reserve is unwavering for the future though, however long it takes.
Now I’m here, I’m less certain of my first map drafts – I will need to change them as the restoration work and the bog itself have changed from my initial understanding. I have to accept that this is a place in flux and my map can only be a document of this landscape at one particular moment in time.
I’m happy, though, that I can take some stories from the Moss today, stories I might never have heard had I not visited. On the map I’ll include the larks and the lichen, the creaking frogs in the rushy pool, the voices of the warden, the volunteer and the artist. The science. The history. The hope. They all add to the multi-layered understanding of a place – to be used in a map that’s not simply a reductionist document of roads or territory.
The world’s climate is shifting now; and so must we. We have to find ways to capture carbon and prevent carbon release. Restoring bogland will help us do that, so in order to encourage this equally shifting landscape, this forever changing land of peat and water and moss, we must learn to shift with it too. And on a personal level, on coming to Bolton Fell Moss, I recognise that my own ideas have shifted and subtly, with them, so has my own world.
We walk back to the car. The yellow sunshine-faces of the coltsfoot flowers smile up at us.
To follow on from the last blog, and before this blog roll begins to feature reflections from other artist members, we wanted to reflect on some of the inspirations that have fed into the PLACE Collective. Life is a continuous learning journey and we all pick up so much – often without realising that it will filter into later decisions.