A note on: Timelapse in the Northern Echo

One of the highlights of this and last year is my collaboration with the brilliant David Rickard for an installation in Kielder Forest. The Northern Echo recently wrote a story on the work to be found here https://www.thenorthernecho.co.uk/news/18640831.new-art-installation-kielder-water-forest-beauty-spot

Timelapse, created by sculptor David Rickard for the Kielder Art and Architecture programme, is a new feature on the Lakeside Way, on the south side of the Bull Crag peninsula. Visitors can sit among the locally harvested timber that the structure is comprised of and take in the area’s timeless beauty.

The artist said: “The sculpture derives from the underlying materials that define Kielder Water & Forest Park: timber and time. With trees typically growing in Kielder Forest for several decades before harvest, the forest itself reflects various timespans through the scale of the trees in different plantations. This passage of time is also marked within the timber of individual trees.”

Texts from poet SJ Fowler are embedded in the floor and ceiling of the sculpture, subtly referencing the way gravity slows time, as first defined by Albert Einstein in 1907….

A note on: an interview with Kathryn Lloyd for Jerwood Open Forest

A great interview with Kathryn Lloyd up on the Jerwood Arts website, speaking to David Rickard primarily, with me in a wee bit, about the Jerwood Open Forest. More info on that here www.stevenjfowler.com/openforest "

KL: Steven, collaboration also seems to be a vital part of your practice. Would you be able to discuss this a little bit — in terms of what sort of role collaboration can play in poetry and performance?

SJ. Fowler: Collaboration is pivotal to me. So much to say here, but to cut to the quick, collaboration is not a method; it is human interaction, just with a creative goal as the excuse. Friendship, love, family — this is collaboration. I wish to spend my life in the company of people happily making things, being challenged by their intelligence and thoughts, being provoked into that which I wouldn’t have seen alone. It in no way eats into the solitary process — one so exclusively associated, bizarrely, with poetry, it often seems. In this specific case, with David’s gesture, to open his project up to a stranger, I took it be an extraordinary act of hospitality, of generosity, of humility, that he and I shared some essential methodological appreciation of collaboration, and so I felt responsible to really commit to the work, in all ways. It has proved to be a really brilliant time — all of it positive, a real highlight of my year.

KL: David, your proposal incorporates text through the use of Steven’s poem. How do you associate with the role of writing — do you also like to write? Or is text something that you find more natural to incorporate when written by someone else?"

http://www.jerwoodvisualarts.org/writing-and-media/returnings-kathryn-lloyd-conversation-david-rickard-sj-fowler/

A note on: Jerwood Open Forest exhibition opening

A privilege to be part of the 2016 Jerwood Open Forest Exhibition at the Jerwood Space in London, thanks to my collaborator, David Rickard, and the staff at Jerwood, who have all been exceptionally generous in supporting my work.

David was shortlisted earlier this year for the project and invited me then to work with him in producing new texts for his proposal, and as the process of the project moves towards the award being granted, the Jerwood Space hosts an exhibition with representations of the works being proposed by each artist. David created a wholly new work for the exhibition, conceptually connected to the Returnings idea, that saw him source an out of commission memorial bench and gently dissect it into its constituent parts. I then wrote a poem / text responding to this work, a word for each piece of the exhibited bench skeleton. My words are beautifully projected in the gallery against a wall, becoming a kinetic poem, the entire text on loop, revealed over exactly three minutes.

The launch event was lovely, so great to spend time in that space, meet the other artists, and see my work exhibited in a gallery I often visit and admire. David and I also had a chance to appear on Resonance FM talking about our work on the day of the opening. A wonderful collaboration that I hope spawns lots more work with David in the near future.

A note on: Open Forest Exhibition at Jerwood Visual Art

November 2nd to December 11th at Jerwood Visual Arts, London.
171 Union Street. Bankside. SE1 0LN / jerwoodvisualarts.org
Gallery hours: Monday – Friday 10am – 5pm / Saturday & Sunday 10am – 3pm

I'm pleased to have a newly commissioned text responding to, and collaborating with, the work of artist David Rickard on exhibition at Jerwood Visual Arts as part of their remarkable Open Forest project. The work explores the notion of dissection, the breaking down of things into their component parts and the fragmentation of recollection, all expressed by way of a deconstructed memorial bench. The installation is part of a wider work entitled Returnings www.stevenjfowler.com/returnings

The Jerwood Open Forest exhibition brings together the work of David Rickard and the four other shortlisted artists for 2016, with new bodies of work spanning installation, film, ceramics and performance on display. Jerwood Open Forest is a collaboration between Jerwood Charitable Foundation and Forestry Commission England with the support of Arts Council England. http://jerwoodopenforest.org/

A note on: Jerwood Open Forest with David Rickard - Part #1

Over the last few months I've had the opportunity and pleasure to work with the artist David Rickard, in quite an inspiring context. David, whose remarkable career as artist has been marked by a particularly complex and deft relationship to space, object, architecture and process, has been shortlisted for the Jerwood Open Forest scheme.

After being shortlisted for his idea David, very generously, began a conversation about how poetry might find a place in his idea. His proposal was to engage with Fielder Forest in Northumberland and create a trail throughout unmarked woods. The rail would be made of a reclaimed house or building, stripped and dissembled into the very rawest wood of a structure, bare planks, and on each of these planks, following a carefully selected route, would be inscribed one word. This trail would then be read as it is followed, neither a narrative, or a poem, or a story, but all of these. And then, vitally, the trail and its posts would rot, become once again the forest, and so my words would be edited by the very forest itself.

From the Jerwood Open Forest blog, David wrote: "Returnings: 29 Jul 2016 - So far my search for a forest has been headed simultaneously in two very different directions. Firstly, for a growing, photosynthesising cluster of trees, a forest in the current tense and secondly for a building with timber bones, a forest in the past sense. Eventually these two will come together, but for now they are poles apart. The living forest will be a plantation, established and grown for the eventual yield of its timber and Kielder Forest has been identified as the prime candidate – an expanse of 600 square kilometres of forest stretching across the northern half of Northumberland.

In parallel there have been conversations with demolition contractors, with names like Titan and Redhammer, and the hunt is on to establish how we can find a suitable building that will form the fabric of the installation. It will be a timber structure that has come to the end of its functional life and is ready for a return trip to its place of origin.

Carved into the surfaces of the beams and boards will be words.  One word on each piece, which together form an expansive poem with no beginning or ending; a meandering narrative that flows through the circuitous journey that the timber has taken. The voice of these words will be S J Fowler, a contemporary English poet that has agreed to collaborate on the creation of ‘Returnings’. Now there are fragments; a forest, a hunt for a building and words. There’s still a lot to do before these fragments combine to form a work."

A note on: The Enemies project: Croatia - Zagreb, Grožnjan & the Wood Poets

The purpose of the Enemies project is to not only create the collaborations and the readings which accompany them across countries and generations and so on, but to also always acknowledge the context of how these things actually happen. That is they are created by people, and they really only work when generously founded. And this generosity tends to come from, or lead to, friendships. This is why I continue to do the Enemies project at such a pace, because, fundamentally, it is a way for me to know people from around the world, far beyond my own country, and for those people to become friends. This project in Croatia was so resonant because it was so personable, the character of the travel and the readings resembled the character of those Croatian poets who are so generous and open and enthusiastic – Tomica Bajsic, Damir Sodan and Maja Klaric. The Enemies project Croatia began, in friendship, in 2012, and since we have exchanged events and ideas, culminating in readings in London in July 2014, followed by this mini-tour of Croatia in August 2014. I was joined by Sandeep Parmar and James Byrne in Croatia, greater friends for it, and together, we were completely indebted to the Croats for an extraordinary week in Zagreb and Istria..

Day One: An eye bleed flight into Zagreb to discover a heatwave in the normally hot Croatian August, passing 35 degrees. Some time to explore the city again. A brutal run in the heat to Maksimovic park. Damir arrived and we all met together for the first time, James, Sandeep, Tomica, Damir and I, and we visited a gallery in Zagreb, run by an artist collective, in order to begin a discussion about collaborating with three young Croatian artists towards the publication of an innovative book that might lie somewhere between abstract art and poetry. Certainly a way for the collaborations between this brilliant generation of Croatian poets and those of us based in the UK to continue on in years to come. An evening in Zagreb, as ever, warm spirited and funny, the hospitality of Tomica, his family, Damir and the Croatian poets that keeps me coming back to this city.

Day Two: A massive bus ride, Zagreb to Rijeka on the coast with a quick stop over, and then on windier roads to Buje. 36 degrees outside. The time flew by when we were all in conversation. Then a minibus to Groznjan itself. An incredible place, mesmerising. High atop the seemingly endless forests of Istria. A walled town, tiny really, but a 1000 years old, and recently famous for its music, classical piano and drums can be heard from upstairs windows as you walk the cobbled sloping streets, yet it's quiet even in August, in the peak tourist month, as its hard to find, or reach, it seems. We have a few hours to relax and then again we are travelling, to the excuse we have to come here, to the Wood Poets reading, organised by Maja Klaric and her partner, the Forest Festival of Groznjan. We park up and follow candles through a small wood into a clearing where perhaps a hundred people congregate around a bonfire, with small torches littered around the landscape. It is lovingly put together, and immediately friendly. We meet poets from Hungary and Italy, and lots of local writers. There is music from Italy, percussion on something that looks like a barbecue. Readings follow that. I read some poems from my book {Enthusiasm}, maybe a bit harsh for the hippy vibe, but people are nice about them. James, Sandeep, Damir, Tomica read beautifully, the bonfire gets primed after each reading so it shoots up a flame when you’re done. After an hour goes by and no one else will read in English I retreat to the edge of the gathering, lie down in a field and listen to Italian and Croatian voices way past midnight, seeing the stars clearly in the sky for the first time in a year at least. The music follows, we don’t get back to Groznjan until 2am or so.

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Day Three: Morning in Groznjan, people are remarkably friendly, I go into a restaurant below where Im staying and they give me free coffee and food just because we talked while I ate, waving me away. There’s a reading in the centre of the town, all of the performers from the Wood poets the night before coming to join us underneath the Fonticus Gallery. There’s more music, some slightly strange audience participation, which I escape, and then a chance to read again and listen further. Great to hear Marco Fazzini read, he seems to have had and extraordinary life in writing. At the start of the poetry Tomica, Damir, Maja, James, Sandeep and I read our six way poem. Each of us provided a single line, then added a line to each other’s, making six poems written by six poets. Each of us then read one single six line poem. 

Dinner on the town, long afternoon conversation with James, Sandeep, Marco and the vast table of local poets and friends. Late afternoon I disappear into the hills outside the town for a few hours, first walking and exploring, then with a route, a chance to do some hill running. It’s not so hot so not so arduous as in Zagreb, but the chance to have the heightened experience of exercising surrounded by the immense panorama of these hills, olive trees lining them, a view unto the horizon, is exhilarating. We spend a long evening with pizza talking, to each other and the poets we've been lucky enough to meet in Istria. We return the next day, a bus ride down out of the hills, back to Zagreb and then London. An amazing, all too brief window into a truly beautiful place all excused by the chance of us all happening to write poetry, and more decisively, being open and enthusiastic to the friendships that can arise in that shared practise.

More on www.stevenjfowler.com/croatia