This is a selection of drawings about the restoration of blanket bog. Peat ‘hags’ are a feature of badly eroded peatland, but they can be re-profiled to allow new growth of wetland mosses. Peat from a restoration programme at Crunklie Moss in the Southern Uplands was used to make the drawings shown in this post.
I am working on a series of drawings about the restoration of Crunklie Moss, which lies in a remote valley called Gameshope in the Scottish Southern Uplands. Gameshope is a former sheep farm which is coverd by ‘blanket bog’ – typical for this area. Borders Forest Trust now own Gameshope and want to restore the eroded peatbog. Tweed Forum is doing this through Scotland’s Peatland Action programme.
This is a selection from work in progress, which is made in appreciation of the work of people who are making peatland restoration happen on the ground. Rachel Coyle (Peatland Action Project Officer based at Tweed Forum) and Kenny Veitch (Drumclog Plant) worked on Crunklie Moss in early 2019 and helped me find some ‘squagy’ peat.
Squagy peat is the sort of peat that is good for creating peat-dams – and also perfect for making prints on paper.
This summer, a lot of sheep on display, circulating in various forms, stemming perhaps from Henry Moore’s popular pieces:
With a new variant in Liverpool: http://www.superlambbanana.com/home.php?/WHAT?
“The Super Lamb Banana was the original work of Japanese-based artist Taro Chiezo. Commissioned for the Art Transpennine Exhibition of 1998, the sculpture was a controversial, but welcome addition to the public art arena in Liverpool. Standing an impressive seventeen feet tall and comprised of concrete and steel, the statue first attracted interest from its original position on the Strand. The unusual artwork was created to warn of the dangers of genetically modified food, whilst being appropriate to the city of Liverpool due to the port’s rich history in the trade of lambs and the import of bananas.”
Film: Gideon Koppel, Sleep Furiously, 2007, UK
The title comes from Chomsky’s nonsense sentence: “Colourless green ideas sleep furously.”
An interview with the film maker, Gideon Koppel, describing the process of making a film in a remote Welsh farming community where he had been brought up. His film-making style developed as did the project itself through getting the work funded. It is an elegy, with long and careful glances mindful of time and light, with thoughtful use of music:
And a review of the film on:
Also, the film won Guardian Best First Film in 2010.