Map Jacket

Map Jacket is a jacket made from paper maps, with objects relating to walks and journeys stowed in its pockets. It is an ongoing artwork, with no final finished state in mind; it will continue to accrete and change for as long as I’m able to go out for walks. Conceptually, it will continue to change as well. I began the piece in Spring 2016. My initial idea was to make a wearable jacket out of Ordnance Survey maps, patterned on a corduroy jacket of mine, and perhaps use it in some kind of performance. It quickly became apparent that the jacket was much too fragile and inflexible to wear. I wore it once before I added the sleeves, but once the sleeves were on it became impossible to wear it without destroying it. The jacket took about three years to complete, because I abandoned it as hopeless for long periods of time. Gluing the sleeves on was particularly vexing, because paper does not stretch and form compound curves like fabric will. 

Me wearing Map Jacket before the sleeves were glued on.
Me wearing Map Jacket in 2016, before the sleeves were attached.

Some time in 2019 I revived the piece and conceived of the idea of using it as a repository for objects found on walks. The jacket would stay at home, but conceptually travel with me. Since then, I have secreted objects in the jacket, adding a new pocket for each object, or group of objects. Some objects and natural materials are attached directly to the jacket. The objects function as mementos of particular walks or places, but most of them are artworks in their own rights, being altered from the form in which they were when found. Sometimes, things found at one place and time are combined with those found at other places and times (nothing is wasted), but each object has one principal association. 

Finding things for Map Jacket is a gentle art, which I’m not sure I have come close to perfecting. It requires walking with the right sort of attentiveness. I usually bring back more things than I can use. Sometimes I make the object shortly after the walk; sometimes it takes weeks or months for an idea to form itself of what to do with the assortment of things I’ve collected. Many of the objects I make involve words – they often have words written or inscribed on them – and collecting words is also a part of my walking practice. I carry a notebook and more often write than draw (though I do both). Both practices (collecting objects and words) are about treasuring and memory. 

Most of the walks commemorated in Map Jacket took place on the North York Moors, Yorkshire coast, Cheviot Hills and a small number of other places. These are the places that have been accessible to me, particularly in the years of the pandemic. They are places that I go to find solitude and often have associations with landmarks of one sort or another (churches, stone crosses, standing stones, tumuli, crossroads etc.) They are also often places where death is close to the surface, where bones lie to be picked up. The walks themselves are a kind of melancholy ritual, because they are fragments pointing to an elusive wholeness snatched from a life embedded in routines which, while not devoid of their own meaning or rewards, are nevertheless characterised by frenetic striving. I have the feeling that Map Jacket is a work that is only in its infancy and that its strength will lie in engendering inner dialogues.

This page documents the progress of Map Jacket and all of the objects in it. I’ll keep it up to date with new objects. Scroll down for images and descriptions of all the objects in Map Jacket.

Map Jacket, June 2021
Attaching a pocket to Map Jacket, using magnets to hold it in place while the glue dries.
Detail of one of the buttons, made from a vehicle number plate.

Objects in Map Jacket

Buttons

Main buttons, top to bottom: 

  1. Made from a plastic buoy found at the coast
  2. Lead button from a baptismal gown
  3. Made from a broken vehicle number plate found on Rudland Rigg 17 June 2021

Bearing roller and glass bead

54°34’55.9″N 2°28’54.9″W

A slightly squashed car bearing roller and a small black and white glass bead sat on an envelope made out of a map.
Bearing roller and glass bead on the pocket I attached to Map Jacket.

Bearing roller from my car, which I picked up beside the A66 near Appleby-in-Westmorland when the back bearing collapsed on the way back from Scotland, September 2018. The RAC man took the wheel off and several slightly flattened rollers dropped out. I picked up three but lost the other two. Afterwards, I was often paranoid that it would happen again and to this day listen out for the odd sound of a collapsed bearing whenever I drive. The roller is sealed into a small map paper pouch with a small glass replica Anglo Saxon bead near the left collar of Map Jacket. The bead symbolises hope. The pouch has the word ‘ruin’ on it in two places.

Fat Betty Cross

54°24’35.7″N 0°57’29.1″W

Wax candle in the shape of the medieval moorland cross known as Fat Betty Cross, on a small pouch made of green fabric
Fat Betty Cross

Cross-shaped candle, modelled after the medieval moorland cross known as Fat Betty Cross, North York Moors, made from two wax tea lights found at the nearby Young Ralph Cross. Wax has earth from Howl Moor and white pigment incorporated. Contained in a small drawstring bag made from a baseball hat found beside the Lyke Wake Walk path on Wheeldale Moor. 

Candles and hat found on a walk from Goathland to Rosedale Head and back, 2nd July 2019. Earth collected on Howl Moor, near Goathland on 5th July 2019.

Young Ralph Cross

54°25’03.5″N 0°41’08.8″W

Steel cross in my hand.
Young Ralph Cross

Cross cut from a piece of thick rusty steel found on the road near Goathland during a circular walk which took in Lilla Howe and Goathland, 1st July 2019. Modelled after Young Ralph Cross. The shiny metal edges have dulled since it was made.

Ana Cross Jaw

54°19’59.7″N 0°52’34.9″W

Sheep jawbone with a cross-shaped hole cut in the bottom edge.
Ana Cross Jaw (with Young Ralph Cross)

Lower mandible from a sheep with the shape of Ana Cross, North York Moors, cut out of it. Mandible was found close to Ana Cross during a walk on Spaunton Moor, 5th July 2019.

Book of Spurn

53°35’25.3″N 0°08’09.6″E

Book made of odd materials sat on a sundial.
Book of Spurn

Book made from materials gathered on a trip to Spurn Point, 17th August 2019. Materials are: aluminium (from a wrecked aeroplane?); painted plywood from a hoarding which was painted with waves and sea creatures; rubber from a seaman’s glove; plastic; seaweed attached to a stone. Bound with copper wire found elsewhere.

Väinämöinen’s Boat

55°31’56.0″N 2°12’26.0″W and 55°35’09.7″N 1°39’44.3″W

Tiny boat made of two pieces of blue plastic sewn together with wire, on a white plastic base.
Väinämöinen’s Boat

Boat made from fragment of a blue plastic sheep feed bucket found on top of the Cheviot Hills during a figure-of-eight shaped walk starting at Town Yetholm and following sections of the Pennine Way and St Cuthbert’s Way, early September 2019. (It was found on the St. Cuthbert path close to where those two paths cross). The boat is attached to a sea-worn piece of plastic found on the beach at Seahouses, early September 2019. I was reading the Kalavala during the holiday during which both objects were found and also visited Ian Hamilton Finlay’s Little Sparta garden, so boats were on my mind. You can see the sea from a point close to where I found the blue plastic and it is also very close to the England/Scotland border. The St. Cuthbert Way ends at the sea and also unites the two countries. Both objects were found in England.

Rigg

54°22’06.9″N 1°00’55.6″W

Plastic vehicle trim inscribed with a map of part of Rudland Rigg.
Rigg

Piece of scuffed plastic vehicle trim picked up on a linear walk along Westside Road, Rudland Rigg, 16th November 2019. I inscribed a short section of the trim with a map of the route, including contour lines and tumuli. The long piece of trim reminded me of the linear nature of the walk. I did the walk on a misty day and walking through the group of large round barrows was eerie and stayed in my mind. The tumuli are represented by small drill holes. I made the piece on the 8th April 2020. 

Tees Mouth Cage

54°37’56.9″N 1°10’35.9″W

Small plastic cage-like object with scrap of barbed wire in it.
Tees Mouth Cage

Plastic cage (possibly intended for suspending solid disinfectant inside the rim of a toilet bowl) containing a short length of barbed wire. Both objects picked up during a walk on the north bank of the Tees estuary, 16th January 2020.

Ravenscar Thorns

54°37’56.9″N 1°10’35.9″W

Small piece of barbed wire next to three pouches, made from different materials.
Ravenscar Thorns

Barbed wire barb found next to a freshly cut thorn hedge on Station Road, Ravenscar, during a walk along the Cinder Track from Scarborough to Robin Hood’s Bay, 7th March 2020. Contained in a series of nested pouches. The inner pouch is made from cigarette papers found left as an offering on top of Fat Betty Cross, 5th July 2019. The middle pouch is made from a recycled cashmere wrist warmer found on the Cinder Track on the same day as the barbed wire and the outer pouch is made from a cover for an equestrian helmet, also found on the same day.

Kirkdale Roll

54°15’47.5″N 0°57’42.0″W

Cigarette papers with names of places in Kirdale on them in black ink.
Kirkdale Roll

Pack of RAW brand cigarette papers with topographic and farm names from Kirkdale inked onto the individual papers. The cigarette papers were picked up at Fat Betty Cross, 2nd July 2019. The names relate to a walk in Kirkdale, 14th August 2020. The pack also has some tear-off gummed paper strips, which have words gathered on my walk written on in pencil. The coordinates are those of the spot on the dry section of the Hodge Beck where I sat writing in my notebook (I may actually have written the words on the gummed paper at that point, I can’t remember. I did definitely make a couple of small drawings on cigarette papers on the spot). I inked the names on the papers in September 2020.

Kirkdale Bone

54°19’55.1″N 1°03’03.4″W

Sheep bone with words written on in black ink.
Kirkdale bone

Sheep bone picked up on Pockley Moor during my walk in Kirkdale 14th August 2020, with words inked on it from my notebook of the day’s walk. The bone has an inked line round it half way along its length, because I intended to cut it in half and take half back to the moors. I never did this.

Orm Stone

54°15’47.5″N 0°57’42.0″W

Small flat piece of stone with 'Orm' inscribed on it.
Orm Stone

Third object relating to my walk in Kirkdale 14th August 2020. It is a flat stone picked up from the dry river bed near St. Gregory’s Minster. It has the name Orm engraved on it. Orm is the Anglo-Scandinavian landowner who restored St. Gregory’s Minster in the 11th century and who is commemorated in the rare Anglo-Saxon inscription above the door of the church. Orm son of Gamel is known from other historical sources and is connected to the feud discussed in Richard Fletcher’s book Bloodfeud. (Richard Fletcher lived in Kirkdale at some point in his life).

Bone for Azazel

54°23’37.2″N 0°59’18.4″W

Bone for Azazel
Bone for Azazel

Rabbit bone and a piece of dried melancholy thistle found on a walk on 22nd September 2020 around the top of Farndale (from Blakey Ridge carpark to the junction of the track up Rudland Rigg, along the top). They are tied together with red embroidery thread and live in a small metal tin. Piece was made in May 2021. Azazel is a demon associated with desert places in Jewish mythology. The ‘scapegoat’ mentioned in the Bible (Leviticus 16) is actually the ‘goat for Azazel’ – not an offering to appease Azazel, but a symbolic taking of the sin of the people to Azazel in the wilderness/underworld, where it belongs. The piece probably belongs back out in the wilderness, but, for now, it is in Map Jacket. It perhaps represents the melancholy holding onto of the memory of sin, rather than sin itself.

Joined Ribs

55°32’09.1″N 2°10’40.6″W   

Two fragments of sheep rib joined together.
Joined Ribs

Two ends of sheep rib cut off and joined together. The ribs were found on a walk along College Valley in the Cheviots some time between 5th and 8th September 2020. The piece was made May 2021. Piece lives in the same tin as Bone for Azazel.

Cinder Track Tool and Cinder Track Object

54°27’18.0″N 0°33’03.1″W

Cinder Track Tool, Cinder Track Object and another associated object made from hawthorn berries and hazel shells.

Cinder Track Tool is three hawthorn thorns mounted in the end of a cut-off sheep’s rib, with three dried harebell flowers inserted in a hollowed out cavity in the rib. The thorns and harebells were found on a circular walk from Robin Hood’s Bay to Whitby along the Cleveland Way and then back along the Cinder Track, 8th October, 2020. The rib came from the College Valley (it’s the same rib as used in Joined Ribs). The Cinder Track is not all that far from the famous Mesolithic site of Starr Carr and Cinder Track Tool reminds me of an archaeological find of unknown purpose.

Cinder Track Object is made from four dried hawthorn berries collected on the same walk as Cinder Track Tool, set into holes in a piece of sheep’s rib found in College Valley. Both pieces were made May 2021.

Hallelujah Stone

54°23’29.1″N 1°02’13.3″W

Piece of ironstone with the word ‘hallelujah’ painted on it in white oil paint. I picked the stone near the Cammon Stone on Rudland Rigg. The Cammon Stone is a prehistoric standing stone and it has the word ‘hallelujah’ carved into it in Hebrew characters, reputedly by the nineteenth century clergyman Rev. W. Strickland, vicar of Ingleby. The walk was from Blakey Ridge along the top of Farndale, across to Urra Moor and then back down Rudland Rigg and finally across Farndale back to Blakey Ridge, 17th June 2021. I made the piece a few days afterwards. The stone is heavy for its size.

Hallelujah Stone - a piece of ironstone with the word 'Hallujah' painted on it - in my hand.
Hallelujah Stone

Encyclopaedia Ball – an interview with myself.

This is about a project I’m working on, called Encyclopaedia Ball. The project is to turn a set of 1950’s Encyclopaedia Britannicas into a solid ball of papier mache. I thought I’d write this blog in the form of an interview with myself.

Q. How did you start on this project?

A. The ball form came first. My wife was experimenting with pulped egg cartons as a sculpting material and ended up making a series of small paper pulp balls, about the size of golf balls. I liked them. They reminded me of David Nash’s Nine Cracked Balls. I have a large stash of academic journals I originally got for making papier mache with, so I tried pulping the paper from one of them. I found it didn’t pulp well, but I started layering the pages over a core of pulp, with wall paper paste. I got the idea of continuing until I’d used the entire journal. It was a rather thick conference proceedings volume published by the ACM [Association for Computing Machinery] and this became the first of my ball pieces, ACM Ball. After that I made a ball out of a copy of the Bible. I kind of had a vision of a really huge paper ball, like a boulder, so using the encyclopaedias suggested itself.

Q. I understand that the encyclopaedias are a family heirloom. 

A. They were bought in the 1950s by my grandfather for my father. My grandfather was worried that my father wasn’t doing well academically, and hoped the encyclopaedias would help. Naturally, my father never read them, and nor did my grandfather, who had them in his house until his death. Then my parents had them in their house for a few years and never read them. Then I got them and put them in my attic. And didn’t read them. In the 1950s, a set of encyclopaedias was the equivalent of the internet, it was where you went to answer random questions. A set of encyclopaedias can also take you on rabbit trails and open up new things to you. But it’s easy to leave them unopened on the shelf. There’s something closed, or a bit forbidding about them. The irony is that, if I’d had them as a child, I would have read them. I loved the Encyclopaedia Britannicas at school.

Q. What does your father think of you turning them into a ball?

A. He doesn’t know. He would probably think it was stupid.

Q. How do you conceptualise the project? I mean, you’re taking all of this knowledge and sort of locking it shut. Is it a comment on information overload, the burden of knowledge…?

A. I haven’t tended to conceptualise it much, but I guess there are a number of strands. My understanding of the piece has developed through the act of making it. It’s true that I’m locking information up and it could be seen as disrespectful of knowledge – like screwing it up into a big ball. There’s something precious or even sacred about the form of the book and a corresponding sense of sacrilege about destroying them. On the other hand, those encyclopaedias were locked shut for decades and I will be the only person who will ever see every single page. In a sense, I’m also opening them up. It has been heartbreaking at times, to see some of the beautiful images in there – hand drawn images and photographs – just to hide them again under layers. I started taking photos of the ball as it progressed, particularly of images and things I found interesting. That set of images is part of the work, a companion to it.

Q. There’s something performative about it, then?

A. Yes, I think so. I’m finding that more so. It’s quite a physical process. At one point, I thought it would make a nice evening project for when I’m too tired to do other work, but it’s actually hard work. It’s reached the point where I have to stand up to do it and there’s a certain choreography of how I need to move it around as I work on it. And of course, I’m seeing all of these images and reading snatches of text. I’m living through all that knowledge. It’s bringing different things into my mind as I work, changing me. 

Another touchstone for this project has been Gabriel Orozco’s Yielding Stone. This was a ball of plasticine, weighing the same as the artist, which took on the form of the environment as it was rolled and moved about. He rolled it to the gallery and it picked up imprints of grates on the street etc. My ball has a similar set of constraints – if I ever finish it, the size will be determined by the encyclopaedias – and it’s something that will continue to evolve over time. Orozco’s ball changes every time it gets handled and mine will take years, probably, to complete. I could see it being exhibited and then continued to be worked on. 

I also think a lot about another of David Nash’s pieces, Wooden Boulder. Again a large ball, much bigger than mine, made of wood. It got trapped in a stream when the artist was trying to move it, and spent years being moved by the force of water down the stream, to the river and out into the sea. There’s something about the form of a rough sphere that appeals to me.

Q. How far into the project are you? You say you might not even finish it?

A. I’m up to volume 6 and I think the set has 24 volumes. So I’m about a fifth the way through. But I’ve been working on it for two years. Not constantly of course. It’s pretty boring work and I don’t know if I’ll complete it. I might just stop. It might get too big to fit through the door. I might drop it on my foot and decide enough’s enough!

Q. How big do you think it will get? Bigger than a doorway?

A. I don’t know. Probably not that big. The bigger it gets, the slower it grows, because the surface area to cover gets bigger all the time.

Q. Describe the process of making it.

A. It’s not complicated. I use wallpaper paste, like you do when you do papier mache at school. I just layer on page after page. For some reason, it tends towards being a rounded cube, rather than a sphere. I don’t know why that is – something to do with how the paper overlaps. I’ve tried various strategies to avoid it, but it doesn’t work. A mathematician could probably tell me the optimum way of doing it. I end up tearing the paper into smaller pieces in order to ‘correct’ the shape – I’m not sure if that is cheating or not, but I make the rules! I have a theory that it’ll become less of a problem the bigger it gets, because each page will cover a smaller proportion of the surface. When it was small, each page completely covered the ball. If it is a problem. I don’t know!

Q. There’s something quite aggressive about it, as an object. It’s like a wrecking ball!

A. It is! It’s fallen off the table with a crash before and it’s a wonder it didn’t break the floor. I suppose you could say it’s quite masculine, if you want. It’s quite a perverse thing to do to a book. I like heavy, solid compact things. It’s like a bomb. A knowledge bomb! It’s got all this trapped knowledge buzzing away like nuclear energy. I was also responding to the work of Jukhee Kwon, who’s work I saw in the 2018 Aesthetica Prize in York. Her work with books is very light and the books are quite literally opened up as she cuts into the pages and creates these cascades. I wanted to take the opposite path. Jukhee Kwon’s work seems to turn knowledge into spirit, whereas my balls turn it into matter. 

Q. Is there also something about knowledge being a burden, or obsolete knowledge?

A. Certainly, there’s something around obsolescence. Printed encyclopaedias are obsolete things. Knowledge becomes dated – these encyclopaedias are from the 1950s and a lot of the knowledge in them will have been superseded. And so with our knowledge today. And with the internet or whatever. I worked in a bookshop for a while, and one of the things I learned was that old sets of encyclopaedias don’t have financial value. Having lots of books can be oppressive. In the Bible it says about there being no end to the making of books and with much knowledge comes much misery. Knowledge ends up forming archaeological strata and it’s only the surface you see.

Q. I believe you have a party each time you reach a new letter?

A. Yes! I started doing that. Each party involves food and drink beginning with the new letter. I’ve only done it twice, as I’m still in ‘C’ and I didn’t do ‘A’. They haven’t involved many people – just my family – but maybe I should make them into more of a thing. I like the idea of art having a social aspect. Although I’m not particularly social…!

Q. What will you have when you get to ‘X’?

A. My head examined, probably.

B for Ballistics.

Paint it red

Garage studio
One-car garage, with space to get wheelie bin through

I saw a little interview with Anthony Caro yesterday and it struck me for a couple of reasons. Jacques Maritain, the philosopher, said in one of his books that artists aren’t very good at talking about the process of intuition and inspiration in the creation of their art, compared to poets and other writers. This, I guess, is true, because the business of a writer is to put into words things which are difficult to put into words and this gives them their tools to dig beneath the surface of the experience. Artists’ reflections begin and end outside of the realm of words. In the interview with Anthony Caro, I liked the fact that the language he used to explain the process of the creation of his sculpture Early One Morning were all very down-to-earth and humble. He said that he wanted to make a sculpture that was ‘stretched out’ and ‘like a dance’, not like a ‘block’. That’s good. That’s fair enough. That’s as far as it goes. But why did he want to make a sculpture that was ‘stretched out’? Doesn’t matter. He also painted it red because it didn’t look very good green and his wife suggested painting it red. I find it takes a bit of confidence to admit that one’s reasons are sometimes very simple (maybe it took less in the 1960s – it seems to have been in many ways a much simpler era in art than now, or, at least, it seems that way to one born later, like me).

I’ve just been messing on looking at gallery websites and reading artists’ statements. None of them say things like ‘I wanted to make something stretched out’, or, ‘I painted it red because my wife told me to’. Why not? Why shouldn’t we admit that art is simple, in a way? I think it’s a sign of lack of confidence that the language of art (especially artists’ statements and gallery press releases) seems to have to hang on the coat tails of academia and adopt some of it’s tone (‘My work is an investigation into…’).

Artists’ intuition is something that interests me a lot (I have a confession: I just do things because they come into my head and seem right). That’s why I like Jacques Maritain’s writing on poetic intuition, because it allows there to be something going on below the surface (in the pre-conscious), which is hidden from you (why do certain things come into my head and not others and what makes them seem ‘right’?). The problem is that it is very difficult to know if what he says is really true, but at least it chimes with my own experience.

The other thing I liked about the interview was that he made the sculpture in a one-car garage. Wow, I work in a one-car garage! There’s hope yet! I like the colour red, too. Might paint something red.