hiatus

As this project continues and time stretches on (3 years now since it started) and people have ‘housed’ this unwieldy package for varying lengths of time (some longer and some shorter), life events invariably happen along the way: some good and some bad, or even tragic, sadly, like Christopher’s. So it seems to be a marker of time passing, as much as anything else. And this project was always more about time, memory and community, than it was about ‘art’.

I regret that we didn’t get to see Christopher’s ‘exquisite’ contribution, and I find myself wondering what that might have been, but as he says it will never be and that seems right, because time changes us, and life is not exquisite and neat; it is messy and sometimes hard to bear. So I am glad that he, like many others, chose to make such a personal response. It makes it all the more meaningful somehow.

I feel privileged to share in Christopher’s journey and I hope that, in some small way, contributing to this project has helped to bind the wounds of time… I am thinking on ways to ‘contain’ the clumsy package as it grows and becomes more awkward – any suggestions would be most welcome!

Thank you again, Christopher, for your touching, heartfelt contribution.

Journeyofaphotograph

I am sorry to report that the ‘journey of a photograph’ has endured an unscheduled and lengthy delay under my stewardship. It is time to make amends.

After waiting for over a year for the project to find its way to my corner of the world, a large and clearly well-travelled package arrived at the end of April 2015 and as I excitedly examined its contents I wondered at the vignettes of life this ‘thing’ had witnessed on its journey and the dreams, stories and creative responses it had inspired. I drank it in over several days, picking amongst the imagery and ephemera that it had accumulated, like barnacles on the bottom of ship, adding weight and mass, altering the dynamics of the original form.

It is not a pretty package; it wears its travels wearily and honestly, revealing fragments of the journey as it is opened, and proceeds to…

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twenty two

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© images and words by Emily Hughes, 2016

moonshine

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Brazen world
overcast with sorrow;
a concrete sky
slinks into a frothy slick
of ashen wilderness
and the moonshines,
quietly.

© image and words by Emily Hughes, 2016

Brazil retro

Some more of beautiful Brazil for you. These were all taken on the rollei with Kodak Portra 400 film. I have retro’d them up a bit for fun…. enjoy!

 

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© images and words by Emily Hughes, 2016

stardust

 

stardust

‘stardust’ 2016

He stared up at the stars: and it seemed to him then that they were dancers, stately and graceful, performing a dance almost infinite in its complexity. He imagined he could see the very faces of the stars; pale, they were, and smiling gently, as if they had spent so much time above the world, watching the scrambling and the joy and the pain of the people below them, that they could not help being amused every time another little human believed itself the centre of the world, as each of us does.

from Stardust, by Neil Gaiman

 

I have been playing around with this one for a while now and posted the original not long ago with some other medium format pictures of seed heads. I came back to it recently because I started reading Neil Gaiman’s Stardust and the thought of falling stars and magical faerie worlds brought it to mind. Anyway, here it is again, slightly re-worked.

A very happy New Year and thank you to all of my readers. Here’s hoping 2016 brings you much magic and serendipity!

 

 

© images and words by Emily Hughes, 2016

portals and the possibility of hope in a time of despair

I like to look back at photographs I have taken and make connections. Often I will find them, because even though it feels at the time when I am snapping away, that I am being quite random, I have discovered when I later trawl through my images that I am actually quite purposeful and even economical these days when I photograph, tending to hone in on similar themes and subjects. This is, unfortunately the sacrifice of having less and less time to get out and about, I might add, and when I travel it is never with the sole purpose of immersing myself in the art, rather a side line of stolen moments when I have managed to escape family duties. So, my holiday snaps are just that, really, although hopefully something more than that now as experience has trained my eye in what to look for; like a cat I have become quite good at pouncing on opportune moments, with a child hanging off one arm and wielding a bottle of sunscreen in the other. Often I will take a number of pictures of a space or place which is interesting and then work on them later at home to create something I feel I can be proud of, or even sell. Other times it’s a one-off moment, although these days I favour working with layers over anything else, because it gives me freedom and a kind of complex simplicity which seems to be where I am most content in my creativity.

I am teaching English now and when I teach children how to write I try to reveal it as a practice of layering. There is no neatness to writing really; just like art, it is a messy, but wonderful business. Behind that final draft there are layers and layers of crossing out and re-writing, different coloured pens, feedback and comments, where I have asked them to think about things differently, or to dig deeper and find the layers of meaning. I try to show them that writing, just like art, is not an end product as such, but it is a process. A process of becoming. There is no good or great writer for whom the words just magically transpose onto the page. Good writers will cross out, they will edit ferociously; they will be critical of themselves and they will agonise over every single word until they have hit just the right note. Because good writers know that words, and how we put them across, are important; they have resonance. Nowadays, of course, the word processor often erases the visible marks of the editing process, but even when I write an essay now I end up with six or seven drafts before I get to a final version I am happy with, and when the children are writing I think it is important that they see this. It is vital that they understand that neat does not always equal good content. I ask them to take pride in their work and to take time, but I do not obsess over neatness because I feel it is highly overrated. My own handwriting leaves a lot to be desired and spelling might be a challenge, but it does not mean that I cannot be a good writer. We plan and write together on big flipcharts so that they can see for themselves how this process works: I might go back and change a word or phrasing I did not like; I might underline or highlight repeated words and look in a thesaurus for alternatives, or star in another sentence here and there. It’s a thoughtful process of revision and it is important that children see it as such.

Educators like Ken Robinson have been telling us for many years now that creativity is the most important skill we can foster in our children in order to prepare them for a deeply uncertain future. And if this is true, which I believe it is, then neatness is not a part of that. The world we live in today is a mess. It is complex. It is sad, but we must not attempt to simplify things for our children and belittle their intelligence. There is no matter of black or white any more. As I look out on grey, uncertain skies and hear the wrathful winds lash relentlessly at the chimney, I fear that it won’t be long until those old Victorian bricks give away, but most of all I fear that these storms are hear to stay. We must allow our children to see this whipped up mess that we have created and give them hope that they can navigate the storms more successfully than us. For this is imperative. The world may be a mess; it may be a hopeless shade of grey, but it is a glorious mess.

And now I find, once again, that meandering words have taken me in a direction I did not intend to go on this stormy morning. These are words I did not intend to write, but somehow they have been written. What I wanted to write about were portals, magic and mystery. My two children are endlessly preoccupied with science fiction and other fantastical stories about magical worlds. From Star Wars to Harry Potter, to The Lion the Witch and the Wardrobe, it seems the battle is always the same: the age old dichotomy of good versus evil (although of course the details vary wonderfully). There is great comfort in these stories too, for them, because, although they usually begin with feet planted firmly in reality, they quickly move into a different realm where fantasies can be played out and indulged in a grand scale, and of course, the children know that good will always overcome evil. This is even more important for them now that they realise that real life is not like this. Our children need great stories like this which provide them with refuge from the grey fog of daily life. As do we, I think.

Often these stories contain some kind of magic portal or entrance which allows humans to access the ‘other world’,  like the twister which snatches up Dorothy’s house and dumps it in the glorious, technicolour Oz; the great old wooden wardrobe which houses those wonderfully evocative fur coats through which Edmund, Peter and Lucy fumble to reach the winter wonderland of Narnia; the platform 9 3/4 which boards Harry on his train to Hogwarts; or the famous rabbit hole (and later mirror) which transports Alice to Wonderland. Sometimes they are actual doors or gateways, like the wardrobe, or the door in Monster’s Inc. which allows the monsters to enter children’s bedrooms, but other times they can be a small object, like the magic key which transports Biff and Chip into different time period in the famous phonic adventure stories which those in the UK with young school age children will know and love. These portals or thresholds which provide passage from one world to another are important features of stories like this, because they are physical symbols of transformation and transgression, but also because they allow us humans the possibility of fantasy and of something else wonderful – of hope.

Without realising, I frequently photograph ‘portals’ – usually doors and windows, and I think many photographers do likewise. They are endlessly fascinating, so saturated with symbolic meaning, as well as being visually intriguing. And so my wordy saunter brings me back (not too neatly I hope) to my photographs and travels. This summer I was lucky enough to visit Brazil with my family, a country rich with cultural diversity and with a sheer expanse beyond my capacity of conception. It was not my first visit, and for the second time I was captivated by the dazzling natural beauty of Rio de Janeiro, as well as the impressive mountainous landscape of the countryside dotted with dusty little villages where locals sit on their doorsteps and lazily watch the world go by. Then there are the more touristy, but charming colourful seaside towns along the North East coast. I encountered many appealing doors, windows, and other less traditional gateways on our travels and have many tales I could tell, but looking back at them now makes me wonder about the prospect of exciting adventures to be had beyond the threshold of these portals, and the possibility of stories untold.

Without possibility, there is no hope.

 

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© images and words by Emily Hughes, 2015

bloom

 

bloom2

 

 

© image by Emily Hughes, 2015

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