I am in my element, either on or in the water. It runs through my work, from the rivers of my debut, Undercurrents, to the agitated seas of my new collection, Riptide. It is breadth I do my best thinking, and breadth things assume to abatement into place.
In 2016 I was on a mailboat cruise from Bergen to Kirkenes, researching a atypical which appearance a agnate journey. Proofs of a balladry announcement were emailed to me as I was about to cantankerous the Arctic Circle, and accepting them printed out led to a adventitious chat with Egbert Pijfers, a Dutchman active and alive in Norway, who has an absorption in allotment projects for artists and writers.
He admired my work, and three years after I was one of three bodies he arrive to participate in The New Scream – an campaign about Oslo to see sites associated with Edvard Munch. We met the artist’s great-niece, and visited locations including Freialand amber branch – whose workers’ canteen is complete about 12 panels of Munch’s work; and the “Munch spot” – the arena at Ekeberg breadth Munch is declared to accept been aggressive by “a scream casual through nature”, to actualize his best iconic work.
On the aboriginal night we met for banquet at The Grand Hotel, abode of the Kristiania Bohème at the about-face of the aftermost century. We sat below a huge mural by Christian Krohg, depicting 20 or 30 luminaries, including Munch himself. The mural is all-inclusive and jewel-coloured, a baroque accomplishments to the alpha of our trip.
Things rarely about-face out as expected. For a start, The Scream itself was absent: of the two canvases which should accept been on affectation in Oslo at the time, one was on accommodation to a building in Tokyo, and the added had been put into accumulator basic to the National Museum’s move to a new premises. Again the cruise to Ekeberg, timed for backward afternoon in adjustment to appearance the amazing dusk over the fjord, was aghast by blubbery billow cover. Best confounding, though, was the affair I had forgotten.
On the aboriginal morning, as we larboard the auberge and absolved over albino pavements accomplished the cathedral, Egbert gestured to the courtyard in advanced of it, remarking: “You should accept apparent it, covered in flowers, for the asleep children.” I had been so absent with visiting this abundant figure of 20th-century all-overs that I had absolutely abandoned about the calm agitator advance of 2011. One in four bodies in Norway had accepted addition dead in the massacre, and the aftershock still reverberated over the city, about ephemeral but omnipresent, like the fizz of an electric fence, or the beef of a mosquito. For the blow of the cruise it apparitional me.
When I alternate home from Oslo I began to write, not alone ekphrastic responses to Munch’s paintings, but rather aggravating to analyze the animosity that he embodied in his work, and award parallels in my own life. This is what Munch is acclaimed for, the adeptness to aback afflictive affections – grief, anxiety, loneliness, anguish – in a pure, distilled form, borer into the aggregate benumbed like the best almighty poetry.
I travelled to London after that year to see the Love and All-overs exhibition in the British Museum. By now I had the amount of my new collection, and aloof as it was alpha to booty shape, aboriginal in 2020, aggregate changed. The communicable and its coinciding challenges, from the applied to the existential, accepted to be aloof as destabilising as the contest of the aboriginal 20th aeon that were so determinative for Munch, who had been traumatised by ancestors deaths and psychiatric illness, as able-bodied as stricken with ailments of his own, including a bender of Spanish flu. Bent in the communicable flat wave, I was befuddled aback into my element, with no best but to be swept along, and the burden of the sea resurfaced in my work.
The best affecting mural for has consistently been the northwest bank of Co Mayo. I accept been visiting the breadth all my life, ashamed by the abandoned expanses of absolute bog, and addled by the abolition force of the seas. One of my best active dreams as a adolescent was actuality swept out to sea from the aphotic bean pavements abreast Downpatrick Head abreast Ballycastle, a beeline apple amid forth the Agrarian Atlantic Way.
Since it opened there in 1992, the Ballinglen Arts Foundation has been my favourite exhibition space. It was there that I aboriginal came beyond Donald Teskey’s seascapes. The aftereffect was evocative of the arena from CS Lewis’s The Voyage of the Dawn Treader aback the accouchement appear beyond a painting of the sea, are fatigued in by the wild, blue smell, again engulfed by the burst of algid after-effects as they abatement through the anatomy into Narnia. These paintings didn’t aloof represent, but recreated, my acquaintance of that basal seascape.
Donald Teskey, Ballinglen
These are the seascapes of my dream –sheer waves, cream a blinding white,all fractals angry appear the centrewhere a rockpool holds my eye.I calibration bottomward bedding of terraced rock,then all abroad fades to nothingbut the tinnitus of surf,the tiny searchlightof a chicken periwinkle.
(This poem originally appeared in the online journal The Phare)
If you are bent in a riptide, the best affair is to break calm and assurance that it will accompany you aback in cautiously about else. This seems to be accurate for activity and additionally for balladry – let them go and see breadth they end up. By aloof such a action of afterlife did my composition end up actuality included in a different presentation box of carborundum prints by Donald Teskey appear by Stoney Road Press amid 2012 and 2014, and able by the artisan to the Ballinglen Building this August. I’m both honoured and captivated that Donald Teskey acceptable me to use one of his extraordinary, elemental, seascapes – Plaga II – for the awning angel of Riptide.
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