Lost and Found

Still Glides the Stream (2014).

Erasures, loss and lacunae in Wordsworth’s Duddon Sonnets.

More info here.







Film stills from a recent research trip to the isle of Skye, Scotland, resulting from a commission from Atlas Arts as part of their A Work for the North Atlantic. The footage is partly informed by fragments from Hebridean ‘waulking’ songs which reference landscape or weather.

See my Atlas Arts blog post for more details.

Of the Elm Decline




Of the Elm Decline

Towards a new versification: A line crossed, back and forth. Figures – datum and metaphor. Object and subject, inextricably enmeshed. The line scores, stitches, encloses, underpins. The bi-polar problem: Organic/inorganic, sentience/unconsciousness. The poem as interim report, the table as imaginative prism.

Of the Elm Decline is published in Memorious Earth : A Longitudinal Study.

Memorious Earth / Ferae Naturae

A retrospective of my work with Autumn Richardson, informed by the south-west Cumbrian landscape, is on display at Abbot Hall and Blackwell from January 16th to March 14th.





The catalogue of works is as follows:


1337 (2013)
Wooden box, text, glass phials, dried flora.

348,168m2 (2015)
Text, caliper, glass phials of water and silt from Devoke Water.

A Partial Bibliography (2015)
Texts, sheep bone, oak leaf, bird’s nest.

Bark, Xylem (2013)
Booklet and music (Duration 12:06)

Relics (2013)
13 texts (420 x 594mm)

Rowk (2013)
Film and music (Duration 44:53)

Succession (2013)
Music (Duration 60:05)

The Singing of Minutiae (ii) (2013)
Text, glass jars and phials, found flora.

Ulfr Haugr (2015)
Wolf skeleton (on loan from Kendal Museum).

Ulpha Publications and Editions (2010-15)
Wolf Notes ( Folio Edition, 2010; Art Edition, 2011; Pamphlet, 2011), Ulpha Wheel (2012), Relics (2013), Wolfhou (2013), Of the Elm Delcine (2015).

Wolf Notes (2011)
Music (Duration 44:30)





Become a Ford (2013)
12 texts (148 x 210mm).

Before the River (2015)
Become a Ford (Pamphlet, 2013), Hem the Margins (Pamphlet, 2015), two jars of water and silt from Devoke Water.

Elements in a Private Ritual (2015)
Water from Dunnerdale Beck, dried oak bark, dried birch leaves, dried nettle, silt from Devoke Water.

Limnology (2012)
Book and music (Duration 28:48)

Limnology (Art Edition) (2012)
Portfolio, music CD, postcard, lithograph, various prints.

Nimrod is Lost in Orion and Osyris in the Doggestarre (2014)
Music (Duration 58:24)

Relics (ii) (2014)
Small wooden box of acorns, five heather roots.
Wooden box, four phials of oak and Caledonian pine bark, sheep bone, usnea, robin pellet, owl pellet, birch leaf, three hazel twigs.
Unidentified bark, oak leaf.

The Singing of Minutiæ (i) (2012)
Unidentified aromatic bog plant in flower, bog myrtle leaves, English blue-bell flower casings, red campion flower casings.
Unidentified feathers, alder catkins, unidentified grass panicles, oak bark, magpie feather, English blue-bell seeds, jack-by-the-hedge seed pods, juniper, pheasant feather, unidentified grass head, alluvium, bracken root.
Usnea, thistle and bark.





Over the past eighteen months I had the opportunity to visit the collection of the Museum of Lakeland Life and Industry, and the Collingwood Archive at Abbot Hall. The result of this research is a ‘Museum of Ferae Naturae’, produced in collaboration with the Notional Research Group for Cultural Artefacts. The exhibition explores the persecution and veneration of animal life through artefacts and documents held in the MOLLI collection, as well as the Kendal Museum.

A book of the Ferae Naturae exhibition is published by Lakeland Arts.

Nimrod is lost in Orion and Osyris in the Doggestarre









Once a place becomes part of one’s inner landscape, the imagination – knowing no bounds or decorum – stitches it into its own patchwork of memory, dreams and reveries. It is subsumed into a greater fiction, and roads or trackways to other places, real or imagined, appear. Nimrod is an accretion of these imaginal processes – an auditory, textual and visual entanglement of the real and unreal, a blending of document and invention.

The excerpted texts that make up the accompanying book come from a range of sources, united by a hyper-sensitivity to nature itself; a desire to understand and come to terms with its ‘hidden state’. They are figures in the landscape, some of whom construct elaborate systems of classification and natural philosophy, others who seem wounded by their very affinities, and others still who seem lost, or are institutionalised. The tone of the work as a whole – which finds its analogue in the music – is aptly evoked in Gerard Manley Hopkins’ poignant phrase:

‘nature in all her parcels and faculties gaped and fell apart’.

There is a sense of things on the verge of collapse, of despair and regret.The combination of music, text and image in Nimrod offer such a glimpse, that it can paint the picture of a wood through which slanting light dimly traces other forms.


NB: My thanks go to Julian Hyde, and Rob & Barbara at Fireside Books.

Wordsworth & Basho Exhibition

From the WALK website:

Wordsworth and Bashō: Walking Poets is an exhibition of original and facsimile copies of manuscripts by William and Dorothy Wordsworth and Matsuo Bashō. They are shown alongside new work by contemporary UK and Japanese artists who have responded to the manuscripts, and what originally inspired them, in ways that are as fresh, creative and radical now as Wordsworth and Basho were during their lives. Artists in the show include:

Ewan Clayton, Ken Cockburn, Mike Collier, Alec Finlay, Christine Flint-Sato, Zaffar Kunial, Eiichi Kono, Manny Ling, Chris McHugh, Nobuya Monta, Inge Panneels, Andrew Richardson, Autumn Richardson, Nao Sakamoto, Minako Shirakura, Richard Skelton, Ayako Tani and Brian Thompson.

The two new works I created were ‘I Know Not Where’ and ‘Still Glides the Stream’:




“Walked I know not where’ is a line from Dorothy Wordworth’s Alfoxden journal, which – with its implicit indeterminacy – seemed to me an oblique invitation to reconfigure her text, to point at hitherto unknown destinations. 200 words were chosen and presented as a ‘map’ through which the viewer may walk, thereby constructing their own ‘word-paths’. Another panel displayed the results of my own such wanderings through her text.




‘Still Glides the Stream’ is a distillation and examination of William Wordsworth’s ‘Duddon’ Sonnets, plumbing its depths for the presence of ancient ‘water-words’ in the Celtic and Germanic language families.

Unfortunately, there was insufficient room on the information panels to print the meanings of the ‘lost’ water words, which are therefore – in a sense – doubly lost. Since ‘Still Glides the Stream’ is about salvage, this is a rather ironic state of affairs, but it does at least serve to underline the reality of language loss. The meanings are printed below:

á [old norse] river
an [goidelic celtic] water
ar [goidelic celtic] water
ar [brittonic celtic] an ancient river-name element
as [goidelic celtic] cataract, waterfall
àth [goidelic celtic] ford
eá [anglo-saxon] river
ea [cumberland dialect] gap, outlet; found in river names
eas [goidelic celtic] cataract, waterfall, cascade
ey [cumberland dialect] island or river-side ground
òs [goidelic celtic] mouth of a river
óss [old norse] mouth or outlet of a river or lake

Wordsworth and Bashō: Walking Poets is on display at the Wordsworth Trust, Grasmere, UK, until the 2nd of November.