Tribe Issue 10 by Mark Doyle

2009

tribe

INTERNATIONAL CREATIVE ARTS MAGAZINE 1

ISSUE 10 TRIBE MAGAZINE

Editor In Chief Mark Doyle

WELCOME Sergey Kireev writes

Editor Ali Donkin Editor Tilly Craig Editorial Director Peter Davey Contributing Editor Glyn Davies Marketing Director Steve Clement-‐Large Cover Brydee Rood Contributors Joanna Larsen Burnett, Brydee Rood, Emily Rose, Penelope Davies, Miranda Robson, Danielle Banks, Deivis Stavinskas, Elizabeth Dismorr, Ellie Ellis, Ellen Jantzen, Ian Clark, Ian Pyper, Jess John, Kenny Knight, Christine Vescuso. Contact To Submit: tribesubmit@gmail.com To say hello: tribequery@gmail.com

It h appened s omehow that recently I participated i n two d iscussions concerning contemporary a rt. I n s pite o f t he fact t hey h ad d ifferent p lots b oth were a bout same m atter; a term we d on't u sually p ick w hen f irst s peaking o f contemporary art -‐ b eauty. Indeed, what definitions d o we use to describe the objects of m odern art? Creative, i nspiring, u nique, d aring? R arer -‐ stunning, m agnificent? So those d iscussions, very o pen and genuine and fairly h ot, were about whether it i s still p ossible to u se the term 'beauty' when s peaking o f art b eing b orn this very moment. The p articipants were mostly artists and to my surprise the opinions were d ivided f roma very f irm NO! to rather weak WHY NOT? I m entioned o ne thing -‐ a ll t hose who were f irmly i n favor of NO! took ‘beauty’ to mean something p leasant and saw i t i n o nly p ositive, j oyful ways. Being a p art o f minority -‐ a weak WHY NOT? -‐ I was l ooking for counter arguments to p resent themselves. To m e t he artist’s d estination i s to reflect the things -‐ subjects, moods, etc that i nspired h im o r h er. To catch the i nsight o f this magnificent moment when h e felt . .. what? T he b eauty o f this world? Contemporary art h as produced a l ot o f n ew ways to d o t his, minimalist a rtist u ses minimum visual instruments, while abstract i s about the combination o f colors and s hapes. Both can b e equally b oring a nd equally attractive, by t he way... So trying n ot to b e p ushy, I p resented my p oint o f view. In fact, i n addition to everything that might b e said about b eauty, we can n ot also avoid the eternal moral aspect o f the term. Even within the same generation the meaning o f ‘beautiful’ varies greatly. Among t he closest examples to me -‐ t he o fficial concept of b eauty i n t he former S oviet Union. All my attempts to get a ny i nformation about S alvador Dali back then ended w ith a s hort definition from the encyclopedia -‐ ‘an a rtistic p henomenon o f capitalist s ociety p roducing s hocking subjectless p aintings w ith t he o nly g oal o f m aking m oney’. O n t he o ther h and t he definition o f Pablo Picasso o r M anfred M ann, t hanks to t heir l oyalty to communist ideas, was n ot p unished. Arguing s eemed endless -‐ at o ne stage I was even p rovided with s omething l ike “ I was using the term ‘beauty’ as most Americans would think of the term. For example, as s een i n f lowers...” I t d idn’t get w ide s upport t hough... Anyway, b ack to what I was u p to. Art i s b eautiful. T he fact n ot everyone agrees with this d oes n ot mean i t i s n ot. This i ssue o f t ribe magazine i s t he b est i llustration o f t his. E njoy i t. Sergey Kireev, S t Petersburg, R ussia

Full contact details can be found on our website. www.tribemagazine.org ISSN: 2050-‐5302

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Contents illustrator Joanna Larsen Burnett Find more of her work at: jolarsenburne].co.uk

Miranda Robson pg 10

lope e n e P Br ydee Ro od Pg 48

g 26 P s e Davi

Kenn y

Knig

ht P g 96

Emily R ose Pg 64

d da n a Gr s ’ t 2 Jon r a P 80 pg

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Good deeds 6

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How To Stop Slumps ISSUE 10 TRIBE MAGAZINE

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Danielle Banks

Miranda

Robson 10

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Currently in her second year of fine art at University College Falmouth, specialising in drawing and etching, tribe correspondent Helen M o o r e c a m e a c r o s s M i r a n d a â&#x20AC;&#x2122;s w o r k w h i l s t s h e w a s showing a friend her portfolio on the bus.

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Where di d you learn t he et chi n g process? I l e a rn t e t c h i n g i n F ou n d a t i on a t F a l m ou t h a n d I fe ll i n love w i t h i t . I c on t i n u e d on e t c h i n g a n d d r a w i n g a t U n i v e r s i t y. What i s i t about et chi n g t hat you lov e? We l l I re a l l y l ove t h e p roc e s s ; i t a l l ow s m e t o p u s h m y p a s s i on i n d r a w i n g fu r t h e r. I t ’s a l o n g pr o cess. Ye s , I h a ve t o e x p e ri m e n t a l ot t o g e t t h e ou t c om e I w a n t t o a c h i e ve . I w ork w i t h a c i d , w h i c h c a n b e t e m p e ra m e n t a l. So I h a ve t o d o a lot of t e st st ri p e s a n d e x p e ri m e n t s, b u t i t ’s a ll w ort h i t for t h e e x c i t e m e n t of se e i n g t h e fi n a l ou t c om e . What i n spi res you? M ove m e n t , la n d sc a p e , t h e su b li m e , t h e u n k n ow n , fog re c e d i n g i n t o t h e h ori zon , a ll t h i n gs t h a t a re symbolic of jou rn e ys. Th a t ’s wh y I dra w t h e se a it ’s t h e p e rfe c t form t o re p re se n t a ll of t h e se . I can see fr o m yo ur pi ct ur es t hat yo u wo r k i n t wo v er y di st i n ct ways. Ye s , I l ove t o s i t a n d d ra w ve ry d e t a i l e d i m a g e s of t h e se a ; I fi n d i t ve ry re la xi n g. Bu t I a lso love t o d r a w m or e fr e e l y w i t h a fe w s t r ok e s a n d l e s s c on t r ol l e d , s om e t i m e s I m a k e v e r y s i m p l e m a r k s on t h e e t c h i n g p la t e w i t h a c lot h . Your fr eehan d wor k looks v er y i n spi r ed by Japan ese ar t .

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Ye a h I ’ m re a l l y i n s p i re d b y c a l l i g ra p h y a n d u si n g on e m ove m e n t . What else i n form s your work? We l l I re a l l y l i k e rom a n t i c i s m , t h e i m p re s s i on i s t s ; I ’ ve d on e a p i e c e i n s p i re d b y M on e t . Art i st s t h a t i n sp i re m e a re C Y Tw om b ly a n d a loc a l a rt i st c a lle d S a x I m p e y. You’ r e fr om S om er set or i g i n ally, so why ar e your so fasci n at ed by t he sea? M e a n d m y fa m i ly u se d t o c om e t o C orn w a ll on h oli d a y s a ll t h e t i m e . I love t o su rf, I sw i m a lot , a n d I spe n d a s mu ch t ime a s I possibly ca n in the sea. Where can we see your work? I ’ m c u rre n t l y e x h i b i t i n g a t a n e w g a l l e ry spa ce ru n by st u de n t s in Fa lmou t h ca lle d ‘Th e Sh op G al le ry. ’

Vi s i t M i ra n d a Rob s on ’s t u m b l e r: m i r a n d a r ob s on . t u m b l r. c om Or visit ‘Th e Sh op G a lle ry’ we bsit e : t h e sh op ga lle ry. b i gc a rt e l. c om

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Deivis Slavinskas

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Elizabeth Dismorr

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PHOTOG M E M This issue tribe looks at the work of several photographers who are inspired by memory. Editorial Director Pete Davey explains why photography helps artists explore memory. Having spent time with photographer Jon Broks and helping to unearth the past for the present, it made me contemplate the process that the present is the past that fades into memory creating its own narrative that forms the present. What is memory, when faced with fragile objects like photographs; is it just a collection, a souvenir, another way of seeing the nostalgic fascination of fragments, captured in time? Does it inform some kind of historical document that informs the viewer maybe a shared language of culture values, morals and social identity and its place within political culture, or is it just a family snapshot, that shares a reflection on the past that creates and informs the present? There is no easy answer only more questions, no clear perspective. It’s the exploration of ideas on this subject that keeps me frustrated and interested in this research and the abstract nature of seeing.

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GRAPHIC O R Y Va n i s h e d P a s t Fa m i l y / S o u ven i r/ C o n s u m pt i o n / Voyeu r/ An o t h er wo rl d / No stal gi c / Pres er ved / T i me-‐ S p ace/ an o th er Rea l i t y/ Va l u es / M o ra l s /

F r a g m e n t s O f T i m e C u l t u r e I d e n t i t y / I n s t i t u t i o n / F a s c i n a t i o n / I n f o r m / P o l i t i c a l C u l t u r e / E l e m e n t s / S h a r e d L a n gu a ge/ H i sto ri ca l D o cu ment

A n t h r o p o l o g i s t M e s m e r i s e d / S n a p s h o t / J u x t a p o s i t i o n / D e c i s i v e Mo me nt s/ C a pt u r i n g t h e M om e nt / Pe o pl e / Pl ace s

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PENELOPE D A V I E S Interview by Pete Davy

Pete: Penny your images are really intereseng and are full of emoeon. Penelope: Well they are, my main objeceve when I use a camera is to take photographs from the heart, I try because I’m an emoeonal person, and because I want it to be a visual experience for the viewer. I want them to look at the pictures and feel something, I don’t want them to just look at them and think ‘oh that’s just a picture of a door’ I want my emoeon to go into my pictures. Pete: What is the fascinaeon with black and white? Penelope: Well it all started with this year, the second year of my degree, I have concentrated very much on family and memory, and objects of memory and things like that, so I for me black and white kind of gave it more of a eme statement and it kind of shows, because I’m quite old fashioned as well. I grew up in the 1960’s when there was a lot of black and white photography, and all of the images I have of my family are all in black and white, so to me it kind of ees in with the link from past to present. I did try to do some in colour but they just didn’t work for me -‐ the black and white has more of a emeless quality to it I think and I like Film Noir as well, so there is probably a bit of inﬂuence from that in there as well. Pete: How do you feel about colour photography? Penelope: Each to his own taste. I mean I do like colour photography as well but I think it depends on the subject. I ﬁnd Maren Parr’s work quite amusing so I do actually quite like his work even though its saturated in colour, so I think it depends very much on what you’re doing, and what you’re trying to say.

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Pete: You are very precise with your composieon I noece. Penelope: Yeah, actually what I’ve noeced about my images, aker I’ve taken them they have a lot of corners and a lot of doors… Pete: Yes I noeced that, it’s almost I don’t know if you agree, but it reminds me in some ways of Robert Frank.

Penelope: Yes, I really like his work and the use of cut oﬀ and again the use of black and white. One of my lecturers said to me, ‘well do you know what comes to my mind is what’s beyond the frame’ -‐ that made me think. Pete: Well that’s another thing that runs through these set of images -‐ there is a frame within a frame -‐ was that on purpose or subconcious? Penelope: Well when I am taking the photographs the thing I am actually doing is chasing the light, so all I’m

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concentraeng on is where the light is and what the pa]ern is of the light but it’s only when I get the pictures printed that I can see lots of other things. I think they are full of metaphors because I came to college so late there’s a lot of turning a corner; what’s around the corner, opening a door of opportunity, one door closes another door opens, there’s a lot of that in it I think, it’s kind of to do with my learning as well. Pete: I also think there is a sense of memory there, and isolaeon…

Penelope: Well yeah, because I’ve lost a lot of my family so, and I am a li]le bit spiritual. For me the light is a comfort, I’m always searching for the light because you know I have a darkness inside me and I have suﬀered from depression and things, so I think for me I search for the light, it’s also loved ones who aren’t here anymore. I ﬁnd comfort in the light because I see them in the light, as kind of a story within me if you like -‐ they’re always with me so they’re always in my heart and yes I do someemes feel

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very alone because I have lost them, but then kind of on the posieve I sell feel them in the light. Pete: Tell me about the image with the text -‐ “Normal People Scare Me” Penelope: I went into when my daughter wasn’t here I went into her room because I had never photographed in her bedroom and when I walked in there I kind of took a step back because she had wri]en that on the wall and I thought ‘Wow that’s really cool’ and on the other hand I was thinking ‘God this is worrying’, but she is a very quiet person and she doesn’t have a lot to do with outside people so you know I guess she is like me in lots of ways. I just really liked the text and I mean I like wrieng and that’s one of the things I want to combine is: photography and wrieng. I thought it was really intereseng the way she had wri]en it on the wall, because normal people scare me as well. Pete: Are they any parecular arests who have influenced you? Penelope: I don’t know really to be honest. I like classics I have read quite a bit of Charles Dickens and things with that character base. I really like abstract expressionism and surrealists, the Dada movement, that all really speaks to me when I look at Mark Rothko because I mean his work is all about splashes of colour but when you read about him and find out how he’s painted and what he is actually trying to convey they are all very much a visual narraeve that you have to read into and I guess that has kind of influenced me a bit as well. I suppose I do tend to like narraeve and I do love my home so a lot of my work is home based because I think you can find a lot in your own surroundings. It’s all about the act of seeing and you know things that are like blindingly obvious. Things that have become so obvious that you don’t noece them anymore and I like that idea of actually conenuing to noece what’s there rather than it just being around and you not noecing it. -‐ everything has kind of a life of its own outside of eme. Pete: So you’re interested in the mundane?

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Penelope: Yes I do, because I think we take far too much for granted in life and I think that’s where that comes from -‐ I don’t like people, things or objects being taken for granted. Pete: Can you talk about the use of objects in your work? Penelope: The first photograph in the series is of the camera and the camera has kind of had a story for me because at first when I was at college the camera was something I was learning how to use: exposures, apertures and all of that. Then it became something that I hid behind because out there at the eme I was kind of a bit nervous about my work and not feeling very confident, so I would go out and realise that I could hide behind my camera and I wouldn’t have to mix too much and I could just kind of concentrate. Now the camera has become one with me because I do go anywhere without my camera, so it’s become me now and the camera. With the camera I can just capture things whereas before I didn’t know how to express myself or how I would actually get out what’s inside me, so the camera has become really important for me. <

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Penelope Davies

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Ellie Ellis

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43 Ellen Jantzen

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Ian Clark

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Ian Pyper

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YDEE ROOD

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Your work interacts with natural surroundings, in particular "To be with you, to be free..." goes further, you use the sun's path and the wind as integral elements to the work. Why is this use of natural elements interesting for you? Perhaps for the simple reason that this is the world we live in, the space we inhabit. These elements are life and it feels right that they are integral to my work, the light and breath of my installation. My experience of being at Headlands was so incredibly influenced by the surrounding landscape, the wild Headlands wind blew through 90% of my days during the 3 month residency, whipping my hair about my face, pummelling my skin, cracking my lips… ignoring the presence of the wind would have seemed strange. I work in a very site sensitive way, the things I experience inform the decisions I make about my work comes together and also in this case how it falls apart. You talk about habitat and our relationship to it, what do you think is the experience of a viewer coming to the installation for the first time? Do you seek to create a sense of habitat? The natural and unnatural combining as with our own habitats? Yes I think so, creating an experience which differs to how we usually find things in our daily life. I’m fascinated by how we relate to the environment we inhabit, so this exploration in space is perhaps an extension of this concept of exploration, what we find how we feel, what we perceive and what we do or seem to do automatically as a pattern or as a predictable outcome. Which might also differ to what we do instinctively although there is a lot of crossover and our interpretation of such things seems blurry at best. I’m interested in the hazy area, the contradiction, the cultural blind-‐spot between deep intuition and newly or more superficially formed habits, in terms of how humans respond to their locality and the resonating impact these actions might sustain. I feel a deep sense of connection to world around me, guided by intuition. The answer to your question may not be so clear or direct; but the crux of my interest intersects and poses visual questions around our tenuous relationship to the natural word, referencing and critiquing our material existence and how we consume and dispose. 'To be with you' features two kinds of natural elements, the predictable (the path of the sun) and the unpredictable (the wind blowing through the gallery). What motivated you to chose those elements in particular? Well actually although it might have seemed predictable I found the effects caused by path of the sun by accident. At Headlands there were wonderful dinners prepared for the artists, so I was not often in my studio at sunset as it coincided with our collective dinnertime. Of course I knew the windows faced west to the setting sun -‐ however I had no notion of the intensity of the sun on the yarn structure until one evening towards the end of installing,

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when I returned to my studio unexpectedly at sunset, I was struck by the blazing gold light which appeared to channel in perfect alignment; settling on the thread, causing it glow with vibrant flare echoing the rich fiery tones in a way I could never have imagined. I was so excited by it that I was determined to finish the installation by sunset the following evening and document it. As for the wind -‐ the fragility of the work was something I was aware of from the beginning, but the direct involvement of the wind was also in some ways found by accident. I was into the third day of hanging the yarn structure when a fellow artist yelled “Hello” outside my closed window. I climbed down the ladder and opened my window just a little so I could lean out and converse -‐ within seconds the Headlands wind had blown in and swept up an entire section of thread-‐work. In that moment I knew this was something quite special, that the wind would be the end of this piece. I was also interested in how the wind echoed the movement of the ocean and the local proximity to the coastline, of the wind constantly shifting the of topical patterns of land and sea, bringing that motion and flow into my installation and documenting the movement of the bags was like watching an underwater scene, there was this circular motion akin to swirling movement in gyres. Apart from your use of the natural, man made waste and in particular rubbish bags, has been a continuous feature in your work. What was it about the bags in particular that drew you to working with them? Are their aesthetics as important as what they symbolise? I like to make full use of each material’s unique properties (sculpturally and aesthetically) as well as employ historical, cultural, and environmental resonances -‐ the rubbish bag fascinates me because it is a receptacle for waste, it represents a failing system, everything we put in inside it is somehow magically disconnected from our being -‐ it ’s a flawed process -‐ the end product of our material life. I’m fascinated by this missing link -‐ how can we experience things differently to unlock new potential? How can we understand our culture of waste? I have become possessed by the action of filling the bags with light and air, spinning and catching the wind like a whirling dervish, like the gyration of the oceanic currents -‐ locking sacred air inside, adding my breath to the inflating structure. The sculptural forms of the flaccid and inflated rubbish bag interests me in equal measure as the transformative mingling of light and air. There is something very different about a rubbish bag when it is not stuffed with the waste of everyday life. Perhaps I am questioning what is it that we really throw away from our material world? The aesthetic research and obssessive studying of various rubbish bags, bins, dump sites and transfer stations in different parts of the world influences the way I work, just as much as the how the place my work inhabits informs the inclusion of other elements and new rituals in process.

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I am interested in your relationship with the waste materials you use, they hold so much possibilities to make interesting objects, you are able to play with form and colour using them, yet they are waste. You have negative or positive associations with your material after having worked with it. The contradiction is implicit. There is never negative or positive, there is always both, all and everything at once. 'The Waste Whisperer' creates some fairly unusual images-‐ a small dog trailing a horse laden with waste bag balloons -‐ you don't see that every day! Those elements of the ridiculous have featured in previous works of yours before such as 'Müll Ballon Wolke Kanal Projekt', do you feel there is a different reaction from the viewer to works such as these? How important to you is keeping the fun in contemporary art? I am a very playful person by nature so of course it is intrinsic in my art practice; I also feel that humans learn through play, it is how we make patterns, how we grow, discover, fail, learn… so the playful qualities in my work signify this quest for knowledge, this insatiable appetite for new theories -‐ it ’s a highly experimental and unrestricted way of working, play is way of pushing the limits of my art practice. For me many pieces of your work seem to invoke a sense of adventure, 'The Waste Whisperer' has a Don Quixote quality to me somehow, ‘Müll Ballon Wolke Kanal Projekt ’, adventuring down the river and your work in Rajasthan all seem to have elements of grand journeys, is that a feeling you seek to create in your performative work? I feel this relates to my deep intuitive instinct to find new ways; in a sense the journey is the process, is the work. How we do things being impossibly connected to the end result -‐ to me processes of art and life are critically interwoven, through action and experience I am exploring this dysfunctional relationship between human beings and the environment. As an artist who works both in installation and performance do you feel that your installation work tends to keep an aspect of the performative somewhere within it? Yes always, I think it ’s been a progression of ways of thinking and expression. My work is incessantly trying to escape, to move beyond its limits, whether it be the precarious interaction with the surrounding environment, or the air seeping out of the inflated rubbish bags, or the wind that whisks the bag away, or the tactile qualities in the work begging interaction -‐ it seems the work has a

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life of its own, this activated response has propelled my installation into performative and participatory directions. From a balloon adorned horse to fairy lights and dust bins, mixing the magical and the real is a common element in much of your work. Does this come from a want to transform elements of waste into something special? In some ways -‐ perhaps waste is magical already? If used intelligently waste can be fuel, compost, new beginnings -‐ there is magic already there. But yes, in a sense I am playing with the “magic” of the starry sky the power of wind and sun, the notion of conjuring or spiriting waste away, with the magic of touch, light, sound... But actually all of this is very real; the material reality of my work belies interpretation. Maybe it brings us back to exploring hidden contradictions… Bright colour shines out of your work. Why are you attracted to colour? Would monochrome ever hold an interest for you? I don’t like to rule anything out. However, my practice seems to accumulate colour, I find myself very compelled by how colour and light filter our perception. Colour punctuates my vision; it makes me pause, lingering on some detail... so this way of looking is reflected in how I create. Often I am working with one colour at a time, at least for now -‐ it ’s infinitely more likely that I will slip into the rainbow instead of the oil slick, or should I say the rainbow reflected in the oil slick. I am drawn to the colour of things as I find them; in my own neighbourhood we have bright yellow and orange rubbish bags bulging and bundled alongside royal blue bins with bright yellow lids.

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Jess John

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E M I LY RO S E ISSUE 10 TRIBE MAGAZINE

“ I wa s u n co n s ci o u s l y a n d d es p era tel y tr y i n g to h o l d o n to s o meth i n g p r ec i o u s a n d t h i s s o m et h i n g w a s t h e p r es ent ,” T i n a B a r n ey. My pho tograp h s are an i nve st i gat i o n i nto th e i n exo ra b l e p a ssi n g o f t i me. I bel i eve emo t i o n s attac h e d to th i s co n c e pt a re so m et h i n g t h at i s u n i vers a l l y ex p eri en ced , a n d wh et h er i t b e t h ro u gh a fa i l u re to ma i nta i n

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a person, pl ac e , or e ra, th e re a l i t y t h at u l ti m ate l y eve r y th i n g m ove s o n, ch an ges, or d i es i s real i sed . I have come to b e l i eve t h at t h e p re l i m i na r y re a so n fo r my p i ct u re ta ki ng ca n b e ex p l a i n ed t h ro u gh a n attempt to h o l d o nto to wh at i s n ow. I t h i n k a general anxi et y ab o u t th e fu t u re p l aye d a p a r t i n sp a r ki n g my i nte re st i n p h o to grap hy an d i s certai n l y s i gn i f i cant wh en co n s i d eri n g th e

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mo ti vati o n b eh i n d th i s seri es. T h e co n cept o f b ei n g ab l e to h o l d an d vi ew a p i ct u re, a n exa ct mi n i at u re rep l i ca o f a rea l l i fe mo ment yea rs af ter i t h a s o c c u rred , i s st i l l o n e t h at I f i n d i n c red i b l y s u rrea l , d es p i te t h e co nvent i o n a l i t y o f p h o to gra p hy i n mo d ern d ay s o ci et y. I t i s t h i s i d ea o f t h e p res er vat i o n o f a mo ment a n d wh at i t may co mmu n i cate at a l ater d ate t h at I fi nd parti c ul ar l y i nte re st i n g .

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T h ro u gh t h e ex p l o rat i o n o f my fa mi l y ’s h i sto r y I d i s c u s s wh at i t i s to l o s e t h e p a st a n d i n t u rn wh at o n e h a s j u st ex p eri en ced a s t h e p res ent . I p h o to gra p h ed i n a rea s t h at a re rel eva nt , ei t h er wh ere my fa mi l y h a s l i ved o r wh ere th ey are fro m, th e i nteri o r l o cati o n s are sp eci fi cal l y th e h o u ses th at t hey previ ou s l y i n h a b i te d . H oweve r, I th i n k a s m u ch a s t h e se i m a ge s proj ect a m el ancho l i c se n s e o f l o s s , t h ro u g h th e m e rg i n g o f p a st a n d p re se nt a nd a l ayered p h o to grap h i c tech n i q u e th ey al s o co mmen d th e b eau ty o f th e p h o to gra p h i c p ro ces s i n gen era l .

emilyrose21.tumblr.com

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Christine Vescuso vescuso.com79 ISSUE 10christine-‐ TRIBE MAGAZINE

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Jon’s Grandad (Part 2)

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Kenny Knight & Peter Davey The Honicknowle Book of the Dead is a refleceon of life on the fringes of society, popular culture and the innocence of childhood. I placed myself into the works of Kenny Knight by constantly re-‐reading his poems and allowing myself to wander around the areas of Plymouth that are referenced throughout his works, allowing them to give up their ghost and reveal their hidden secrets for me to then capture, refleceng the past but maintaining the present. This idea of becoming part of the ritual, manners and customs of Kenny’s poems allowed me to capture the hidden landscape in space and eme. It’s this idea of looking and using the imaginaeon to find odd and strange things that fascinates me, of finding the unusual and unnoeced of the subconscious mind, allowing the images and words to create their own narraeves. Like lepidopterists, we are both voyeurisec poets, constantly in states of flux -‐ our memories always in juxtaposieons with words and imagery. It gives me great pleasure to announce that the project has now organically adapted into a photographic poetry exhibieon called The Honicknowle Book of the Dead which will be shown at the Pipe Gallery in Plymouth stareng 16th of November. There will be a talk by Jason Hirons, readings from A Curious Shipwreck by Steve Spence and readings from The Honicknowle The Book of the Dead. Nov 30th, the final night, will feature Andrew Brewerton, Steve Spence, Norman Jope, Sandra Tappenden and Kenny Knight, Anthony Caleshu, Tim Mills, as well as German and French Surrealist Poetry. Peter Davey 96

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Guthrie to Ginsberg All those old troubadours who wanted to be folk singers like Woody Guthrie, singing songs about working the cafes and bars all along the waterfront six strings and a suitcase of borrowed mythologies playing the covers of a previous generation one eye on freedom one eye on the rainbow and all those hobo shoes who wanted to travel from one end of the sunset to the other. Who closed their doors every morning and opened them again at night, to sleep in the same old bed of dreams like stay-at-home Jack Keroaucs. Who never went any further than the railway station to watch fossilised-trains haul romance and adventure througha haze of primal smoke Frontierstman of a kind One eye on the world One eye on the table And all those blacksmiths Who wanted to be beat poets Like Allen Ginsberg, Gregory Corso, Lawrence Ferlinghetti, at a time when I was a young man and you were a young man, growing up in sunflower backyards in the fifties and the sixties of the twentieth century. One eye on the girl next door. One eye on America

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ISSUE 10 TRIBE MAGAZINE

Skinny When I die bury me in Woodland Wood underneath that tree where we once undressed in the dirt of multiple autumn or dangle me discreetly in chains from Blackie Bridge where I’ll conduct the river into a song: the dead waving to the living through the medium of Ernesettle Creek every time the train rumbles on its way to Calstock, or back. Inter me in the dungeons down in Knowle Fort which I thought at an early age was a castle where the Knights of the Round Table slept. This was before the middle ages and the middle classes were invented, before the coffee table entered the charts of popular culture on the left wing of Tony Benn’s living room. or lay me underneath my favourite street corner on the Crownhill Road at West Park, where I hung around for a year or two somewere between paper boy and puberty. When I die I’ll apply for housing in the Happy Humping Grounds and dream of our reunion in a double bed. If I get as far as the afterlife I’ll try to get it twinned with Honicknowle, but knowing my luck I’ll get reincarnated long before I cross over the Border into St. Budeaux. And nine months later I’ll make a comeback in the lands of the dead, in a little cul-de-sac somewhere south of Woolaton Grove, where the orchards grow and the nightingales raise their families. I know what I want to be when I grow up. I want to be six feet two and skinny.

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Treehouse I wanted to go home. I cried and I don’t know why. I was lost and the big city was famous, too famous to know me. I was scared by all the legs. It was like walking through a thick forest walking on the pavement. The forest was big and I was small and far too slow to dodge the trouserbark skirtbark trunks. The trees didn’t have roots, just shoes although mostly not muddy. There were even starlings and other birds tapping their beaks on the ground. I’d stop and listen to their songs. It’s easy to forget that collected together people become a forest. It’s easy to forget, once you’ve grown and become a tree, that you’re just another part of the moving landscape of big forest to someone small. Sometimes I’d imagine these trees; pin-striped and other varieties, dancing together to music they heard on the radio, dancing like real trees dance to the lazy rhythms of thundercane and tornadosong. I like the weather when it was raining, even then. I wanted to explore the world but was restricted to the margins. I was too young to be trusted with an atlas. I always lost gloves. I wanted to fall in love and bruise my legs. Buttercups and dandelions hated me. I spent half of my childhood laughing at televisions and the other half staring, through windows from claustrophobic classrooms of cold brick. I was frightened by unknown things. I gradually grew tall. I became addicted to cigarettes after I gave up toys. I don’t wear short trousers anymore even though I have nice legs. I was born in the fifty first autumn of the century I now live in a Treehouse of my own. 102

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Words: Kenny Knight 103 Pictures: Peter Davey

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ISSUE 10 TRIBE MAGAZINE

Billboard Joanna Larsen Burnett

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