Blood Swept Lands and Seas of Red by Margaret Graham

Yesterday, on a brilliant clear October morning two of the granny administrators of Words for the Wounded, Jan Speedie and Margaret Graham, arrived at the Tower of London to view the art installation Blood Swept Lands and Seas of Red.

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The art installation commemorates Britain’s involvement in the First World War, a war to which so many marched in the early days, certain that it would ‘be over by Christmas’.  It was not to be, of course. The war ended four years later at 11.00 am on the 11 day of the 11 month of 1918.

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One of those who went early to war, was a Derbyshire man who died in Flanders. He wrote in his will, knowing that everyone was dead and he was surrounded by blood, The Blood Swept lands and seas of red, where angels fear to tread. It is these words that inspired ceramic artist Paul Cummins’s design.

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In those trenches, classes mixed for the first time, barriers were broken, lives were destroyed. ((888,246 British and Colonial dead) many many others were injured, mentally and physically . It was a defining moment in our history, if you could call such relentless effort and sacrifice a moment.

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The setting was designed by stage designer Tom Piper. In total, 888,246 ceramic poppies will progressively fill the iconic Tower’s moat over the summer. One for every single man who was lost. Volunteers fix the stems and plant out the poppies, for sale for £25. In due course, the poppies will be packaged and posted to the purchasers, again by the volunteers.  Bravo the volunteers.

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By yesterday the tide of poppies had extended in some areas to the edge of the moat, and in others, were lapping towards the walls,  but there is room and time for more, just as there was, sadly, time for more in that First World War.

It is a heart stopping vision, one that promotes a moment of deep reflection, of commemoration, and for the grannies a determination to continue with our voluntary work – raising funds for the recovery of injured troops, so on with the mail shots for our fundraising writing competitions opening on 11th November.

I believe the last poppy will be planted on the cusp of 11 November.

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The Tower of London website says ‘We are hoping to sell all of the poppies that make up the installation and, in doing so, raise millions of pounds which will be shared equally amongst six service charities.’

I would love to know exactly how much is distributed as our servicemen, and ex-servicemen are still sorely in need.

Pictures courtesy of Susan Atkins and Margaret Graham

www.wordsforthewounded.co.uk 

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Yasmin Müller, Copia : Modern disbelief

Yasmin Müller

Copia : Modern disbelief

Exhibition dates: 5th October – 10th November, 2012
Opening hours: Tue – Fri 11-6, Sat 11-3 or by appointment

Maria Stenfors is proud to present ‘Copia: Modern disbelief’, Yasmin Müller’s second solo presentation at the gallery. The installation is embodied in the title word copia, meaning a mass, copiousness, and also a wealth of knowledge and ideas.

Like an expanse of open ocean, constantly shifting in shape and unquantifiable, multiple abstract light patterns fill the volume of the room, continuously moving focus from artwork to room. A confusing and disorientating space, that is darkened and unknown, illuminated in passing moments. These light shapes create an endless moving mass, a copious pattern that conducts the perception.

Central in the space are two geometrically shaped sculptures, erected like columns. These columns and piercings of light are Müller’s reconfiguration of razzle dazzle, a pattern created by Norman Wilkinson and utilised by 20th century warfare engineering. Designed not so much to camouflage but to disorientate, it blurs the perception of depth, contour and edge. it doesn’t hide, but is more of a visual disruption, making it impossible to estimate size and shape.

Placed throughout the installation are objects of pictorial chaos plucked from the everyday images of modern life and cultural trends, copies of copies, an evolution of the original, and all framed and constrained by hard minimalist shapes: exquisitely angled diamonds and sharp edged lightboxes. Familiar patterns merge with common place fashion styles confined by geometrically perfect dimensions, as seen in the clothing of the figurative lightbox images, and visual emblems like the parrot, featured on multiple canvases, each copy being an evolution, a mutation of the former, allowing the copy to perhaps stand stronger than the original.

Yasmin Muller was born in 1977, studied at the Staatliche Akademie der bildenden Künste Karlsruhe, and lives and works in Berlin.

Maria Stenfors, Unit 10, 21 Wren Street, London WC1 0HF