Osaka Research Visit

For the past four days I have been in Osaka, Japan, where my intention was to meet some Japanese artists, get a sense of how contemporary art is being shown, talked about and valued here, and move the 'Indefinable City II' project on. I had organised a couple of visits before going.

 My first visit was to Artcourt Gallery, in Tenmabashi. This is a privately owned Contemporary space, representing and working with both emerging and established artists. I had arranged to meet up with Ami Fukuda, and arts manager at the space on Saturday afternoon, as there was an artist's talk, which would be a good chance to see the work, meet Ami, and hopefully learn about the space and the works.

The talk was very interesting: of course, it was in Japanese, so I didn't know what anyone was saying, but the organisation of the talks was that each artist was introduced by a perhaps more senior individual, who would then put a series of questions to the artist.

 The work in Frontier was great; and Ami explained it is the 10th version of this show that they have had, usually showing new and interesting work by emerging or up and coming artists. The fish bone assemblages by Yumiko Tanabe were really striking.
Ami said that for Japan, Artcourt is an enormous space - and that some Museums that they work with have been able to show large scale works form their collections at Artcourt, where they cannot fit them into their own space.
Some of the works that stood out for me from the show were these fish bone assemblages - above - by Yumiko Tanabe - they are real bones dipped in urethane paint, which gives them a quality like ceramic.

And the series of paintings of anemones and sea creatures by Mariane - a beautiful painter whose work has just been featured in one of Japan's most important art magazines.

 I met Mariane after the talks and told her about Indefinable City II, and why I was in Osaka. I love Mariane's paintings but I am not sure that they fit the theme, but still it was great to see them.

Above Mariane, and Ami showing Mariane's work in the magazine.
One artist whose work I thought would be great for Indefinable City was Tomomi Takata.

 Tomomi graduated last year from Kyoto University, and her work exploring areas in cities which had been red light districts was fascinating. Tomomi was interested in how with gentrification, these once prevalent areas disappear, with little or no evidence of their former use. Tomomi visits the sites, documenting, looking for clues and making interventions which perhaps uncover their past. In particular, Tomomi pointed out some images of Okinowa, where whole areas were dedicated to 'catering' for U.S. soldiers. This is a largely unwritten history in Japan, and a poignant and sensitive body of work.

 I was also intrigued by these carrier bag cloud droplets by Akira Higashi - I hope that the exhibition will look at how sustainability in cities, and so using rubbish bags as material interests me.

This is something which has cropped up a number of times in conversation since I have been in Japan: sustainability in relation to our natural (and unnatural) resources has been mentioned by everyone I have met. Ami made me very welcome at Artcourt, much needed for a tired, jetlagged hot and bothered artist -  and I do hope to stay in touch.
My other prearranged meeting was with Koh Yoshida, who runs Tsukiyo to Syonen (Moonlight and the Boy) with his wife Mio. They opened their gallery 4 years ago, although it has been in this particular spot for one year. They have a varied programme which includes art exhibitions (both selected by them, and artists hiring the space) design shows, regular concerts as well as being involved in a forestation project. 
Navigating Japan is hard, as signs are often not included in English (understandably) and a clear print out of maps were very useful, but I still got lost a lot. When peering hopefully at a map, without fail friendly Osakians stopped to see if I needed help, and a combination of pointing, bowing and pointing usually got me where I needed to be. I actually find it quite interesting being lost, as long as there is no time deadline.
I managed to find the gallery in time for the 7 o' clock concert on Saturday night: I recognised the second floor space from the flag - which I had seen online.

They had two bands playing: really relaxing and beautiful music, and I couldn't help admiring all the lovely objects in the space.

These euphorbias, growing like trees, with a tiny deer standing as if on a mountain. And then these amazing can lights made by Mio: just an ordinary dented can with holes in until the lights are off. 

Artworks are for sale throughout the space, but in an understated way, which makes each piece feel special and beautiful.

I returned on Monday for a meeting where myself, Koh and Mio could sit down and discuss the idea of Indefinable City II. Originally I was hoping to come to Japan and meet some artists and curate the show myself, but it seems to make more sense if this is a joint venture between AirSpace and Tsukio to Syonen, which Koh agrees with. I had prepared an intro postcard to distribute to Japanese artists, which explained the premise of the exhibition, and the requirements for application: I asked Koh what he thought, and it turns out this is a strange way of curating a show in Japan. It is not usual to put out a call, and wait for artists to send proposals, and usually exhibitions are not curated like that here. I wonder how it works - as an open call (I find) can be a really good way of finding new artists to work with.
Koh is also keen to consider if the show might contain UK artists as well as Japanese artists - and then tour the show to the space here? This is something we need to think further about, and decide. I am also wondering if the title might change, as if this is to be a partnership, it may not suit Koh to inherit the title?
We had a good long talk about the idea for the exhibition, as well as how our respective spaces are organised and work. I wondered about how they survive, which Koh said was difficult, and partly why they have such a varied programme, it is much more difficult to get funding in Japan - and it is very competitive.
In relation to the show: I wanted to discuss the idea of Japanese Boro: which is using parts of old clothes to patch up other clothes becoming a new and improved garment. Vintage Japanese Boro is very expensive. Koh explained that Boro is not just for clothes, and I was quite interested, as we (in U.K) are not very good at reusing and recycling.

We had a discussion about how the Japanese do not like to throw anyhting away, Koh used the example of his Japanese/English dictionary - which he has had since a child. He explained that as he uses it all the time, it becomes important, and the Japanese believe in a way that when an object is used a lot it will have a god inside it, and so it can't be thrown away. He said if he longer uses the dictionary he will give it to his friend, and if she doesn't use it she will pass it on, and so things are reused. We then discussed the way that this idea is at odds with the other more modern cultural trait, where everything is also available so cheaply and conveniently that there is a wasteful, throwaway culture. When you go to the convenience store to buy a salad they give you: a napkin (wrapped in plastic) chopsticks and a fork (wrapped in plastic) in case you can't use the chopsticks, all in a carrier bag.  A lot is wasted. 

I remembered the phrase ii ra nai (spelling - sorry) which is something like I don't need it - so I could stop having all the extra stuff with my salad. Koh said it is very interesting that on the one hand, everything is used many times, and on the other, people can buy and throw away so easily, this is happening simultaneously. Koh said that before the earthquake people were thinking about and talking about sustainability - but since the earthquake, and the questions it has raised about nuclear power  - more than ever people are discussing sustainability, respect for natural resources, and materials. 'Now - we should not throw everything away easily, we should recycle - we should save energy.' 
I talked about the idea of Boro in relation to Indefinable City: my idea for Indefinable City II is around a future city which doesn't waste anything; green space in integral to the way the city works, and not an afterthought, it may look beautiful and ramshackle, it is a better utopia than the one presented by the regeneration companies when I was researching Indefinable City in 2006.

I was very interested to hear about how and why an art gallery would get involved in a forestation thinning programme in Chihayaakasaka. Koh told me that 60 year ago the forests in Japan were natural, but then they were cut down in order to grow orange trees. Whole mountain areas were felled, and orange trees planted, to satisfy the market. Then, oranges began to be imported from elsewhere, flooding the market, and the price of oranges collapsed. The orange groves could not be sustained, so many of these were felled, and cedar trees planted. Cedar is good wood for building houses, so suddenly everywhere cedars were growing. Again, cedar began to be imported, and the bottom fell out of the cedar market - as a result, Japan is full of forest areas with cedar trees, but they were densely planted (never intended to be left to mature) and as they have been largely abandoned and left to get on with it - now the forests are dying - as the trees vie for light - and all are sickly, skinny, leafless things. They go to the forest area and join in the thinning out of the cedar trees, to give others a chance to survive. The wood is used to make one-off frames and other furniture for sale in the gallery. I find the idea of the forest as palimpsest interesting: much like the city - and these forests surround cities. I somehow want to link the idea of this with the exhibition - and I like the idea of a mountain/forest city.
 After we had discussed ideas, we agreed we would each have a think and decide how to proceed: whether this is a show of Japanese artists in Stoke only, or both UK and Japanese artists: or whether perhaps we can swap: and UK artists be shown in Japan, and Japanese artists in UK? After the meeting Koh had arranged for some Japanese artists to come and meet me. We went for a meal together, and many questions were asked about arts in the U.K. and Japan.

We talked about survival, and how to make ends meet.

We will see what develops from these visits. I also went to the aquarium, which was in the Tempozan Harbour Village, housing many of the leftovers from the 1970 World Expo (something about World Expo sites really attracts me...) and I went to the Museum of Housing and Living, where I enjoyed the lifesize recreation of an edo village and the models of Osaka city through time...and it got me thinking about Indefinable City as a series of zones or districts: what zones and districts make up a city? Altogether the Osaka visit has been amazingly inspiring...I have a number of ideas brewing already.

Turning Point West Midlands Visit

Today AirSpace hosted a meeting with Turning Point West Midlands, to discuss artist's professional development strategies for the area. Turning Point is the arts councils 10 year strategy to support and strengthen visual arts in England, TPWM is our regional organisation. Wendy Law and Jane Morrow came to meet some of us Stoke based practitioners and arts organisers: present were: Paul Bailey (Cultural Development team) Marcus Wemyss (practising artist based at Burslem's live work spaces) Denise O'Sullivan (Ceramicist and pop-up organiser), Adam Gruning (recent graduate and artist), Glen Stoker (photographer and AirSpace window programme curator) Cath Ralph (Chief Exec of Burslem School of Art) and Andrew Branscombe (AirSpace Director and founding member.) Apologies from some of the other organisations and groups in the area who couldn't make it, but would like to be kept in the loop. I thought it would be useful to summarise the conversation and intentions here.
Today's meeting was part fact finding for TPWM and part communication in regards to their remit for delivering their aims and priorities of which 3 key priorities have been identified by the steering group, consisting of:

• Artist support and development
• Advocacy and communication
• Research and critical debate.

In particular the focus of today's meeting was to discover what sort of provision already exists in North Staffs (in terms of artist's development) and what could be needed, and how that might happen. TPWM were keen to dispel the myth that the activity will be Birmingham centric, and in particular have identified that the professional development strand of what they do should happen outside of Birmingham.
They have already identified a number of opportunities which will be opening up in the coming years, which should support development for artists in this area and other areas of the west Midlands and these will include:

• Research visits (about to be announced is a regional visit to Frieze, where delegates will go to see new work, but also look at the Sunday Art fair - with a view to explore whether art spaces from the region might be represented there.)
• A series of studio visits: where artists will be able to apply to meet specific curators to show their work and explore possible representation or opportunities.
• Micro residencies - where artists nominated by their group/area will be offered a residency in other areas.
• setting up a regional artist development advisory group to feed into and set the agenda for an annual visual arts forum for the area.

They also wanted to know what we thought might be missing for our area, and how they might be able to support that. 

At AirSpace we have a keen eye on development of artists, and have always included within our programme opportunities to learn from elsewhere (bringing artists and speakers in from other places to share experience as well as going to other places and bringing the learning back) as well as hands on workshops for development of new methods of making and doing. This is something we hope to continue and would certainly benefit from support from TPWM on. One of our key priorities is to increase support for emerging artists and new graduates in the area. This year we have introduced the Graduate residency scheme at AirSpace: providing free studio space for six months, monthly support and development meetings and a solo show at the end of that period for two graduates (graduating this summer.) We would like to expand this and offer support to more recent graduates, and have already begun looking at how to do this. In particular we would love to work with A-N (we have worked with A-N before - a few years ago) and hope to be able to host one of their Fast Forward events at the gallery as well as exploring other connections - perhaps this is something that TPWM could support? 

What became evident through the meeting to me, is that though at AirSpace we have developed a very supportive community - sharing ideas, knowledge and critical debate and getting out there to see what goes on elsewhere- other artists in the area feel less supported in these terms, so it may be an area which we can open up more, again here TPWM may be able to help by publicising the events and workshops and sharing opportunities that we already have going on. First thing is to let more people in North Staffs know about TPWM. The newsletter is distributed to over 1,000 people in the region, and is useful to get signed up to.

I would really like to see some research visits which take West Midlands based artists to other cities (Nationally and Europe wide if possible.) and also the other way, bring other artists here to see what we are doing.

I have been lucky enough to be selected for two A-N networking trips in the past: the first to Lille in April, 2008 (written up here on my blog.) This trip saw us visiting a variety of artist led spaces in Lille, which was brilliant and has certainly fed into my thinking about AirSpace over the years: but also led to a number of important connections and opportunities for me as an artist: A two month curatorial residency at Harrington Mill Studios, a commission for a publication, an exhibition in Margate with AirSpace studio group and a number of lasting and supportive friendships.

The second was in Liverpool - an A-N supported networking weekend called 'The Winner Takes it All' - on my blog here - which again has lead to a variety of opportunities and connections. The conversations and connections made on this sort of research trip are really priceless for the emerging artist, and I know how privileged I was to be able to take part in them. 

Indefinable City II

What if the world were flat, I could walk across continents to stand beside you. What if it ended and then started again, suddenly, and you and I had to build the city together? What would it look like? What if it were a new island, and we could start from scratch, what would it be? Who would live here? What would they grow: people, animals, plants or buildings?


Next week I am going to Japan. The first 4 days I will be in Osaka, where I hope to meet artists and present the idea of Indefinable City II (IC II)an exhibition due to take place at AirSpace Gallery in 2014. Indefinable City (the first exhibition) took place at AirSpace Gallery (when we were in the old falcon works factory) in 2007. There is a write up of the exhibition and a video here. It seems right that I go to Japan for IC II as much of my thinking for the first show was informed by my time in Japan. The city seems a very different place to me today (compared to 5 years ago) the optimism and (utopian?) vision presented by regen companies operating here back then (which I was suspicious of at the time) have proven to be somewhat false gods: and investments were made often in the wrong places. Glaringly obvious truths seem apparent now that investment in grassroots development were opportunities missed, what if we could go back and do it all again?
Well, we can't so: Indefinable City II aims to look at the good work being done at a grass roots level: and in many ways talks about survival against the odds of grassroots activity. The question is particularly urgent for a country like Japan: where city's are even more precarious with recent natural catastrophe forcing a rethink in terms of energy provision and questions around Nuclear Power.
I am really pleased to have a been invited to Tsukiyo to Syonen (gallery in Osaka) to meet Koh Yoshida to discuss the exhibition, and also what they do and meet some of the artists they work with. One of their projects looks at reforestation: and I am keen to think about ideas relating to forestation in cities (and on a slightly smaller scale urban gardening - something we have been interested in at AirSpace for some time.)
After my days in Osaka I am heading to the mountain forest area in Nara - to Headspace for a 2 week artist residency. Kayamori house is a beautiful artist's retreat, and I am going there to create a 'How To Retreat' kit to be left for future artists' use when retreating at Headspace.
It is only a week until I set off: very exciting. I plan to keep a blog while there, so watch this space.

Final Day and Exhibition: Denouement

On the final day there was a lot left to do: I needed to construct the How To Explore Kit, and finish the Manual. Then I needed to do the last of my visits around Harlech, in order to have enough information and content for the Lion's Guide to Harlech Brochure. So, the morning was spent turning my kit contents into something which looked like a real kit. I suppose these kits are inspired in some way by Fluxus boxes and kits, and also thinking a lot over the past years about manuals, and providing instructions for other artists. (This all started back in 2008 - with the PEST DIY publication - where I made a manual of how to turn your house into a gallery. See the blog post from back then here.) Since then I have made quite a few manuals and guides for artists. 

I took all of the contents of the How To Explore Kit, and constructed the kit inside a box, which should be displayed alongside my manual - showing artists how to use the kit.

The manual is the third manual instructions sheet I have made: The first was for the BCB collaboration with Bethan Lloyd Worthington, and the second was for the How To Survive Kit manual for the Mac exhibition, Birmingham, earlier this year.

I used the contents of the kit earlier in the week, at an important site in Harlech - each item was used to explore the site in detail - getting a greater understanding about the place.

Once the kit was assembled there was just enough time to head up to one of Rhian's tips for the guide brochure: an old church and fantastic viewing point: Llyn Tecwyn Ucha. From this point you can get a view of a beautiful lake, and the sea and Castell Harlech in the background.

While there Andrew Branscombe made a film which captured an amazing natural phenomenon. A gatepost singing.

Then we headed back down the hill to the Coleg for the last night dinner with all of the artists. The residency had been tiring, confusing, rewarding, productive, enjoyable, frustrating, delightful, and inspiring. 

The comfortable house that we were staying in, and the wonderful food provided by the Coleg's chef, Kevin had made the experience smoother - having a space to share a glass of wine together and talk over the day's events was all part of the process. On the last night Kevin gave us a platter of local Welsh cheeses, which went down really well.

We returned to Stoke that evening, with a plan to come back to Harlech the following week to help to install the exhibition in the Coleg, and also to have a chance to meet the artists taking part in the second week of the International residency: this time artists from Poland, Spain and Ireland would be taking part.

Friday, 25th May - Andy and I returned to Harlech with our finished works.

I had asked in the Coleg if it would be possible to display the How To kit and instructions within the glass cabinet in the corridor. This cabinet contains a variety of 'eco-friendly' products for a better lifestyle, and I felt would be the perfect setting for the kit.

I was happy with how the kit looked - I like the idea that people may not notice that it is a piece of work at first, and feel it looks to belong in the cabinet.

The two collaborative pieces created during the residency were to go on the wall next to the cabinet. I had been really interested during the week by the Coleg's noticeboards, and the sorts of the things displayed there. Like the 'Failure is part of success' message above, which had seemed particularly pertinent to me half way through the residency week. The caretaker at the Coleg was perturbed that I was using the noticeboard - as it had not been cleaned up or painted, but I didn't feel it needed to be, as I am interested in institutional communication methods, and would prefer to use the board 'as is.'

The collaboration with Bethan Lloyd Worthington: on the right - the trail which Bethan had set for me, and which I had followed (taking over 6 hours) was made into an a3 text piece. I had 100 photocopied - each one was hole punched in the corner and then hung onto two hooks. The idea here is that the viewer can take one of the posters, and perhaps go on the journey with Bethan and I.

The collaboration with Rhian Roberts: on the left - I had made up the Lion's guide to Harlech, and had 50 printed for the exhibition. These were displayed in a four pocket brochure rack, and then the full poster displayed above.
Here is the front of the Lion's Guide to Harlech:

and the back:

I was really pleased with the two (very different) approaches: Rhian's tour brochure comes from the point of view of a local business woman - and is very much orientated towards the Tourist, whereas Bethan's tour is touchingly personal, connecting to family heritage and personal memory. 

I returned to the Lion to deliver copies of the poster and brochure to Rhian, she was very happy with them. 100 more of the brochures are on their way to the Lion - and I am sending them the image files, so that if they wish to get more printed, they can. I hope that this piece demonstrates the need for the local Tourist Board to do something about the lack of a brochure for the Town.

As only half of the residency artists were present Andy and I got our works up quick and then helped with other people's. The works looked good in the allocated space, and it is exciting to think of them making their way around the world, after being displayed in Harlech.

Andy's piece: Time-Shifter is a piece of slate from AirSpace Gallery roof, but potentially originally from Harlech, and then the coordinates of the exact spot where the whistling gate post can be found. There are a set of instructions for the viewer to rub out the coordinates and then rewrite them - therefore taking ownership of the elsewhere place for a moment.

Other works: Paz Die Dean's walking shoes were placed on the steps.

Ewa Zasada and Malgorzata Szandala's War Rug.

All of the artworks can be seen on a blog - set up by Juan Giordano and Laura del Villar in week two. They have created a great document of the Two Weeks here. Below is Tomasz Matuszak and FrenandoBarredo de Valenzuela's pieces.

The open evening saw all of the artists toasting John and Celia for being such fantastic hosts, and hopes of meeting again. 

The events were recorded on the Ustream channel, so that others not able to attend could still join in. We were really pleased to meet everyone, and had some great chats.

Overall, since returning from the residency, I feel incredibly happy to have been invited. I have made 3 new pieces of work (two of which were collaborations) and have understood and learnt some more about my working methods - and the things that are important to me as an artist. For me, work is always connected to place - and the connections and histories to be unravelled, uncovered and revealed. Projects of this kind need to have a legacy, but perhaps my idea of legacy was too narrow: I want the project to connect to the people of the place; but there is more than one way to do this, and it is also important to make connections with other artists, who are experiencing the project with you. In the second week, like us in the first week, the artists found a natural home in the local pub - and made some important connections with each other, and with the local people. The Polish artists had an idea to hoist their flag onto the flagpole in the castle, and they asked the regulars in the pub what they thought of the idea, not wishing to cause offence. They were told 'go ahead' it's an English castle anyway.
I don't know what will happen with the project next, but I really hope to be involved in the next Harlech Biennial. Perhaps we can create something which lasts a bit longer in Harlech, and gets people exploring Harlech differently, as I did through the 3 ways of Exploring: on my own with a kit, as a tourist with Rhian, and as a privileged adventurer on a personal tour with Bethan. Harlech is a special place and I will definitely go back.
Many Thanks to ICAW: Dash Art - it was, in the end, a real transport of delights.

Day Five: A Walk with Bethan

The walk - I expected the walk would take me some time, but had not expected just how long. Because I was stopping to write my thoughts down, take photographs and do some drawings, overall the walk took more than 6 hours.

I got lost a few times, and saw, heard and tasted things that would not have been possible without Bethan's guidance. I felt also that I was on someone else's personal journey through memory. The text instructions given by Bethan were personal and rooted in family history. It was interesting to me that while on the walk as I was taking notes I was having a conversation with Bethan in my head - pointing things out, remarking, questioning; was this what you meant?
I am working on putting the journey into a text piece - it was going to be a brochure originally, but it doesn't make sense. My instructions from Bethan were in purely text form, and so the resulting piece should be text as well. I want the poster to be a3 black and white, so that it can be easily and cheaply reproduced. For next weeks exhibitions I want to print a bundle of them, and tie them with string for people to take with them.

The Text:

From the Lion, walk up the hill until you see a sort of stone/concrete box sticking out into the road on your right. It has black railings on it. It's a baptising well and watercress grows in there. Eat some. Feel good spirits.

I am sitting outside the lion. I can smell breakfast, and hear birds and the sound of a hoover. I am just about to start. The hill up looks steep. People here are used to hills, but I'm not. I wonder how long this walk will be and what I will find? I am going to measure my footsteps. Tourists are buying postcards. It's Thursday. I don't have time for postcards today.
I am at the well. A cockerel crows to let me know I am here. The sound of a stream and a blackbird, and the sound of my foot tapping on the wall as I write. How deep is the well? If I fall in will I be able to get back out? A man walks past and asks if I have made a good wish. I hadn't thought of that. I should make one as I eat the watercress. I can't tell you what it is of course.

I can taste the iron as I chew it up, tangy and peppery. There are a number of ferns here. The ones called tongues or something, and the trumpet shaped ones growing out of the wall. I don't know what it's called. I like it here. The suns come out now.
Walking back down the hill, there are forget-me-nots.

Go for tea and scones on the verandah at the Plas. My Taid used to fetch and carry for them when he was still in short trousers. Imagine it is 1926.

At the Plas, I thought it would be full of people but I am the only one. I ask if it's possible to have a cream tea on the verandah, the lady says 'yes help yourself.' It's warm so I sit outside, does this count as the verandah? A plane and then a train.
Were there golfers in 1926? I can hear the puuutt.
A labrador and some posh ladies arrive, remarking on my cream tea. The labrador soon sniffs it out and looks at me hopefully. I am drawing it before I can eat it, which is torturing him and building up the anticipation in me.
They order welsh rarebit, a pigeon gets up some cooing.
It's delicious. A damson fly comes to investigate. While I have been here the place has filled up.

Walk out of Harlech on the top road, past the pie shop and alterations place, past the plant nursery (buy some chamomile from the nursery if possible, it grows like nobody's business)

There's a bush near the nursery, teeming with bees. I have never seen so many. The lady in the nursery says it is cotoneaster. She doesn't have chamomile, but a distant relative. Anthemis copaniana, or something - she doesn't have the other as its not slug proof. Everything in the garden is meant to be slug and snail proof - she doesn't use pesticides because it kills everything else as well.

A baby robin comes close enough for me to touch. I can smell honey, it's a euphorbia. This place is amazing. I can't resist, a geranium, a mouse plant, and a few more whose names I didn't catch. The lady tells me this is her last year in the garden after 25 years, which makes me feel terribly sad. Who will buy it? and will they keep it like this. There are over 200 species of geranium, and a fern garden.

She takes me around to show me the varieties - one is black and hairy, with long tendrils. She says she mustn't get too close or it will bite. She shows me where her collection of plants is for taking to a new place. I will make a new garden, and take my friends, she says. But part of the garden is going with me, back to my little yard.

She tells me which of the plants to select, which is strong and how they like to be treated. She loves them all, she is parting with family members, and I try to let her know how much I will treasure them.

You should see a little opening in the wall, maybe a bench, go up to the prow, look down to the right. The view in the postcard you used for your collage. If you stand where the painter stood, you're pretty much standing on what's known as 'slidey rock.' You will see a slanting rock face with a streak worn smooth where generations of children have slid down in desperate, Craggy Island style make-your-own-fun. Have a slide.

Up at Slidey Rock. Jackdaws are making a racket and it looks like rain. An ice cream van makes its way to the holiday park. You can see everything from here
I leave my plants on the seat and gingerly make my way to the smooth rock. I don't think it will be too slippery, but it really is. I kick myself off and pick up speed unexpectedly and let out a ridiculous shriek. I wonder if the lady in the garden heard me. I think it must be quite dangerous, so only do it once.

Along the road near Coleg Harlech is St Davids Hotel. My Great Taid Ianto helped rebuild it after the fire in 1922 but now it is derelict again. Peep inside. Imagine being 12 years old, vegetarian. There is some wet lettuce and cold tomato to eat. It is like an old people's home in the dining room.

I have walked up past the Coleg. I am sitting on the wall outside St Davids. A man is buying a car from the dealers opposite, cars slide down the road. I have to wait here until the car dealer goes out of sight. Here's a geranium growing on the wall. The mans driven off in his old car. I wonder if there's another entrance further up? I can hear someone inside, maybe clearing up. Sounds like they are hosing the insides of the Hotel down. I feel a bit scared, there are warnings everywhere. The lower windows are boarded up so I can't see in. A chair is on its side, Lloyd loom with gold brocade. This place was fancy wasn't it?

The windows are smashed and the doors are hanging off, bluebirds live here now. Water drips down the black rocks, I'm right in now. Broken slates all over the ground, they are loud under my feet. Everything seems louder because I am trying to be quiet.
I don't like it here.
There's those forget-me-nots again. The cut on my leg is throbbing, where I slid down Slidey Rock and into the brambles. What's next? On the way back round the sound from inside starts up again. It's not inside, it's bouncing from the garage opposite.

St Tanwg's Church is in the dunes between the Maes and Traeth Llandawg. It is old out of time. Look at the faces on it. Go in and sing if there are people singing but there probably wont be. Sing outside instead. Not in English, they will hear you (the ones in the sand dunes).

I am walking along the road now. There's no pavement and the cars make me nervous. It's raining now. There's a little windy path going off to the left, but I don't know if it's where I want to go. I will have to chance it to get off this road. The forget-me-nots are here again, so maybe it's the right way. Bluebells, campion and rhododendrons cover the way.
As it clears I can see the sea and the dunes. This must be right. The sound of a strimmer stops, and I realise it has been there for a while, the hum is soon replaced by a bumblebee, blundering past. Japanese knotweed blocks the view again. Oh dear, it's a forest. It's quite steep and slippery. I have had enough slides today.
Some overgrown steps. I stop to draw them and listen to a conversation drifting up from the beach . Ladies walking dogs discuss why holidays are not much fun before moving on. The ice cream van chimes from faraway and a train comes by, much closer now. As I get down onto the dunes dandelion seeds fly towards me. The track leads finally to a dead end. And a lot of wild garlic. I double back and go up a different set of steps. They lead all the way up to a tall drystone wall, someone's garden. There is nothing for it, I can't go all the way back down now, I will have to sneak around the house. I see an old lady through the window, I don't want to scare her so I hurry around.
Back on the road. Some beekeepers are collecting honey in the field. I can see the puff puff of their smoke to calm the bees. It's nearly five o clock, I better get a move on. Going up the steps from the road I can see the sea. Someone is standing up to their knees, looking out. I hope these steps lead to the church.

They don't. Back to the road again I ask some power walkers if they know where the church is, they point to it in the distance. They tell me there is another one in Harlech, which replace this one - it has the same name - I hope you meant this one. I am going there now, I have come so far.
At the church, there is a sign outside that says amongst other things 'these dunes are special.'
There are two gates into the church. I take the left. The church is locked up, but I can see inside. I think about all the stone tables going around the church, can I sit at one? It's a grave.

The face is almost worn away by time. I don't know any welsh songs so I whisper the names of the places you have sent me into the silent ones ear. I try to draw the king, but his face has almost dissolved to nothing, and has been covered over with lichen. I can hear a tractor and sheep.
From the Maes over to where the boats are moored, the sand is a bit quick over there. Look at the ground. You won't see a boat called Nemo because it isn't there anymore. It used to be there and then one day it wasn't, there was only some oil and bits in the sand. This is a clue.

Down by the water, the boats all turn to stare. One is making a lapping sound. I look for the clue, and find a buoy and some tiny dead crabs. I walk along the beach, looking for a shell for my reliquary, ah, this is the one, it reminds me of you. I think this is the end of the tour, the suns gone and the winds getting up.