Cinematographer Arran Busk bares witness to artist Chloë Tinsley painting at sunrise on the Helford River at Trebah Gardens in Cornwall during Chloë's residency there. Capturing the translation of the landscape, and light: and also her relationship with the canvas itself, revealing her hidden performance. The private spectacle observed, dance like: the physical self, the canvas, and the landscape in colour curing together. The title of the piece can be heard, rolling with the push of the tide and the sun.
'Barefoot flow in swift. Portraits of light in golden time floods at Trebah. Perform play in ritual. Colour in exhausted serenity. Shared awakening at sunrise on the Helford. Robin. Cormorant.'
sand, salt, silt, pigment, gouache, acrylic, seaweed, primrose, garlic, fingers, feet, palette, sandfly hop, ferns, palms, thorns and moss on unstretched canvas now stretched
199cm x 160.7cm (framed)
Photos documented by Arran Busk of Chloë Tinsley on the Helford River at Trebah Gardens in Cornwall during Chloë's residency.
Photo of framed painting 'Barefoot flow in swift.. Shared awakening at sunrise on the Helford...' by artist Chloë Tinsley at Trebah, taken by Kasia Murfet.
An invitation to experience:
"On viewing my paintings, in person or online, I invite you to take five nasal breaths of five seconds out and five seconds in. Linger on the out breath. Painted using full body, I invite to use your own body as a gatekeeper to reading the paintings. Consider them from different distances, relax your eyes, allow them flux, feel your feet grounded, enjoy. In person or with your own of these pieces, come back and see them at different times in the day, they change in different lights.
I am evermore aware of our need for the disappearing Wildscape. Our landscapes talk to us all the time. They change and shift under our gaze. The weather moves through. Light shifts. Time passes. I use colour to work with the things that are there but that we can’t immediately see. How things relate to each other in the wider landscape, and how they then relate to our own field of vision. It’s a cross between a language and a belief system.
I have held fast to what I do, that there is this importance to record. To see. To show. To connect, so that others could also. Can painting be sculpture, can it be dance, performative, ritualistic? Can the material change? Be in flux? Change state? Can it bring joy, to move, to enliven?
Surrendering to the process of painting, when in these spaces is both a humbling and moving experience. To push into the constraints of my own physicality, to be vulnerable in Nature and to give over to it, to let it lead, it creates an extraordinary experience every time. Finding urgency in the approaching tide, play in wind change, dazzle in the bright sun, acceptance in the rain and resilience and an inner heat in the cold. The canvas itself shares a vulnerability, I move to translate this shifting wildscape. I paint until the hunger of vulnerability becomes whole. Being in these spaces where people may pass through but where I remain is the most powerful gift. To watch a landscape for hours, the seeing becomes expansive as the view unites."
"The joy in this painting is palpable, this was the first sunrise I’d seen outside for a year and a half, since becoming a mother. There was freedom in my limbs, and a returning to my own body and sense of self. Whilst part of my body was still back at home wondering where I was."
photo of Chloë Tinsley by Arran Busk