Migration into the Garden and Significance of Place

This last post of 2016, on this last day of 2016, offers a nice opportunity to bring together what has been the primary focus in my work since the late Spring/early Summer.
The past 15 posts (except one), mostly published in November, all come under the Label of Migration into the Garden (click for a grouped overview of all 14, or click on 'Migration into the Garden in the Series/Themes menu on the right of the screen), labelled as such because they log the progression of work that spanned the Spring, Summer and early Autumn months when the garden became my work space. As I put it then: 
The warmer weather always brings a change in the rhythm of life and work and, although this spring has not exactly been glorious weather-wise, the outdoors has certainly been calling. So rather than working in my studio - which is simply a slightly glorified - but glorious - garden shed and which starts to feel a little too hot and closed-in when the sun is shining and birds are singing - the outdoors beckons. And this year I have undertaken to do some things in the woodland, mainly, but also in the garden, seeking to tune in to the surroundings and creating things that intimately respond to the immediate environment.
This requires a very different approach from what I do in my studio when working on my form-finding pieces for instances. The pace of things outside is slower, the atmosphere more serene, calmer, less intense. I seek to open myself up to everything that surrounds me, tune in and invite a way to respond to what I see and feel.
So many ways to interact with this wonder-full environment.

This was breaking totally new ground for me; my work up until then had been very much studio-based. As I said in my post of 7 October (Autumn Is Upon Us), the process of what I've been referring to as my "communing with the garden" evolved over the weeks: starting with work made in the Shed - i.e. my studio - and subsequently placed in the garden, then work made in and for specific/dedicated places in the garden with materials from the Shed (predominantly clay), and finally work made with materials from the garden.

But although the work process and immediate working environment have been very different, what has remained constant are my total commitment to what I consider the 'Constants', the guiding principles in my work (as per my website page The Constant): integrity of material and process; purity through paring down to the essence; and evidently for this series, significance of place, which has found ample expression here. As I said in my post of 28 Jan. 2015: I am who I am as an artist because of who I am as a person, where I work, where I live, where I've lived and worked in the past, where I grew up, my upbringing, my education, my family and friends. 
All of these influence and affect what I make because they shape and have shaped who I am. (The Significance of Place). 
Where I live now, where I work now shapes what I make.
And who I am as a person and as artist shapes how I work.
Which leads me onto the final point I want to make here and leads us very conveniently into the coming year: the collaborative aspect of my work, which first took shape in my Art Residency project at Tonbridge School last year and will continue in 2017 with this Migration into the Garden project, as per my website page 2017/16 and 2015.