It’s afternoon on the first day of a brand new year. The weather is a touch brighter and calmer than it has been of late adding to that sense of a new start. It’s only a day different from last year, but that idea of starting all over makes all the difference.
A clean slate and all that.
As I sit here with the obligatory cup of Yorkshire tea and listening to Mahler’s first symphony, it seems like a good time to catch up on the past 12 months and put it to bed before moving on with the future.
The Mahler seems appropriate as 2012 was the year I fell in love with playing music all over again. Just 12 months ago I was polishing my old East German Lidl and oiling up the valves before blowing some dusty notes through it.
Since then I’ve joined a couple of orchestras and played with a few others and performed live in front of paying audiences. The repetoire has been almost unbelievably vast – from newly commissioned works through chamber pieces, a wonderfularray of Mendelssohn, Mozart, Schumann, Brahms, Beethoven, my beloved Tchaik 5, a whole day of Wagner overtures (to a horn player that’s like dying and going to Valhalla) and two who Mahler symphonies (including the one I’m listening to).
I got to play on a victorian bandstand at Beamish museum, at the Sage in Gateshead and in Bishop Auckland completely intimidated Joe McElderry who was supposed to sing Nessum Dorma with us but as we weren’t a backing track in his earpiece he couldn’t do it and showed himself to be no more than a vertically challenged karaoke singer. Bless.
In June I played in an emsemble at the opening of the new Tees Barrage and was picked out of the hat to meet the ACTUAL Queen. I have to admit she gave me a bit of a disapproving look – dressed as I was in jeans, un-tucked shirt and a waistcoat I bought to wear to an All About Eve gig at the Royal Albert Hall in 1990, and clearly doesn’t fit anymore, and I think she guessed. Still it was good to feel I’d played a part in the whole Diamond Jubilee thing and have my own memory of it.
I finally got back into writing my own music again too. Still a little tentative although the eagle-eared among you may have spotted a couple of pieces slipping out over the year.
The other big thing of the year – if not the biggest for most – was the Olympics in London. I was lucky to get tickets and had an incredible day there with my kids. Words just cannot explain the roar for the home team in the venues. Just hearing it eminating from the main stadium sent inexpicable shivvers up the spine. Remembering it now has the same effect. Truly an unforgettable experience. Even Kapoor’s Orbit was more interesting in real life than I thought it would be.
On the visual art side, it was another busy year. In the current climate this was something I’m particularly fortunate to have had, I know.
In the spring I went back to China to make a new piece for a Cumbrian Paper Mill. It was part of a series of works I’d been doing for a couple of years now exploring the connections between paper, its raw materials of wood and water, and playing with colour and form in the Cumbrian landscape. They even made a gorgeous limited edition calendar of all my paper pieces (there’s a little booklet about them here).
It was a far from smooth process working in China again this year – you can read about it on an earlier bog post here – but the offset was making the piece in Suzhou – home to some of the most important traditional gardens in China. Working there gave me an extra opportunity to get a better understanding of the importance of art and landscape in Chinese culture and helped make some imporatnt links in my own work. There’ll be another blog post about this no doubt.
At the same time. Let me say that again. At the very same time, I was installing and showing a piece back in the UK. It wasn’t really a new piece, but the first time this piece had been seen in the UK since the first version in Shanghai in 2006. ‘Brockhole Souvenir’ was commissioned by Mid Pennine Arts for the ‘Art of Destination’ conference on art and landscape. Through the miracles of technology I also presented at the conference from a slightly seedy hotel room in downtown Shanghai.
Unfortunately some of the good folk of Preston thought differently about the pieces and were badly vandalised within minutes of them going up. This was the first time any of my pieces had been vandalised, let alone damaged while up. Maybe I’d just been lucky up until now. It was sad to hear of their too swift demise and even sadder too for the folk at MPA and the Brockholes people.
Still, the process threw up some interesting ideas which although couldn’t be realised there at that time of year were too good to let go of. Also, Khan’s visitor centre at Brockholes was criminally omitted from the Stirling Prize shortlist in a year when the Stirling prize became far more interesting than the Turner prize (discuss?).
The ‘Fairhaven Bubbles’ which resulted were one of my favourite pieces so far. A combinatio of a good client, the right budget and an enthusiastic team based at the lake ensured that the piece worked the best it could. The initial teething problems were patiently solved and even the unfortunate attacks on the pieces (what was wrong with you Lancashire?) were handled with a determination to keep the piece looking its best. The most flattering bit came when my artist’s talk at the lakeside cafe was not just standing room only but there were people standing outside who couldn’t get in who still enjoyed the sunset cruise around the piece afterwards.
A determination to finish a piece also resulted in ‘Twisted’ at Cromford Mill – a work that this time last year I was disappointed to not have managed to realise. This time I found all the funding and managed the project myself and the final piece was not only as spectuacular as I’d hoped, but its silent majesty and the way it remained in place for over six months and looked just the same on its final day as it did when it was first completed.
I was also fortunate to be invited over to Sweden a couple of times last year to do some talks. On the first trip I also got to have a little play in an ancient forest as part of a project looking at how artists can drive sustainable communities. Sometimes the most interesting work comes without a brief.
There were other projects and pieces. Some big, some tiny, and mostly enjoyable. I did lots of talks – the one in Presteigne is now up on the Culture Colony website (link here) if you want to know what they’re like. Another one on working in isolated rural communities was filmed at Li Yuan Chia’s place on Hadrian’s wall for the Museum of Modern Art in Taipei.
On top of this I’ve had yet another year living in the most amazing part of the world, where everyday the light and landscape never cease to inspire me.
Well, that was last year.
Twenty thirteen, you’ve got a big act to follow.
But somehow I think you’re going to beat it.