Twelve years is a long time. Twelve years ago was a very different place for most people. Twelve years ago, on a whim, I did something I’d never done before and it’s shaped my life ever since.
March 5th 2005. I don’t normally remember dates of things, but I seem to remember this one. It was a calm, sunny day and we were rowing giant red balls across Grasmere in the heart of the Lake District.
The year before I’d helped create a new festival of art in the landscapes of Cumbria and the Lake District in the North of England. Off the back of that, the local tourist board wanted to know if I could do something to get a bit of media attention for the Lakes out of season. Maybe something big? I think their original idea was something along the lines of a big red nose for Comic Relief. The normal PR stunt thing. But while they were thinking of something 12ft tall, I was thinking something over a mile long.
The original idea was a dotted line weaving the length of Grasmere – north to south. Needless to say the budget didn’t run to that, so a much smaller version was devised whereby the balls would rush towards the southern shore beneath Loughrigg with the balls getting progressively larger to accentuate the perspective.
The piece I believe was to be installed for a week or two. The balls were PVC and commissioned from a fabricator based on a farm in Devon and arrived in three large boxes that fitted in the boot of my Renault Clio. Lengths of sinking line were bought from the Ropemakers in Hawes, Yorkshire and concrete breeze blocks were bought from my local builders merchant in Kirkby Stephen for anchorage.
Grasmere was chosen as it was both a relatively small lake (one mile by half a mile, approx.) and conveniently placed at the edge of two local TV regions in the hope that both would show up and double the coverage. However, Grasmere has a little-known by-law prohibiting the use of powered vessels on it. The only way to get the balls in position was towing them in rowing boats.
Luckily, the Faeryland Tearooms at the top of the lake had a small fleet of boats to hire and kindly stepped in to help, along with a bunch of artists volunteering for the cause. The prevailing winds off the Helvellyn range blew north to south in the mornings and with a relatively still day the elements were on our side. That’s not to say there’s anything even vaguely easy about towing big inflatable balls the size of a small house 3/4 mile across a lake. There was a small window in mobile phone coverage so the fine-tuning of the installation was done with me halfway up Loughrigg with binoculars and a cell-phone calling the people in what from there looked like very small boats.
From the clients’ perspective it worked well. We had TV and radio coverage across the whole of the North of England, some cracking photos and a good news story of artists doing things with the iconic landscapes of the Lake District National Park.
For me it was a very steep learning curve and baptism of fire into doing things of that scale. Among the things I learnt were practical things like the importance of calculating wind drag on large objects on water (they drifted lots), and the general volume of logistics to do something that looks quite simple.
But I also learnt lots more fundamental things about work of significant scale – the way light and weather affects and adds to the piece; the way colour works in landscapes; the interaction of people in appreciation of scale; what it feels like to experince work of that scale.
The public were similarly receptive too. We were a little apprehensive as to how people would react to such a bold statement, but the fact that it was temporary, had a very light touch and used the surrounding landscape to become part of the work rather than challenging it drew visitors in their hundreds. We have no idea just how many people came to see it – we weren’t even thinking about that – but the local National Trust Estates Manager reckoned it was thousands based on the carpark use alone.
We had no idea what the longer term effect would be. Nothing like this had ever been attempted in the Lake District. There was a perception of overprotection from major stakeholders like the National Trust and the Lake District National Park Authority. However, that the piece was successful and very positively received made it so much easier to do similar works in the landscape in the future. Certainly from where I stood it was the piece that created a significant mind change in those organisations.
As landscape works go, this was very simple. It was made with very little thought to a wider context or depth of meaning. In the wider scheme of things it’s not a great piece of art. This wasn’t the first piece I’d done outdoors or using the landscape, but in terms of scale it was a new benchmark. I was hooked and almost every piece I’ve created since has a direct link back to that piece.
And it was 12 years ago today.