Gazing out of my studio window is one of the pleasures of this workspace. For many years I've marvelled at how the seasons affect this same view - the changes in colour and atmosphere. My future studio space may not have such a luxury unfortunately... there might be no view of nature at all, what a depressing thought. The snow here was from earlier in February. 
While working out my carbon footprint earlier this month I also mentioned my annual water consumption, and started pondering the carbon cost of water. I emailed South West Water, the water company for Cornwall and Devon, and fairly soon after received a reply from their Carbon Manager David Rose (impressive they have a dedicated Carbon Manager but apparently many similar companies do now).
Clean water delivered: 173 grams CO2e per cubic metre of water delivered to your tap.
Waste water returned: 870 grams CO2e per cubic metre of waste water returned to sewer.
(CO2e = carbon dioxide equivalent)
This equates to 1043 grams CO2e per 1000 litres for combined clean and waste water supply - I have to admit to surprise for the low delivery figure for fresh water. But then, water arrives freely from the skies. It doesn't (here anyway) need to be pumped up from the ground.
If there is a message to be read from these figures it's that the less 'contaminants' we put into the waste/sewer the lower their clean-up costs, and this might help lower emissions. David explained that the waste figure includes methane and nitrous oxide emissions from the recycling of waste water sludge to land. Or muck spreading as I've always known it.
My household carbon contribution from water use then is:
34,527 litres
= 34.527 cubic metres x 1043 grams
= 36011.661 grams CO2e
= 36 kg CO2e pa
Thirty-six kilograms, or 0.036 tonnes, sounds not very much in comparison to other emission costs, such as heating water or travel. So it seems best to retain focus on reducing quantity of water due to its eminent predicted global shortage.
So, over the next year I should aim to reduce consumption, and consider what gets disposed down the mains that needn't and other options for disposing of it (or do away with it altogether?).
Emission levels from all UK water companies are shown in Figure 4 on page 12 in Water UK's Sustainability Indicators 2007-08 Report.
United Utilities have a user friendly (figure-phobic) water use/carbon calculator here but be aware the final figure includes not just the carbon cost of water supplied/taken away but the carbon cost of heating it.
Update 14 February 2009
South West Water have announced plans to trial a rising block tariff. There will be three blocks, the first low rate 'essential use', the second standard rate 'safety net' and third premium 'non-essential use', with the first block charged at 27% less than the standard rate.
For a one person household the essential band is 1-8 cubic metres/quarter, the standard 9-13, and premium 14 and over. So I'm thrilled to see that my existing quarterly use only just flips over the essential use level!
The UN's International Year of Natural Fibres is launched today. Its objectives are to:
- Raise awareness and stimulate demand for natural fibres;
- Promote the efficiency and sustainability of the natural fibres industries;
- Encourage appropriate policy responses from governments to the problems faced by natural fibre industries;
- Foster an effective and enduring international partnership among the various natural fibres industries.
Lots of events around the world are planned for this year, including in Britain an International Conference in London in December (though it seems more directed to industry than artistry) and an international textile conference in Leeds in September.
Another exciting conference:
Making Futures - the crafts in the context of emerging global sustainability agendas.
Organised by Plymouth College of Art and Design (PCAD), it is taking place in September 2009 at Mount Edgcumbe House, near Saltash in Cornwall. I hope to be there!
And, because some things come in threes, the next issue of Selvedge magazine is themes around 'Frugal'. I was asked if I'd like to advertise but as well as not knowing what I'd be advertising I feel it goes against the essence of what I'm trying to do. The magazine is beautifully produced with gorgeous photography, and even the adverts are a pleasure to look at, but it has a large readership and global circulation. Being just a humble artist I want to get on with things quietly and minimally and appropriately and... frugally. Self-promotion there seems arrogant and loud and wrong, for me, in this context. But I am looking forward to seeing the next issue.
8.57 tonnes CO2 - CarbonFootprint.com
7.60 tonnes CO2 - Resurgence
5.49 tonnes CO2 - Energy Saving Trust
5.27 tonnes CO2 - ActOnCO2 (UK government's)
Back in June 2007 I wrote about my carbon footprint, as worked out on a range of calculators. Last summer I intended to re-measure and compare, but felt such an activity was better suited to dark and cold winter evenings. So my new footprint is for the calendar year - January to December 2008.
Depending on calculator used the carbon footprint ranges from 5.27 to 8.57 tonnes of carbon dioxide. Resurgence and CarbonFootprint.com's calculators endeavour to include lifestyle and industrial share as well as the energy and travel factors. When taking energy and travel alone these footprints fall into the same range as the other two, at 5.1 and 5.57 tonnes.
Two major changes from last time are using the car and having double/secondary glazing fitted. It's been interesting to see what changes they have brought.
Travel
2.46 tonnes CO2 - Resurgence
2.29 tonnes CO2 - CarbonFootprint.com
2.01 tonnes CO2 - Energy Saving Trust
1.99 tonnes CO2 - ActOnCO2
Last year my footprint was 6.3 to 7.5 tonnes CO2 annually depending on the calculator used. But when my average driving mileage of 10,000 miles pa was factored in it rose to around 9.5 tonnes!
So one plan for 2008 was to restrict mileage to 6000 pa, roughly 500 miles a month or a tankful of fuel each month. Five hundred miles sounds a lot and is a lot and in general wasn't too hard to stick to. But two long-distance trips – to Norfolk in the spring and recently to visit family in Shropshire - were all it took to push me over by 831 miles. So I failed. Or failed to stay below my target, but I did learn that lower mileage is achievable. Several times I told others or myself I couldn't afford (meaning 'spare') the petrol that month, or consciously decided I didn't really need to go/do where/whatever. Some people seemed incredulous that I was rationing my fuel use... until fuel prices went over the pound/litre rate mid summer. All future long distance travel must be managed better. Or differently. I will have to think about this.
I also have attempted being a better driver – maxing at 60 mph on dual carriageways and slower on main roads. I've tried smoother gear changes and check the car tyres monthly. I keep records of mileage done when filling the tank. All the stuff they bang on at us to do.
My 2008 travel footprint ranged between 1.99 and 2.46 tonnes for the 6831 miles. Because it's an older car (R reg), each calculation was based on a generic 1.4 litre petrol car. However the smttCO2 website calculates emissions from every model and age of car. My Peugeot 306 hatchback emits 176g CO2 per kilometre and so, for my mileage, 1.93 tonnes for the year – less but in the same range as the calculators. Probably they also incorporate factors like oil changes and service materials - fair enough.
Two years ago I signed up to TargetNeutral, a carbon offsetting project initiated by BP. I was and am sceptical about the merits and morals of offsetting carbon but then as now feel that showing willing and concern is the important point (to oil companies and politicians!). Hence, despite having paid around ten quid to 'offset' my 2+ tonnes of CO2 (shockingly cheap, carbon, innit!) I am not subtracting 2+ tonnes from my footprint. Why not? Because although TargetNeutral purchases carbon credits from projects that sound worthwhile I have no idea if their carbon figures are also being used elsewhere, ie multiple accounting.
For instance, if a wind farm was installed here in Cornwall thus removing x tonnes of CO2 pa and TargetNeutral bought these emission reductions as carbon credits, that's one thing. But should, for example, the local authorities then be able to incorporate these reductions into Cornwall's renewable energy figures? In some ways, yes, but not when an overall (eg national) picture of emissions reduction is wanted as the figure could be counted twice. Unless I've missed something! So, for now, I'll continue offsetting but not including the figure in my own footprint. The most viable current option to reduce carbon remains to reduce mileage not buy your way out.
(A few catches about TargetNeutral – you have to buy BP fuel and use a Nectar loyalty card (so your purchases are logged). And then go online once a year to confirm details and pay up. BP fuel seems to cost a little more than elsewhere but that's fine as I seem to get more mileage per tank on it.)
Energy
3.48 tonnes CO2 - Energy Saving Trust (of which 3.22 heat/0.26 appliances)
3.28 tonnes CO2 - ActOnCO2 (of which 3.06 heat/0.22 appliances)
3.28 tonnes CO2 - CarbonFootprint.com
2.63 tonnes CO2 - Resurgence
I've spent an hour getting my head around the variation in these energy footprints from different calculators. Surely all should be the same, considering the same 6113 kwh annual figure was used? Resurgence uses a conversion figure of 0.43, same as I used last time and understood to be the industry standard conversion figure.
But on a National Energy Foundation page it says that 0.537 should be used when calculating carbon footprints and is "based on a 5 year rolling average UK electricity generation mix of coal, nuclear and gas turbines, as well as renewables". And, no surprise here, 0.537 x 6113 kwh = 3.28 tonnes CO2. (Why EST's is a bit higher can remain a mystery for now! Either they add some for energy loss during transmission (sensibly) or they hadn't updated their rolling 5 year figure.)
The lower figure of 0.43 apparently is appropriate if estimating "emissions in line with Climate Change Agreements (CCAs)... or when estimating energy savings". This lower figure is "based on marginal emissions (which are usually those from high efficiency Combined Cycle Gas Turbines)". Aaah. I see. Sort of.
I thought that when I last calculated my footprint, 0.43 was seen as the conversion figure representing the average UK mix of electricity generation. But in 2008, according to ElectricityInfo.org, the average UK mix comprised coal 33%, natural gas 43.5%, nuclear 16.1%, renewables 5.5% and other 1.9% with CO2 emissions at 0.48 kg/kwh.
Ecotricity's mix includes renewables at 37.4% (up from 26% in 2007), and its CO2 emissions were 0.267 kg/kwh. I think this means I could get away with using a conversion factor of 0.267 for my annual energy use... but won't. The national availability of renewables is limited, at 5.5% (also shockingly low, innit?), and so the national share must be used however irksome it is being forced to use a rolling 5 year figure when one for 2008 is available.
So, my energy related emissions were 3.28-3.48 tonnes of which 3.06-3.22 was from hot water, heating and lighting, and 0.22-0.26 from appliances. Both figures are down from last time (3.48 and 0.38 in 2007, respectively). Quarterly usage to end December also was lower than a year ago. The double and secondary glazing were fitted in late November and early December – it will be fantastic if they are responsible for this small reduction on the heating side!
Appliance related emissions dropped more markedly – this might be because I have made every effort to switch off and unplug everything not in use – though tend to have forgetful phases with the kettle, and very unremembering with the cooker. An old anglepoise lamp also remains plugged in and switched on but that's due to its temperamentality. Otherwise all is off as much as possible. I never would have believed it could make this much difference. But all the official advice suggests doing it, so it was worth trying!
Industrial Share, Lifestyle and Other Extras
3.0 tonnes CarbonFootprint.com
2.5 tonnes Resurgence
Only Resurgence and CarbonFootprint.com's calculators included an industrial and lifestyle section.
Resurgence invites you to analyse your life by, amongst other things, income. It suggests for every £5000 of income you add a tonne of carbon, reducible only if you endeavour to buy second hand, locally made, craftsman made, repair etc. They also allocate everyone a tonne from the national share of common and public amenities. I made my lifestyle emissions 2.5 tonnes last time, and arrived at the same figure this year.
CarbonFootprint.com's worked from lifestyle questions with multiple choice answers. For example it asked whether you 'always', 'sometimes' or 'never' bought organic food. With this question and a few others I found the range of answers limiting – there was no 'mostly' to choose, and 'always' would have been a lie on my part. So after running the test again with 'fully' answers where I needed an alternative, I worked out what I believe to be my truer position – 3.0 rather than 3.14 tonnes.
Both calculations are subjective and only a guide. In time as more goods and services become carbon costed we all will start to know our true lifestyle carbon cost.
How soon will the time come that I can give a carbon cost for a batik? Not this coming year, I expect. But it remains an aim.
Water
The carbon cost of water and water industry related services isn't included in the calculators (though may be incorporated in the lifestyle sections). I haven't found a source online giving a conversion figure but have emailed South West Water to ask them.
Water carries its own cost of course – the planet is running dry from over consumption and waste of fresh water. My household water use for the year to 5 November 2008 was 34,527 litres or 94.59 litres a day. Although year on year it's down nearly 7000 litres, or 9 litres a day, when I think of it as 47 two-litre bottles full of water and lined up every day inside my house I struggle to comprehend how – where - I could be using so much!
But just as with the carbon calculators, there's also water use from lifestyle to consider. WaterFootprint.org have a calculator that gives a per capita average depending on the country you live in. Mine comes out at 694 cubic metres a year... or in litres, 694,000. Scarey! Way, way higher than household use! Their website also has a more detailed water use calculator but I need to weigh my average food intake before I can do that.
Thinking about it all
My footprint has come down since last time – sort of. Last time around I'd had to stop driving for a year, and that made it considerably lower than now. But it is near on impossible to earn a living and 'live' here without a car (mine or a friend's) because of the lack of public transport and distances from certain facilities, including train stations. So until I move, a reality of life is running a car. After 15 years I have given up trying to get the authorities to supply a bus service that extends beyond the few daily shopper buses to the local town (8 miles away), or a cycle path that will take cyclists off the dual carriageway. When I move, accessibility to public transport will feature!
At 5.27 my footprint also remains below the UK national average of 9.96 tonnes but above the government's current target footprint of 4.22 tonnes (ActOnCO2).
Residents of the South-West apparently have slightly lower Ecological footprints than the national average – 5.23 compared to 5.36 global hectares, and citizens of three local cities Plymouth, Truro and Exeter ranked 1st (ie lowest footprint), 9th and 14th respectively out of 60 British cities for their ecological footprint. So regional lifestyle is assisting me. On the personal calculator here my ecological footprint came in at 2.33 global hectares - or rather 23.3 gha (don't understand why ten times higher) but still equivalent to 1.48 planets. Down from last year's 1.9 planets... but still obviously an unsustainable amount of planet.
So, my aims for 2009 are to keep lowering usage. Keep mileage below 6000 pa, and better use of trains and buses for long distance travel. With electrical consumption I'll check what difference the double/secondary glazing has made in three months time, when the coldest of weather has passed, and then consider future options for improvement. I'll also continue measuring energy use of equipment used for batik - this is the ultimate aim of course, to give batik a carbon footprint. Water... I must figure out where those 47 bottles worth are being used!
On 14 October I cut and started processing the second woad crop. Possibly I could have left it for longer but with more bad weather forecast and as the plants had grown quite quickly since the last harvest in early September, I didn't want to risk losing them altogether.
In total from Helen's and my four pot plants I cut 625 grams of leaves, which is 125 g more than at the last harvest. However, I seem to have made only 1.4 grams of woad pigment, or as I should call it to be more correct, indigotin. Last time around it was about 2 grams. I have a couple of theories for this, some related to growing and the other to processing.
This time I didn't spend an hour beating the strained liquid trying to get the foam to go yellow. I beat it for only about ten minutes with the hand-wind whisk - thinking that as blue has come up into the foam that should be enough. I since have read somewhere that it's far better to whisk for much longer, even if your arms start aching (as mine did last September), because that way you get all the potential indigotin out. So, short cuts and laziness are not worth pursuing! I will beat until my arms go blue (again) next time.
On the growing side, the middle picture here shows two groups of short leaves and one of long leaves. The left hand ones I grew here, the right two groups Helen grew. Those on the far right came from one of several well-grown plants, grown on under an improvised cloche (a large plastic demijohn with base removed). These plants had begun to take on the expected shape and density of a woad plant, although were still smaller. But 'something' in or lacking in the soil has prevented the plants from taking up/creating blue pigment in their leaves - I believe they got more direct sunshine at Helen's than the plants outside my house (though being in front of a sun-trap wall may have made a difference to mine). But my woad plants also had an additional caffeine shot... topped up with more Rainforest Alliance coffee dregs. They also had orange street-light by night.
By chance, an official Met Office rainfall recorder lives in the village - he's been recording for over 40 years now. His recent article in the local newsletter gives July and August of this year as his wettest and fourth wettest ever. With the first week of September having a further 107 mm, those two months plus week gave the village around a third of our annual average, and in the usually drier months. 
So it was wet. Very wet. Luckily though, the rest of September was better - some very hot days (or was that in October?). Certainly I thought the drier sunnier days would help with 'bluing' the leaves. As they did - thankfully - with keeping the slugs at bay!
So I am surprised to have ended up with less indigotin from more leaf. I have some other thoughts about the growing process to go in another post later.
In the past (and hopefully again soon) I have given school batik workshops – they are hard work (preparation) but always good fun. Onesuch was with Kea School, as shown in these photos, for a Sense of Place project. The theme was 'The Voyage of the Mystery', and the batik style/approach was Aboriginal Art.
The Mystery was a Cornish lugger, a traditional small fishing boat, that in 1854 sailed with seven Cornishmen from Newlyn bound for sunny Australia. The journey to Melbourne took 115 days. Indeed it seems a miracle it even arrived – the boat was only 33 feet long (about 10 metres) with a beam of 11 foot 6 (3.5 metres). It wasn't meant to be ocean-going, and indeed most men on board had never been out of sight of land! At the time, the Mystery was the smallest boat on record to have made such a long voyage. Read more about the voyage of the Mystery here.
Now, in 2008, the Spirit of Mystery rides the waves. Pete Goss has built a new lugger to the same specifications, and along with several family members is re-creating the journey made by those Cornish fishermen 154 years ago. They are using the same navigational tools and technology as then – no modern gizmos. Other than communication tools that is, so they can update their blog (and stay in 'instant' touch with family). They already have had ups and downs (in wind and seas) but the boat is running as well as the original Mystery.
So where is the connection with Sustainable Batik (other than through school workshops)? For starters, a quote from today's entry is a good one for natural dye growers to remember: "Mother Nature rules out here and you just have to make the best of what you have."
There is something more, that I'm not sure I can explain well in this blog. It is something about pride and community, pride that Goss has taken this on, has recognised our forefathers did something quite immense as well as brave, and is re-living it for us, bringing part of our history alive.
It's my hope that my own experiences from living in Australia in the 1980s and introducing Aboriginal Art (as far as I am able to understand it - another blog!) into schools also brings something more meaningful and substantial than just playing with wax and dye.
I woke up yesterday morning thinking about my two grams of extracted woad pigment... of the amount of work involved in its production. And, even allowing for the cool wet summer's affect on growth, how disproportionate is the effort to the result.
Later I read this article about Cornish vineyard Camel Valley Wines. The weather knocked out nearly 80% of their grapes but also created circumstances for those remaining being ideal for their sparkling wine 'Cornwall'. So if 'Cornwall' can compete with Champagne (as the vineyard owners believe), then I shouldn't be at all despondent about my measly woad pigment result...
Quality it is then. Not quantity.
. . .
While writing this I've been wondering whether there's a connection between grapes getting extra fizz from the particular circumstances of this year's summer, and the exuberance of foam I got during woad processing, also experienced this year for the first time by Helen Melvin (in North Wales) (see previous post and comments). Is it an omen of the champagne of blues to come?
The woad is growing nicely now, and it's time to get waxing to have something ready for dyeing. Here's one just finished, taken from a sketch of the Brown Willy skyline (Cornwall's highest peak) at sunset from a favourite perch, Black Rock. Because woad-dyeing will be a learning process I want to keep the first ones simple in terms of waxing - so less wax is wasted on (possible) disasters. A series of batiks of moorland peaks may not be particularly creative or ambitious but is a nice excuse to get out for some longer walks than I've been doing lately! Also, being nearly midsummer, my mind turns to our inherited stone circles and other monuments with solstice and equinox alignments. Roughtor (second highest hill) was, apparently, very important to our Iron Age forebears. So respecting their beliefs and knowledge by focusing on views of Roughtor from prominent peaks and places doesn't seem quite so shallow after all, and maybe I will learn something too.
Minimal lines will also help me get a feel for predicting balance of (should I call it 'colour' or 'tone'?) after dyeing - the impact white lines in a deep blue will have. At least I hope to get deep blue!
Also, as many of my past batiks have treated wax as though there's no tomorrow, literally swamping the cloth with it, I need to start from the opposite extreme of less is more. I do now recognise there are limitations to the amount of wax I should use per batik, as there are limitations to the amount bees can be expected to produce annually (on the one hand) and availability of paraffin wax relates directly to availability of oil stocks (on the other). And production of paraffin wax contributes to global warming, but all-about-wax is for another post another time.
A new problem hit just after I'd waxed this piece - where to store it? Up until now I've worked on just one or occasionally a few related pieces at a time - waxing, dyeing and finishing - before moving on to the next. But not now... I will need a number of pieces ready for the woad and then do the dyeing in a batch. The cloth can't be folded and put in a drawer - the wax would crack on the fold lines. It really needs to stay flat. My mind sees it hanging from one of those coat hangers with clips on but I don't have any, nor a bound-to-stay-clean and unlikely-to-get-bashed (=cracked wax) spare hanging place in the studio, or house. I'm trying to approach this sideways, hoping tangentiality will let the obvious solution slip into view.
There's another reason for waxing these pieces now. Before I start any woad dyeing I need to finish the birds batik mentioned back in January and to do that I need to get some canting practice in for very long smooth curved lines - requiring a move of the whole body in sync with the line. Like all craft skills, you have to keep practising - stop for any length of time and you get rusty. Like me. The design calls for two perfect spirals within the white circle - any imperfection would just kill the picture. So I'm nervous and need to get confident before starting.
I also mixed up some Procion dyes yesterday and am running a fastness test on them. Three of the colours were first opened about 18 months ago, theoretically past their shelf life, the fourth is about a year old. I really don't want to buy new Procions just now... but the thought of having to re-wax because the dyes didn't fix is too scary!
Despite my research into cotton production that lead to testing of organic and fair trade cottons I am still a little uncomfortable at the thought of using fabric that is produced thousands of miles away and on land that (today) might better be used for (local) food crops. I slightly reconcile it with myself with the thought that trading of such 'commodities' has gone on for centuries, so it isn't such a problem.
But I have been pondering whether I should learn to work on materials that are available locally, ie in Cornwall. Being cattle and sheep country that means leather or wool. As wool needs to be dyed at high temperatures that obviously rules out batik work (though other resists may be possible). Batik on leather is possible, but I don't get on with the smell of leather and am not sure how well I'd wax while gagging! Last year I learnt that my great-great-grandfather was a saddler by trade and his father, grandfather and great-grandfather before him were shoemakers and cordwainers - if leather work is in my blood perhaps it is my destiny. (For those who also need to look 'cordwainer' up: my old Collins dictionary says shoemaker or worker in leather. More about cordwainers here.)
And then, in today's Guardian, an article about stinging nettles being used for fibre - which mentions a nettle clone crop is being trialled in Cornwall. Leaving aside any ecological issues with cloning for the moment (it may just mean being grown from the same rootstock - easy!), there is hope for a locally produced fabric to make batik on!
I have already tried dyeing an organic nettle/cotton mix from Greenfibres - but only a scrap as it's expensive. This fabric is delightfully soft but being slightly stretchy isn't ideal for waxing. But other mixes or types of cloth may well be developed and be suitable - and smelling much nicer than leather!
I went to a Transition Town event in Wadebridge on Wednesday to hear both Rob Hopkins, the founder of Transition Totnes and the wider Transition Towns movement, and Anthony Gibson, Communications Director of the National Farmers Union and founder of Taste of the West, speak about Peak Oil and the future. Without digressing too much I already felt that Transition seems the only way forward for western culture, and certainly for those of us at the geographic/geopolitic margins – never mind that rural areas are the food and water providers.
Although both speakers had areas of common ground (eg locally produced food, return to importance of British farming, great need for re-skilling people) they diverged strongly over the sourcing of energy beyond peak oil. Rob believes in addressing a powerdown, there being no serious feasible option to provide a fuel replacement to oil (petrol) to give us and our culture the mobility it has become accustomed to. Anthony is still selling biofuel as the future solution, though I don't feel he is as strong an advocate as he used to be. He indicated that second and third generation biofuels should overcome some of the problems of currently produced biofuels. He believes that British farmers further in the future may not be producing crops for biofuel (other than for farm use) and instead will be producing high quality food for domestic consumption with biofuel being imported from developing countries. But for now he encourages farmers to go for growing biofuel crops, even where it displaces food crops, as it's where the market is at now.
The market? As a member of the audience pointed out, the market, the existing economic system, seems to be causing the problems as it doesn't recognise that nature and the planet are finite, and can the answer really be to chase money all the time. Frustratingly this economics discussion often and did also on Tuesday lead to the dead end/let's-not-go-there-now of if not the market then there is only state control. When really we need another system, one that looks beyond GDP and competition or quota and control to... something modelled on nature's patterns, planetary capacity. Yes I'm no economist and I don't know the answer except change is needed.
As events are meant to, it got me thinking. Certainly I am looking to make my practice sustainable and ecologically sound, but is attempting to use quantitative measurement the right way? After all, the tipping point for irreversible climate change cannot be proved without actually going there, which only apocolyptickers would advocate doing. I am attempting to use carbon equivalent emissions as a measurement tool, which I still think is OK. But can I really pitch a petro-chemical method with no conceivable long-term future against one of renewable abilities? Do I really need to prove it? Have I been asking the right question?
Shouldn't I instead be asking:
How should I be making batik in a transition culture?
What purpose will batik hold for my community? What can batik give?
Or even:
Should I be making batik? Or something else?
Yeah yeah, sounds a bit drastic eh. But as a Transition Network leaflet says:
"The need for change is urgent and these profound changes can't happen overnight. We still have some time - if we act now. By thinking and acting together, the transition to a way of living that consumes substantially less carbon energy yet is a happier, more fulfilling and abundant place will become much more achievable."
The Procion samples had two excursions into the washing machine. First in a pillow case then, as I felt they wouldn't have had suitable exposure to the elements, in onion etc plastic mesh bags. No apparent change in colour intensity. That was before Christmas.
After three weeks 'airing' in my studio, I dropped them into tubs of just-boiled water. Or rather the second lot went into partially cooled boiled water, as I could smell the first lots' plastic tubs rather more keenly than desired. Yes, a lot of dye came out, immediately. I agitated them often, with a hazel stick (in case it's relevant!). The amount of loose dye after an overnight soak was close to the same amount as came out after the first wash/soak. I am bewildered!
They have been rinsed three times (collectively), with plenty of agitation and kneading incorporated. The final rinse/soak water hinted pink. I didn't rinse again, but hung them to dry.
And now dry, there is still no perceivable colour loss. And so...
- If the dye was excess or loosened in the washing machine then why wasn't it all rinsed out there too?
- Has three weeks exposure to air loosened the dye? Impossible surely. But also among my first posits.
- Does Cornish water affect the dye? It's mildly acidic. Perhaps I should alkalise the water and try rinsing again?
- Why, how, can water rinse clean (or nearly clean) and then time after time after drying release more dye when re-wetted?
A good thing about outing yourself – as I did with my dilemma of work direction (see this previous post) – is that because you have faced facts and acknowledged the situation you know there is only one way to go from there.... towards resolution. There's no more excuse to dither.
So late last week I contacted Jane Deane of Cross-Eyed Chameleon to find out if they had any imminent native plant dyeing (on cotton) workshops, and specifically local plants. I'd met Jane a few months ago at their Open Studio in Launceston, and in between the chinwag I realised these were people who knew loads about natural dyeing - and even better shared my outlook on the environment.
My big plan had been to move towards working in indigo – or woad. Solely in blue. That ambition hasn't gone but threw up its own dilemmas: the majority of the remaining Mekong work wasn't envisaged for indigo and even if it did I'm not sure the show would hang together half in indigo and half in brilliant Procion. They wouldn't complement each other – the remaining work would have to be in Procion.
And (as already discovered) indigo/woad makes a mess and I don't have proper space to allow that mess. So indigo work is delayed until I do have a suitable workspace. Hmmph. Grrrr. Aaaagh! But.
Some months ago I joined a couple of natural dye lists on Yahoo, mainly to pick up tips about indigo dyeing - a kind of preparation and a constructive remedy for the unsatiated urge. An email came in response to a comment I'd left about wax and resin – from Teresinha Roberts who's behind the amazingly informative All About Woad website. She does her woad dyeing in a greenhouse, keeping the vat alive right over the summer. And... ping! So could I! Why had I been thinking bricks and mortar and evicted car? Someone somewhere not too far away must have a disused greenhouse I could hire next summer... and how eco-friendly that would be, with its own solar heating. Brilliant! And what's more... a deadline to work towards.
What also has come out of these dye groups is recognizing the buzz others are getting from dyeing with local plants, whether garden grown, picked from the wild (with caution), or retrieved from 'waste' (eg onion skins); and their sharing of knowledge and re-discoveries in traditional ways, and ecological and health issues.
The wildlife, agriculture and culture surrounding a local river, from its sources here on the moor through to its estuary, is my next project (though it may evolve). Being able to dye from plants and vegetable matter found along its banks and valleys fits perfectly with the theme... and my intention to source locally where possible. To help that along I began an informal self-taught common plant ID course in the summer. For twelve months I am surveying four local one-kilometre squares for fifty locally common plants, learning about them as I go and in the process helping create a database for the Parish Wildlife Project. I was ashamed of my ignorance and pleased that I already knew quite a lot... just not their names! But already I'm finding an acuter awareness of these plants and their localised ecosystem, and hopefully this will develop into a feel for appropriate amounts that can be taken for dyeing.
Like woad work, this would be a spring thing... in the meantime I can learn more about plant dyeing – techniques, tools and space needed. Also... how combatible the various processes are with batik (not melting the wax!), sustainability issues around mordanting, and lightfastness. And also, whether natural plant dyeing is more eco-sustainable than chemical dyes, once all externalities are built in. I'm still to be convinced one way or the other.
Except with woad. My feeling is that woad will win easily over chemical dyes, if I could grow my own. But alas I have read woad is not a lover of acid soils. Which is Cornwall's lot.
Being Blog Action Day for the Environment I thought it might be time for some introspection. Umm? Environment... introspection? Well, yes. But it's not really about me.
For me, environment isn't an external thingie to occasionally be looked at and tick-box admired/appreciated/enjoyed, or something that can be taken for granted as always being there, whether 'there' is here now under my feet or somewhere else, somewhere over there.
Environment is part of us just as surely as we are part of the environment. At least that's how it feels to me. In some places around here, especially up on the moor I feel a deep bondedness with the land, with the atmosphere, with 'place'. I feel we have melded and I move within it, not over it and distracted by other thoughts. I no longer concentrate on direction or footfall, only occasionally being aware that somehow miraculously I am still on track for wherever I already was heading. Now if this sounds a bit flunky, then let me tell you that I – and others – have found our way off familiar moorlands despite sudden windless fogfall. Your head is little use to you at this time, you have to allow all your body's tunings to guide you. Let's face it, your head (mine anyway) would be useless and panic, thinking of all sorts of bad possibilities... like sudden huge endless quaking marshes which you've never seen before so and which seem to have surrounded you! But your body, in harmony with nature, is led with "feelings" (physical not emotional)...
Yesterday afternoon I walked from my house up to Eastmoorgate and on to East Moor. A last minute thought was to take my camera... shame I hadn't thought sooner as the battery was low and konked out just when everything was getting very interesting. Oops.
I walk this way once or twice a week as far as the gate, and once or twice a month out on to the moor. Recently I've been picking blackberries and bilberries (local name, whortleberries). I know the seasonal haunts of jay, cuckoo and golden plover... and appreciate songs and calls of other resident birds. I stop on the bridge over the Lynher and gaze into its water, both upstream and downstream, every time I pass. I've seen herons and an otter here. I walk alongside moorland streams, gazing at their swirling patterns of clubrush. I see the changing colours in the fields, the hedges, the views. I smile appreciatively at the oft-repaired fences and gates. I sit or lie on a large stone at dusk and just listen. I watch the sunset, the cloud patterns, the stars and rising moon. Every time I go this way there's some new marvel as well as the re-assurance of the familiar. And from this place comes inspiration for paintings and designs.
I'm fascinated, hmm, don't like that word. Intrigued, maybe? I'm intrigued... not quite that either. It's that Australian Aborigines have such a deep familiarity, connectedness, with the land that (I have read) they share a surname with plants, animals, land features and areas. They are that close. In the Maori language the word whenua means both placenta and the land. Even in English the root of the words nature and natal is the Latin nasci 'to be born', and nature also implies "identity or essential character" and "the whole system... of all physical life... not controlled by man" (McCleod and Hanks 1985). So being bonded with nature is a pretty ancient way of being!
It's also a zillion miles from the world of objectivity, where everything including nature exists only as we look at it and record it. There is a time and a place for measuring, of course, but I feel it's imperative that as a society we re-learn the wonder and joy of nature, we re-discover our connectedness with nature and grow a familiarity with the nature around us.
And that's the rub. It needs to be the nature around us not the nature in some other place, not that there national park, or them there beaches, or – dare I say it – some other country! Not to say don't go and visit these places... the unfamiliar is great for stimulating the mind! But it definitely can't replace the comfortable familiarity of our own nature.
My painting has always been inspired by and reflected the natural environment around me, (with occasional exceptions of larger environmental issues). I paint what emerges from within, by which I mean what's around, what I have experienced and felt... and I encourage students to do the same. It's my hope my art also plays a part in assisting others' connectedness with nature, to encourage viewers towards their own immersion in nature.
Reference
McLeod & Hanks (1985) The New Collins Concise Dictionary of the English Language London: Guild Publishing
...and just when it was getting interesting, the battery conked out! (Also a reason why all the above shots were, literally, first shot.)
Is Seasalt clothing "fashion" or "clothing" (see my last post)? What makes the difference? Does my "want"/"need" attitude play a part or is the designer/manufacturer solely responsible?
I believe that if the clothes are well made and of a style that will not look ridiculous within the item's lifetime (ridiculous because it incorporated a short-lived trend) then it is valued. And as such, is clothing. But if I had umpteen vests to choose from to wear, then their value is diminished in proportion... making them "throwaway" items and not "clothes" but "fashion".
So it's a two way responsibility. How does this fit with art production and selling? When someone buys one of my batiks is it as a "want" or as a "need"? Outwardly it would very much be as a "want", I ashamedly am sure. But if it's "well made and of a style that will not look ridiculous within the item's natural lifetime (ridiculous because it incorporated a short-lived trend) then it is valued." But if the painting was displayed in rotation with other works and spent much time in storage then its intrinsic value diminishes in proportion.
Inwardly, art - true art - touches the soul. It's a "need" just as a vest has a practical purpose (spiritual too, maybe?). If the batik is in storage or otherwise unappreciated (unneeded), then it has no higher purpose. It's a throwaway.
So... my batiks must be of the highest quality and not be faddish. They must strive to be of a nature that someone would want to keep on their wall, not grow tired of. But no, this still isn't quite right. It cannot be possible to strive for spirituality! Spirituality can only emerge from an inner stillness... as does art. This art is the art that – hopefully – will reach into a viewer's soul, will touch them on a level deeper than "that's nice" or "that's pretty" or especially "I want that!".
This makes me reconsider my thought that art needs to be regularly seen to have intrinsic value. One viewing only might be enough to uplift a person's soul... But then the work would need to be in a publicly accessible place to reach many people. So my thought about works in storage being without value holds.
I've just re-read Kandinsky's first chapter (Part I About General Aesthetic, I Introduction) in "Concerning the Spiritual in Art" and find yet again he explains what I feel so much better! So now I will spend the rest of the day pondering:
"Every work of art is the child of its age and, in many cases, the mother of our emotions."He later describes two kinds of art. One is short-lived although also being of the moment, because it had no depth, no meaning, beyond being available for sale. Tourist art falls into this category, I think.
"Such an art can only create an artistic feeling which is already clearly felt. This art, which has no power for the future, which is only a child of the age and cannot become a mother of the future, is a barren art. She is transitory and to all intent dies the moment the atmosphere alters which nourished her.
The other art, that which is capable of educating further, springs equally from contemporary feeling, but is at the same time not only echo and mirror of it, but also has a deep and powerful prophetic strength."
I bought a cotton vest in Padstow recently, in Seasalt, an accredited ethical clothing company based in Cornwall. Not only is it certified organic cotton, it's a gorgeous colour! By luck it was in the sale though buying it wasn't a spontaneous consumerist response to finding a "bargain". I have been on the lookout all summer for a vest (organic, fair trade), my old two being over 10 years old and anyway... lost! A vest was a "need" not a "want", and I managed not to be seduced by any other delightful things in the shop.
What was a bargain was discovering one of the attached labels was in fact a packet of seeds! It advises me I can sew them in the summer (inside on a sunny windowsill) and later plant them outside (in a sunny place)... and to water them well. And regularly remove pests such as aphids or caterpillars. Later they should flower and (if there's enough sun) the resultant bolls will open and produce cotton. And seeds for a new crop...
This is very exciting! I am just frustrated at having to wait six months to start... and curious about whether Bodmin Moor, let alone Cornwall, has enough sun for them to flower. And if our inconsistently wet weather would mean I'd still have to regularly water them. Whatever, I hope to learn a lot about cotton growing. I'm sure it won't be easy.
I just took a peek inside the packet – there's three fluffy seeds looking quite unlike seeds I have ever known.
"Clothing and textiles is a high impact product category, accounting for 5-10 per cent of all environmental impacts within the EU-25."
Says DEFRA (Department of Environment, Food and Rural Affairs). They go on to highlight environmental, social and ethical impacts of the textiles/clothing industry in the UK:
"Environmental Impacts
Getting back to practical matters (and away from philosophising), my boiled-out wax remnants and "well-cooked"-in-the-waxpot wax have been given a new purpose in life: candles! Vanda Inman is making and selling them to raise funds for St Clether's Holy Well and Chapel, and has incorporated my accumulated leftovers in some, saying it's worked a treat!
One of the earliest Celtic saints St Clether came to Cornwall from Wales in the fifth century, settling in the still beautiful and peaceful Inny Valley. His chapel and well has been restored a few times since then, but an aura remains leaving visitors with a wonderful feeling of wellbeing and calm. It really is a special place and I'm glad I can contribute, even in a small way, to its upkeep.
I've never attempted to re-use boiled-out wax... having heard water is trapped in it and might spit when heated (and yes, I did warn Vanda and apparently there was no problem). Now I feel I should try re-using it. It might be no good for fine canting work but may work with brushwork or stamping. Or it may work fine with cantings. Perhaps using 10% old in with the new... I will play around and see, soon. I do foresee problems remembering what's in the waxpot at any time – new, re-used or even multiple re-used!
Well-cooked wax I used to save and use again for crackle effect finding it cracked more easily and sharply than "fresh" wax, having lost its malleability. But as I rarely use crackle effect now in work I will continue giving old wax away.
Last week I went to Saltash again (to look again - and this time buy - a bike). Funny these little coincidences in life aren't they...
Of course the 'salt' in Saltash comes from, umm, its association with salt - either from salt panning or salt marshes or from a more obscure salty reason. There is a Salt Mill Creek there and the historic Salt Mill site is now a community centre (with some fine public art works).
Salt was traditionally produced in various places around the Cornish coast by a panning process similar to the Portuguese one described in my last post, though here heat from fire was needed to evaporate the water from ceramic trays (called briquetage). Seems it's not quite as sustainable as sun and wind drying, but a block of salt could be produced in a day. Thanks to Archaeology Online for this information.
It got me wondering why someone didn't resurrect traditional salt production... and then I found the Cornish Sea Salt company in St Keverne doing exactly that! I just spoke to Tony Fraser there on the phone and once they officially launch in August I will be able to test the dip-dyeing process with proper Cornish salt. What I'm most curious to discover is whether other minerals in the salt (ie not sodium chloride) will have an unintended effect on Procion dyes - possibly even a welcome one! Roll on August!
In my dithering over whether it's appropriate to use such a high quality resource for dyeing I looked a bit more into contemporary salt mining in Britain. The Salt Manufacturers Association website is really informative including on British salt history. One fact above all stands out in making me choose
The proven UK salt reserves are extensive, with an estimated 500 years capacity at current extraction rates.
