Warren Collum (Exhibitions and Collections Manager) asked Andy about the project, about some of the processes and thinking behind the environmental art commission...

How did the your personal history with Devon contribute to the creation of the artwork and why was the River Torridge an important focus for the project?
 
My work for this commission initially began in a virtual world, which might seem strange to some. However, as a frequent visitor to Devon, my sense of place is deeply rooted in experiences such as surfing along the coast, photographing Crow Point for my book in the late 1990s, and working on a project in Westward Ho! for the Millennium Fund in 2000. Recognising this personal history was a great starting point for this commission, providing me with direct reference points, particularly along the coast. The River Torridge was a less familiar subject. After many visits to the river, I became aware of areas with relatively easy access, though finding others, especially the source of the River Torridge, proved more challenging. This inaccessibility, in a way, facilitates the imaginary. For me, the imaginary is a key component of this project.

Warren: How did the concept of the "imaginary" play a role in the creation of the film and how does it connect to science fiction?

The imaginary is also a key element in science fiction. Its unique ability to explore potential futures and imagine how scientific and technological advancements might shape society, culture, and human experience helps me to grapple with a complex world. Science fiction acts as a bridge between the present and the future, offering imaginative and critical perspectives on how current trends could evolve. It allows us to reflect on our values, consider the ethical implications of change, and envision the possible consequences of our actions today. In this way, science fiction not only entertains but also prompts us to think deeply about the world to come.

Warren: How was the film "Shimmer" created ?

The film Shimmer was crafted through a unique process that blended imagery from internet archives, in-game footage, and real-world visual material captured along the North Devon coast and the River Torridge. This eclectic mix enabled me to weave together a rich tapestry of visual elements, drawing from both digital and physical realms to create an otherworldly narrative.

Warren: What was the significance of using a fishing line to manipulate collected trash in the river?

In one way I often think of my work as a type of fishing, sometimes I cast for ideas. For example, on a particularly sunny day in Beaford, I ventured along the riverbanks and discovered small shale formations that provided an ideal setting for a temporary camp. It was a perfect spot for to fish. During the day, I immersed myself in the river's environment up to my waist using a fishing line to cast various pieces of collected trash into the water. This line served a dual purpose: it kept the objects from drifting away and allowed me to manipulate their movement within the river's current. Through this process (using still and video capture devices), I sought to create a visual narrative that evoked a "plastic dance"—a playful yet transient interaction between the materials and their natural surroundings, highlighting both the interplay and tension between human-made and natural worlds.

I also remember gazing at the intricate tangle of materials in one of the Torridge’s feeder tributaries. The complexity of the patterns made it challenging to distinguish what was naturally occurring from what had been introduced by human activity. The interplay of these elements created a rich, textured scene where the lines between nature and man-made influences became blurred. On another occasion, while kneeling on the shore at Westward Ho!, the sky appeared as a thin, grey band, and the sand was so smooth and reflective that it seemed almost like a mirror. At that moment, I realized I was in a “shimmer zone,” a space where perception emerges only up close. It’s only when your eyes are just inches from a subject that you can truly appreciate the subtle beauty of things like sand, plastic, mud, and more (a selection of images from these experiences is included in a limited edition zine publication).

Warren: You mentioned reading Tarka the Otter, what connection did you make between the novel and the River Torridge in your commission?

After the commission was completed, I found myself in Tavistock and came across an early edition of Tarka the Otter by Henry Williamson. The book vividly introduces readers to the landscape that serves as Tarka the Otter's home. The river, its banks, and the wildlife are described with a deep sense of connection and detail. The Torridge River, in particular, is depicted as a complex environment that is nurturing yet fraught with danger. Its beauty is intertwined with the inherent perils it presents, reflecting both the splendour and the risks of the natural world.

It is strangely reassuring that the river and coastal dual nature described by Williamson is, in some way, reflected in my own project, as I sought to mirror the river's intricate balance of beauty and hazard through my own twenty-first-century artistic process.The book is a detailed rendering of an otter's life, written from the otter's perspective in prose that is both descriptive and poetic. The encounters with humans are often dangerous and painful, culminating in the harrowing description of Tarka’s exhausting and fatal hunt. It is this perspective—seeing the world through the otter’s eyes—that is key. Similarly, in my film, the world is viewed through the lens of a piece of plastic, emphasizing the perspective shift and the deeper implications of our interactions with the environment.

November, 2024