BACKGROUND

The National Trust published in their newsletter a story about a bequest, a unique artist's retreat, Bucks Mill Cabin, once owned by Judith Ackland & Mary Stella Edwards.  The seaside stone dwelling had been left empty for fifty years as though the artists had just left and could return at any moment.  When reading about the place, I knew I had to visit.   After dialogue with Hannah Jefferson, National Trust Visitor Manager, Devon, it was agreed that myself and two friends (Karen Mayell & Jan Willis) would arrange to come on holiday for one week and stay in the tiny hamlet, the initial idea to pay daily visits to the cabin.  I thought lovely, a chance to bring The Museum of Possibilities, and find out what is possible.  Note to self: idea of working in miniature.  And so, together with small pocket of found and given objects (ie a family of rubbery vintage dolls) we explore the process of becoming an 'incomer', and take up temporary residence in the Bucks Mill Hamlet at No.9, George's Cottage.  The initial plan to each day make a trip down the hill to the seashore to open the dwelling, air the place, draw inspiration and sensitively respond to the sense of the place, and connect with what we needed for our own well-being.

Other artists had already previously visited and responded with creative projects which enabled the house to be opened and history to be shared with the public and local community.  For me the small house inspired memories of the children's book The Borrowers, memories of home and away, rituals of domestic/creative life, unearthing the hidden feminine.  A series of simple interventions unfolded, the placing of selected everyday objects from the simple surroundings, together with small playful additions, on the wooden kitchen table. When passerby visitors witnessed and participated in the storytelling process, I would ask what they felt in response to what was created on the table, and also what I could take for a walk - take a jug, a cup, a blue teapot to the sea shore, was just some of the responses. For myself, I stepped into the women's worlds most directly through the kitchen china, the small textile collection in a shoe box, the Burberry coat, wellies, a bag and a walking stick and the need to go on a journey.

I work intuitively and organically; collaboration is central to my practice, and when local resident Stuart Fiddes, asked me "Are you a creative soul?" I had to think about that!  Later he said he would visit the Cabin each evening and photo document the trace of changing daily stories unfolding on the kitchen table through the window.  "I really have no idea what is going on!" he would mutter.  At the start of the week, I was surprised that unusually for me I did not want directly to interact with passerbys, instead I felt the need to soak up the solitude, feel for the history and present resonance of the house.  And so, Jan & Karen would talk to visitors, help gather and place small items, take a brush through, place flowers from the cliffside.  They would also kindly photo document interventions, as sometimes, I would be behind the camera, other times in front developing my performative storytelling practice.  At end of day under the thatch of No.9, revelling in the sound of the nearby running stream, I would document in my journal, write short stories, draw, paint waterly impressions, sort digital photographs, also make story boxes.  The process enabled me to be in the moment, enjoying the contemplative space, be renewed by the surrounding quiet moss filled woodland and rocky sea shore.

I felt inspired by Bucks Mill Cabin, responding immediately to the poetic sense of place, embodying and embracing the spirit and stories relating to the creative women and their life at this remote creative enclave.  Interested in notions of journey, the space between real and imagined, I wondered about notions of topside world and underneath worlds, how children would appreciate the story of the place/the physical environs.  And so, a small character (Miss Dolly) would appear in the cabin on would be spotted on brave journey across the rocks.  Subsequently, we visited Burton Art Gallery & Museum and saw the diaromas, tiny enclosed worlds, where one artist would paint, the other create the backdrop.  Jackanda figures, realistically sculpted, were made of cotton wool.  The intimate scenes echoed my love of creating temporary storyboxes.   Also, underpinning my research, was the work of one of the founders of the National Trust, an artist and social reformer, Octavia Hill; her belief that we need to leave urban environs and connect with open spaces for physical and spiritual renewal.

This blog traces events from one week's stay at Bucks Mill and features just some of the visual/storytelling collection inspired from initial research visit with a view to exploring the idea of potentially developing a new body of work - perhaps a story trail exploring sense of place - at this stage, who knows what could become possible?

Meanwhile, thanks to all involved with this part of the journey.