Sunday, 15 May 2022

Imminent 5 What the Tide Does

Imminent 5 is a collaborative issue. The work is the result of a long distance conversation between me in England and Robert Hogg in Canada, which started in 2021 with swapping poems, books, stories and ideas between us. When Robert sent me the poem that inspired this issue, I found that I read it again and again, each time finding more in the words, and it set me off on my own research and lines of thought. All this seemed worthy of creating an issue with just Robert's poem, and my images in response.

The to and fro of our email conversations echo the two and fro of the poem in Imminent 5:  Robert Hogg's poem, What the Tide Does - Port Mann Bridge makes the main text of the publication. Inspired by this, and my own research of the Port Mann Bridge over the Fraser River in British Columbia, I created a series of images to accompany the poem, and put them together to create the fifth issue of Imminent.

 

Robert and I have reflected on the colours of the issue - I chose blue and yellow which, since I made that decision, has come to have another meaning worldwide in the light of the war in Ukraine. The colours were chosen for how they work together visually, and how they overlap to create a third colour, green - which can be achieved using the riso printing technique that I use for the zine. The first page of the poem talks about colours (colors in Robert's spelling! I chose to stay with the authenticity of the Canadian spelling rather than change it to my English), so it felt important that my first decision was about colour. The chosen colours can denote sky, water, sunshine, land - the colours of landscape. Some of my images intentionally bleed sky, water and land together, which, having read about the flooding of the fierce and tidal Fraser River, expresses how I think of it - a living, changing, yet ever constant force that shapes its land and the lives around it. All these ideas, and more, are woven into the issue.

Printed on recycled paper using plant based riso inks, I hope you enjoy the issue, which can be ordered from my shop page. Imminent 5 is selling quickly, so do grab a copy while you can.

Sunday, 1 May 2022

Fruit Routes in the Festival of Ideas


I'm delighted to be making something for Fruit Routes Loughborough again, the artist-led project to create an edible campus at Loughborough University. This year we are celebrating ten years of the project and it's part of the wider Festival of Ideas: Transitions. Details are in the flyer below - I hope some of you can join us.
 
 





 

Saturday, 9 October 2021

Any minit

I wrote to Robert Hogg to let him know that copies of Imminent were on their way to him, over in Canada. He emailed back with a poem, which made me laugh, copied below. (Another of Robert's poems is included in Issue 4 of the zine, which you can order from my shop for only £3).

 

Imminent 4 is imminent! (for Jo Dacombe
 
Any minit
in a mint
Altoids are
 
asteroids
one time
immanent
 
in Wales
now eminently
imported by
 
Wrigley
Canada
from who
 
knows
where
they'll fall
 
to my tongue so
Curiously Strong
or so it says
 
on the tin
they could be made
in China or
 
Timbuktu
or simply fall
from stars
 


All proceeds from the zine support the printing costs of the next one. There will be more from Robert in future issues that I'm planning, so do sign up for updates or subscribe to make sure you don't miss them. 

Thank you for your support for the zine, for poets and artists who contribute, and for caring about the natural world.



Saturday, 25 September 2021

Imminent 4


IMMINENT issue 4 arrives for October, printed in a peachy orange as the autumnal colours begin to appear.

The orange issue is held together by ideas of time and landscape: seasonal change, endurance walking, times of day, eons of land formation and climate change. Visit my blog shop to order or subscribe.

The poets included also have publications out currently, so you can visit more of their work at the links below.

Phil Hall's latest chapbook, The Ogre, is by Trainwreck Press, and features Phil's artwork assemblages on the cover, which I find intriguing.

Robert Hogg's chapbook, A Quiet Affair Vancouver '63, also by Trainwreck Press, and of which I have a copy. The poem has a sense of time as the narrative unfolds gradually, and is set in the past with a photo of a very young Bob Hogg on the cover. I'm delighted to be working with Bob on a collaborative piece for a future IMMINENT.

Gerrie Fellows has a poem that appears for The Hunterian and you can read it online.

And my good friend Mark Goodwin's first chapbook to be published in North America is Erodes on Air, where "we are invited into a landscape of stone and snow warmed through with wit 
and Goodwin’s singular eye for the world and ear for its song",
by Middle Creek Publishing.

IMMINENT 4 also includes artworks by Helen Goodwin, Peter Griffiths and me.


 

You can order a copy from my blog shop, or subscribe to two issues per year, only £8.80 including p&p.

Thank you for your support.



Sunday, 4 July 2021

Imminent 1, 2, 3


IMMINENT is the little zine I started in March 2020 as a response to concerns about nature and the environment. Numerous excellent artists and writers have contributed to date, and their generosity has kept my creative brain moving, for which I am most grateful.

Making the zine has become a process of reciprocity. Artists and poets have sent me their words and images, and gradually, as I sift through these wonderful gifts, themes and threads have emerged. I take these threads and respond to them with my own words and images, and eventually curate it all together into a small collection of creativity, woven together and presented in one dominant colour (the colour also suggested by the content) in a riso printed booklet.

I have loved making it, and loved the new connections it has enabled me to make with other artists and writers, many of whom I have only corresponded with and never met. I hope I will meet them all one day.

I would love you to have the zine, and so I have made it as affordable as possible. The cost only covers the printing and distribution, the rest is made by generous creativity and the love of sharing. I hope you enjoy it.

Red - Issue 1 - the material world

Blue - Issue 2 - ice and water

Green - Issue 3 - the other-than-human

forthcoming is:

Orange - Issue 4 - landscape and time

I am also working on a collaboration with Robert Hogg from Canada, inspired by a poem he sent me. The zine is being created as a result of our correspondence between Canada and England, and will span time and distance, memory, imagining and journeys.

There are a few copies of Issues 1 and 2 left. You can purchase Issues 1-3 for £7+p&p or individual issues for £3+p&p.

Read past posts of this blog to find out more about each issue.

Thank you for reading.

PLEASE CLICK HERE TO VISIT THE SHOP PAGE TO ORDER

Friday, 23 April 2021

Imminent green (Issue 3)

The Imminent green issue gives thought to wildness - not the remote kind of wild of the wilderness, but the everyday wildness that is all around us and bumps up against our domestic lives. Industrialisation has brought us to where we are, exploiting all that nature has to offer, and the issue considers the notion of slowing down, and how to re-wild whilst acknowledging that we cannot turn back time. Poetry by Deborah Tyler-Bennett reflects on the impact of our first childhood encounters with wild creatures; Gerrie Fellows wonders at the objects that creatures leave behind; Mita Solanky retires an industrial wheel from its place of work and returns it to nature. With other contributions from Penelope Shuttle, Carole Miles, Andy Postlethwaite, Chris Turnbull and me, Jo Dacombe, we hope you enjoy the May issue of Imminent green. 

You can order the green issue below, or click subscribe for an annual subscription of two Imminent issues per year.




 PLEASE CLICK HERE TO VISIT THE SHOP PAGE TO ORDER

Saturday, 28 November 2020

Ice Flows

Ice Melting, Jo Dacombe, 2020

In producing IMMINENT, my zine of contemporary art and poetry in response to environment, I feel that I am in collaboration with other artists and poets. The work that they submit I then curate in a way that creates a flow between each item, a forwards and backwards flow, with one item feeding another. I also create my own work, which is often a direct response to theirs.

In Issue 1 I wrote about the material, and I often think about the meaning of material, the stuff in the world that we make things out of and that we touch with our hands. The images published in Issue 2 were important in their use of material, either in the way that the images were made through material processes, or through their reference to water, which then further inspired my own thinking and the work that I produced to tie the collection together.

Mary Hayes’ work, Ice Cold, was created using a solar plate printing method from an image of the surface of a rusty iron sculpture by Richard Serra. This image reminded Mary of ice floes that she had seen in Iceland, and the rising sea levels due to global warming melting the ice. I loved the idea that the image had been created from an iron surface degraded by water which then became an image redolent of ice melting, thus turning back to water.

Mita Solanky’s work, we all breathe the same sky, is a chemigram, made using household chemicals on photographic paper. Through this process she felt that the work referenced the crises we are facing in having polluted our environment for so long.

Helen Goodwin's image is a photograph entitled Shadowed Edge - Skipsea, East Riding of Yorkshire, where I once owned a small wooden chalet now lost to the sea. The photographed shadow on the shore tells the tale of that which was once there but disappeared with the movement of water.

I have been making microscopic photographs for a while now, in an exploration of material but also of things we cannot see with the naked eye. In response to Helens' image, I photographed watercolour paint on textured paper through a microscope, with a result that reminded me of a coastline, and referenced back to something I had written about in my book Imagining Woodlands about what happens when coastlines are viewed at different scales. A sense of scale, as well as time (time is also referenced in Helen's image) are both themes that are significant in climate change.

Ice Melting, Jo Dacombe, 2020

My own image, Ice Melting, (I'm showing two of the original images in this post) was made in response to the collection of poems and images represented in the zine, with those emergent ideas of water moving and transforming. I froze a block of ice and then photographed it as it gently melted over a day. Close-up again, the images are like landscapes or glaciers. My chosen image was then transformed again by the blue riso print process for the zine, which softened the image and gave it back the glow of blue that I wrote about in the glacier piece.

I have found the making of the zine a wonderful process, exploring my own ideas but also responding to the ideas of others. I haven't reproduced the work of the other artists here (to do so would not respect their copyright), but you can see the images I've written about in the current issue of the zine.

Click here to find out more about Issue 2 and to order a copy.