‘Ar Lan y Môr’ / ‘At the Edge of the Sea’

‘Ar Lan y Môr’ / ‘At the Edge of the Sea’ is exhibiting at Aberystwth Arts Centre from 15th May to 8th July 2018, and features the work of a range of Welsh artists who responded to an open call.

The mixed media show features textiles, ceramics, paintings, photographs, sculpture and films. Amongst the flying seagulls made of medium-density fibreboard, outline images of North Sea cod made from plastic chip forks, rock pool-themed pottery, and much more, there are photographs and a short (roughly 7 minute) film made by Dewi Roberts. Dewi’s blurb for the exhibit even mentions geomorphology, and highlights how he aims to showcase coastal examples of GeoArt: natural sculptures in rock, stones and sand made from the action of water, sediment and wind. Examples are provided from the Welsh and Dorset coasts.

The photographs are visually arresting, and the film quite mesmerising. Some stills from the film are included here, and should suffice to convey its essence. Despite the onrush of waves and turbulence, and the associated flurries of pebble or grain movement, the overall effect is strangely serene, and reveals a world rarely seen, even by people like me who think about particle movement on a daily basis. And as a visual tool for conveying some of the fundamental essences of geomorphology, it works perfectly.

Dewi tells me that he plans to film similar processes in operation in rivers, to develop his collaborations with artists, and to try and embed some of this into school curricula. We also plan to include these and other films as part of the British Society for Geomorphology’s Annual Meeting, to be held at Aberystwyth University, 10th-12th September 2018.

[Post by Stephen Tooth, 18th June 2018]

Ice Report: Naomi Hart in Svalbard

The artist Naomi Hart is the Leverhulme Trust artist-in-residence at the Geography Department, University of Sheffield for 2017-18. In the summer of 2017 she accompanied staff and students from the Department’s Polar and Alpine Change Masters course and UNIS (University Centre in Svalbard). The exhibition ‘ice report’ is a consequence of the visit and working with scientists and students in the field and she is in the tradition of artists accompanying scientific missions. The link with Sheffield is by way of Robert Rudmose-Brown who was a lecturer then Professor of Geography at Sheffield and a Svalbard botany expert. Naomi Hart’s images are well worth seeing as part of this tradition.

The mixed media works are typically in blue but sometimes with indistinct outline figures or bold orange (of survival suits). Contrasts and harmonies of investigating glaciers and meltwaters are evident. We view human interventions in decaying mine workings and seal skeletons as well as trappers’ huts and exploitation for coal and various ores. These are some of the details and generalities depicted by these works that tourists on cruise ships rarely see – but should.

Chris Clarke, Naomi Hart and Andy Hodson (who set up the collaboration) with one of Naomi Hart’s mixed media works, ‘The most alkaline water I’ve ever tested’. The work depicts Andy Hodson of Sheffield Geography Department (now UNIS) sampling pro-glacial meltwater.

As Naomi Hart says on her website, ‘I am currently working with ‘carbon’ as a material and theme: carbon copies, the role of carbon in climate change and the cyclical nature of carbon as an element in life, signifying death and decomposition and its role in creating new life.’ Several of her Svalbard contributions were on the stark walls of the Portland Works room as ‘found’ poems on carbon paper on artist paper. The black/white contrast mirroring something of the coal seams and ice and coal and rock debris on snow that can be seen in the mountains as well as the road from the airport to Longyearbyen.

One of the found poems and buried text.

This is an interesting collection of work that provokes consideration of wilderness and exploitation past and present, whether the viewer has been to Svalbard or not. On my gallery visit I stepped from a gloomy, windy and snowy Sheffield into the relative (!) warmth of the exhibition space. I wonder if appreciation of the images would be enhanced by viewing in the ambient temperature of the glacier side? A thermal synesthesia that might also trigger thoughts of non-renewable resources for heating and electricity production. For those visitors without ‘geo’ education there may be a loss in appreciation but there is little doubt that Hart’s images provide thought of ethics as well as aesthetics.

The exhibition notes are available here and will probably be travelling to other locations.

Naomi Hart’s website and blog are at: http://naomi-hart.com/ and https://www.facebook.com/NaomiHart.Artist/


[Post by W. Brian Whalley, 5th April 2018]

Can an image influence a career in fluvial geomorphology?

“Morning Mist, Rock Island Bend, Franklin River” by Peter Dombrovskis is arguably one of Australia’s most iconic wild river photographs and played an absolutely critical role in galvanising a nation against hydroelectric dam development in southwest Tasmania.

My journey with this image began as a very young primary school student. I have a misty recollection of this image and the ‘No Dams’ slogan (see below) and watching protestors (including Bob Brown) in their inflatable rafts blockading the Gordon below Franklin River at Warner’s Landing, as we watched on a small TV with push-button dials.

Vote for the Franklin
Peter Dombrovskis’ ‘Morning Mist, Rock Island Bend, Franklin River’ appears in promotional material for the National South-West Coalition. Source: http://www.nma.gov.au

Having family in Tasmania meant lots of summers and autumns there, and as soon as we were old enough and capable enough we were hiking the many trails of the Cradle Mountain-Lake Sinclair, Walls of Jerusalem and Mt Field National Parks. I’d bought Peter Dombrovskis’ book “Wild Rivers”, read “Death of a River Guide” by Richard Flanagan and had a Rock Island Bend poster up on my wall. Somewhere along this fluvial geomorphology journey I made a commitment to myself that when I had the money and fitness, I was going there – to Rock Island Bend!

So in 1998 after walking the Overland Track (the headwaters of the Franklin) I set off on a 5-day rafting trip down the Lower Franklin River – a kind of pilgrimage. My encounter with Rock Island Bend happened on the afternoon of Day 1. It came up quick and took a few seconds to register that this was it!

It was a different time of the day, it was bright and sunny and the colours were different, but this did not diminish the power of seeing the real thing (photo below). The water was flowing fast and it took some paddling effort to keep the rafts still while taking in the famous scene before us. I managed to take one snap of my own (with slide film!) before we drifted past. I recall us floating in a small backwater just downstream, the five of us on the raft silent and mesmerised. Although we did not have much time to contemplate as the Newland Cascades were coming up!

Fryirs Rock Island Bend
Rock Island Bend. Source: Kirstie Fryirs

Ten years later I was lucky enough to go back to the Franklin River and raft the Upper Franklin for 7 days. I recall hiking out at Mt McCall on a rain soaked, cold, misty morning, feeling like I wanted to turn around and go back to see Rock Island Bend, just downstream. On a day like that it would probably have looked just like the Dombrovskis image! But it was not to be, and that is not really the point. The point is that it is still there. It’s been there for millennia, and it will continue to be there for millennia thanks in no small part to that photograph.

Another ten years on and I find myself in front of this image again. This time in the National Library of Australia where Peter Dombrovskis’ work is on display in an exhibition “Journeys into the Wild”. I did not notice the famous image at first, again it had crept up on me! Then I saw it hanging, “Morning Mist, Rock Island Bend, Franklin River.” It was lit with a spotlight and a tingle went up my spine, almost the same sensation as I had rafting past that rock island 20 years ago. It was quiet this day in the gallery and I just stood in front of it, silently, for about 5 minutes. I even went back again 30 minutes later for one last look. People walking past fell silent as well. The power of that image is in its soul. It continues to inspire generations of people and open their eyes to the beauty of a wilderness that could so easily have been lost. For those of us lucky enough to work in fluvial geomorphology, river science and environmentalism more generally, and those of us who have been lucky enough to visit that place, this image will continue to inspire us and galvanise us for many years to come.

Can art and images inspire interest in geomorphology, and can this influence careers? Certainly! Given that geomorphology is largely about ‘Reading the Landscape’ and interpreting process from the landforms that make up a landscape, the saying “a picture tells a thousand words” is certainly true. Geomorphology, to a significant extent, is an innately visual and observational science, with the role of the image playing a fundamental role in the way we see the landscape, interpret the landscape and teach others about the landscape.


[Post by Prof. Kirstie Fryirs, 11th February 2018]

Digital river mapping

One of the main outputs of the Visualising Geomorphology Working Group was the commentary by Tooth and others (2016). In this commentary, we pondered whether newer, technology-driven artistic approaches could be employed to communicate geomorphology to non-specialist audiences, noting that geomorphological subject matter had yet to feature widely among a recent surge in digital artworks.

Work by digital cartographer Robert Szucs illustrates some of the many possibilities that exist. Under his monikor GrasshopperGeography, Szucs uses open-source geographic information system software to map the world’s rivers. The resulting maps are striking visual displays of river networks on the various continents, and have been picked up widely by various media outlets and websites (to illustrate this variety, see CNN Travel, The Daily Mail (online), and IFLScience!).

Szucs says that the maps are “100% scientific” as they are based on satellite data and digital elevation models, and with every river being placed on a scale of 1-10 according to the Strahler stream order classification (in most settings, stream order is a rough proxy for size). The map designs, however, involve many artistic decisions, especially the choice of line widths and colour combinations. Each map commonly goes through many iterations over days and weeks before the final output is realised. And although the impression of space filling by river flow could be slightly misleading – the line widths obviously cannot be scaled in accordance with the actual map dimensions and the networks don’t reflect the permanency or otherwise of flow – the maps nonetheless illustrate graphically the potential importance of river action.

Map of Australian river networks, with adjacent catchments coloured differently. While most of the river networks form tree-like (dendritic) patterns, the parallel patterns in the centre of the continent reflect the influence of the southeast-northwest aligned linear dunes of the Simpson Desert in controlling the flood flows that periodically occur along the various rivers entering from the northwest and north. [Nb. Here the ‘mapping’ goes a little awry I think, for as ones goes farther and farther southeast into the Simpson dunefields, there really is no coherent surface drainage, so as mapped, the rivers are too long.] [Image provided courtesy of grasshoppergeography.etsy.com].
For me, Szucs’s work is an interesting example of how science data and digital art can collide in creative ways and highlights the great potential for communication in outreach contexts. The maps are visually arresting and may provoke questions about what the maps actually mean. Why are there so many river networks on the continents?  Why do they typically form tree-like (dendritic) patterns with their roots in the oceans?  Why does the centre of the Australian continent appear to be such a weird exception (see image above)?  These are not necessarily easy questions to answer but perhaps medical analogies could help. For instance, if ones sees mountain ranges as the skeleton of a continent, then could these maps be used to suggest that river networks are effectively the arteries, conveying water, sediment and nutrients from the continental interior (the ‘heart’) to other parts of the landmass (the ‘body’)?

[Posted by Stephen Tooth, December 2017]

How to employ landscape artworks … or perhaps not?

11-12 km north of Aberystwyth, Ceredigion, west Wales, an ancient (c. 6000 year old) forest lies partially buried beneath the sand that forms an extensive beach between Borth and Ynyslas.  Rising mid Holocene sea levels drowned the forest but today the eroded, gnarled tree stumps and underlying peat are exposed at low tide, particularly after storm events when much sand is moved offshore.

These and other landscape features play to the some of the myths and stories that abound in the culture of mid Wales, most notably Cantre’r Gwaelod, which refers to the drowning of an ancient kingdom located to the west and which now lies beneath the waters of the present-day Irish Sea.  Such features also provide reference points for contemporary concerns over rising sea levels and associated landscape change, as well as for the debate over environmental management options for the west Wales coastline (e.g. abandonment or managed retreat?).

To create a cultural response to the material changes taking place along the coastline, local artist Robert Davies wants to create a large-scale mould of a local tree, cast it marine bronze or steel, and site it in the inter-tidal zone on the beach adjacent to, but not within, the ancient forest.  His aim with ‘Tree’ is “to draw attention to this unfolding narrative [of sea level rise] and the last time this happened.”

An example photomontage for ‘Tree’, created using drawings, from several different angles, that are superimposed on landscape photos. The proposed location of ‘Tree’ will be adjacent to, but not within, the submerged ancient forest. The site is between man-made groynes, and in line with navigation beacons. This image is available on the website dedicated to the ‘Tree’ project (see link below).

The proposal has generated vigorous debate in the local media, most notably in the Cambrian News.  Some people are supportive of the proposal, others are supportive but with qualification, and yet others are opposed.  Supporters say that ‘Tree’ has the potential to become a high quality artwork that could rival some of Antony Gormley’s sculptures (including those in coastal settings) and increase visitor numbers,  and that it could be the first several site-specific artworks that are commissioned for the Ceredigion coastal path.  The main objections seem to centre on the visual intrusion that such a sculpture would introduce, and whether people need such landscape artworks to prompt contemplation of past, present and future environmental trajectories.

The full background to the project, including the concept, dimensions, artistic impressions of the sculpture in situ, public consultations and planning applications, and media coverage, is detailed on the following website:


This local debate raises wider issues about when, where and how landscape artworks can be employed in the communication of important geomorphological/geoscience and wider environmental concepts. Personally, I really like the artistic concept and hope that the sculpture can be developed in a location and in a way that satisfies some of those objecting to the proposal.

[Post by Stephen Tooth, December 2017]

[Update: January 2018 – in December 2017, the proposal for ‘Tree’ was narrowly voted down (10-9) at a meeting of Ceredigion Council’s Development Control Committee.  The Council was expected to give approval to the sculpture, as it had already attracted support from its planning department, but it seems that the hundreds of signatures on a petition collected by  a local opposition group had an influence.  The debate has featured as part of a wider story about NIMBYism and social media in the national British press:


Support for ‘Tree’ remains strong from some local residents, councillors, and politicians, and the artist is pondering his next move.]

Mike Perry

Mike Perry is a British contemporary photographic artist whose work is increasingly influenced by landscape and environmental concerns. Many of Mike’s large scale, detailed colour photographs have been taken whilst driving around Britain’s marginal coastal and upland regions, and according to his project website “combine powerful painterly aesthetics with seemingly mundane locations or areas of environmental degradation.”

Details of some of Mike’s projects and exhibitions can be found on the following websites, and include some podcasts, sketchbooks, and downloadable educational resources:



Particular projects that encapsulate the interface between geomorphology/geoscience and art include:

Môr Plastig, Welsh for ‘Plastic Sea’, a photographic study of plastic objects washed up along the west coast of Wales and beyond.

White Gold, a photographic project that capture the impact of mining for ‘pure white’ marble on the landscape in the Sud Tirol region of Northern Italy.

Wet Deserts, an ongoing series of large scale colour photographs taken whilst driving around the overlooked scrublands and fringes of western Ireland, Scotland and Wales that examine the quality of landscape and document environmental change.

Pebble Plastiglomerate (part of the Môr Plastig photographic series), Newgale, Pembrokeshire, Wales, 2015, Digital print, 410 x 330mm (photo courtesy of Mike Perry)

For me, Mike’s work helps bring a much-needed visual artistic element to many concepts related to the Anthropocene, including land transformation, novel materials, and the questioning of the human-nature dichotomy. His approach remains objective, however, and according to the text that accompanies the Môr Plastig exhibition, his photography “is not concerned with the campaigning rhetoric of straight environmental documentary. Rather it poetically alludes to changes taking place and what we might be leaving for future generations.”

[Post by Stephen Tooth, December 2017]

‘RELIEF’: 3D portraits of lost landscapes

Works from the series, ‘RELIEF’, are currently showing at Rewind Gallery in Glebe, Sydney, Australia.

‘Murray River’ by Simon Mould. The dynamic geomorphic history of this river can be seen in the multiple avulsion channels, where the river has changed course, the cutoff meander bends and the palaeochannels that represent prior channels. River regulation has diminished the potential for geomorphic adjustment in many parts of the Murray-Darling river basin.

The series consists of 3D anaglyphs made from historical aerial survey photographs, adapting techniques used in geomorphology and geology for a creative purpose. The works encourage the audience to see landscapes differently, in many cases experiencing landscapes that have since been irreversibly transformed, revealing stories of human-environment interaction and/or dynamic geomorphic evolution.

The works from RELIEF appear as part of a collaborative exhibition entitled ‘Dated’ that celebrates hard-copy records as tangible markers of passing time, and is showing until early January 2018.

From the exhibition catalogue:

“The materials we keep and preserve say a lot about the people we are. Even as more and more information is stored digitally, there is something uniquely intriguing about hard copy records. The roughness of paper on skin, the weight of a volume in your hands, the familiar and musty smell of old pages and ink. Dated explores the passing of time as recorded in collections of paper-based artefacts, through two projects, by Sophie Willison and Simon Mould. The Terra Firma 2018 Diary (Sophie Willison) is an investigation of different people’s collections of books and magazines accumulated over time, from messy piles to neatly categorised shelves, and allows you to record your thoughts, events and deadlines in the long-held tradition of diary-keeping. RELIEF (Simon Mould) is a 3D time capsule for landscapes that no longer exist, recorded in military aerial survey photographs but changed forever by collisions between people and environments. Both projects celebrate the power of the hard copy record to make more tangible the passing of time.”

For more details on these works, see http://simonmould.com/relief/

[Posted by Simon Mould on 19th December, 2017]