Made by A Lemon – Christmas
This year, I aimed to make the majority of my Christmas gifts, especially the ones for the family 
As I LOVE ceramics I decided to try-out making some hand-thrown mugs on the wheel. I used a simple design, basic cylindrical body made on the wheel with hand-formed handles. I made one for myself first, just to test the size and shape, and later, some of the under-glaze paints.
In all (including my own one) I made 9 mugs. First step was wedging the clay and moulding it into spheres. Then it was thrown into shape on the wheel. After letting it dry out a little, I turned it on the wheel, to make the foot-rings underneath and added the handles. When it was a little bit drier, I painted them (using under-glaze paints), using either three or four coats where necessary. From start to finish, it takes about three/ four weeks (depending on the thickness and how long it takes to dry out before firing etc.) to make one from scratch. I did them in batches of threes and fours.
I also incised names and attributes onto the outside for decoration, and painted them in different colours.
A New Beginning…
Okay, so I’ve been really rubbish over the summer at posting up what I’ve been up to, but now I’m FINALLY STARING MY DEGREE (EXCITING!!) at Brighton University, I’m hoping to use this a lot more to help me with my studies.
I’m on the Design and Craft BA, which is four main materials practices (Wood, Metal, Ceramics and Plastics). I have started my rotation in the wood workshop, so hopefully I will have some photo’s and such of what I have been up to soon. So far It has been AMAZING!! More to follow…..
Digital Portfolio
http://www.flickr.com/photos/59521500@N07/
Evaluating the Insignificant Memories Project
In this self-directed project, I have been looking at personal memories in connection to objects, particularly how objects can seem insignificant to others, but to me they mean a lot. I looked at many artists and shows to help my background research. I looked at cabinets of curiosity as well as how heritage sites and museums have set about categorising and displaying items.
I looked at the work and visited the exhibition of Susan Hiller (at Tate Britain) who inspired me with “From the Freud Museum” in particular. I also looked at the work of Michael Landy, his piece “Breakdown” (2001) and the inventory of it. I visited Duxford’s Imperial War Museum to see how they displayed their items and presented the text behind it. I researched into which software would best suit me and my needs whilst making my pieces.
I decided to use the idea of a curiosity cabinet to show my objects, as putting them in this arena of display will elevate their status from mere objects, to something of value (which they are to me). I liked the idea of showing them to other people, letting them into my world a little. I cleared out a cabinet of my Nan’s and used this as it was perfect for what I wanted- simple wood and glass construction, with big enough shelves for me to place my items, and it aesthetically looked ideal.
I chose to document my making this cabinet using film and a little photography which you can see here (http://www.youtube.com/watch?v=i60byiwtepI ) . I enjoyed putting the film together and it was a little trickier than previous film as I used Microsoft movie maker instead of IMovie (on Mac). And after using both I think that IMovie is better as it has more functions and it’s easier to understand how to do things like edit each clip individually. Movie maker was okay, but it was a bit too simple for what I needed and I couldn’t work out how to alter the duration of a clip. As a film, I think it works quite well as it turned out as I envisioned – documenting the making of the piece, but also adding in what it was about with excerpts from the book.
To go with the cabinet, I made a catalogue to explain what each objects was. I tried out several different methods and software’s before finally hitting on one I could actually use. I decided I wanted to use computers to aid me so it would look more professionally made and so I could account for spelling errors and adjusting photographs etc. I booked studio time and managed to get some really nice photographs of my objects which I put in the book. I made a mock-up to help me with orientation and layout. First go at making the book I used Photoshop which didn’t work at all, as even in the “Create” option, I couldn’t get the text correct and how I wanted it. Also it wouldn’t print double-sided – I would have to do it manually. So then I tried using Costco’s photo kiosk (online) and I couldn’t create my own from scratch – I had to use their templates, which I didn’t want to do. Then a lecturer suggested I use Indesign. I tried this, several times, printing it out and rectifying mistakes, but I couldn’t get on with the software at all. It wasn’t so bad setting it out, but without knowing how it works, it was very complicated. Every time I printed it out, it was all the wrong way, with the pages all numbered wrong and not printed on the back of the correct page. Despairing, I tried a program I have at home called Printmaster. It was so simple and I did it by just printing off one page at a time (so four sides). My printed (I discovered) does double-sided printing so it was much easier than struggling on with Indesign. I was really happy with the outcome of the book.
I asked Liz to help me bind the book and I’d tried out several approaches before deciding to stitch it together in a saddle bind. I tried stapling on a test and it looked horrible. I dismissed perfect binding as it wouldn’t work with my small number of pages and it’s not a very strong bind at all. After a test run on a mock print up, I saddle stitched it together, using endpapers to stick it together. I was delighted with how it came out especially after all the problems it took to finally make.
I made some monoprints as I thought this works well with the theme of memory as this type of print is using an imprint to create the image. I used wooden letters and pressed them into the paper then inverted them in Photoshop to create the type on the cover of the book. I also pressed my hand on it and experimented with some cover designs using that, but although it worked conceptually, I didn’t want to sacrifice the aesthetic of the book – and the handprint part just didn’t work and flow with the inside, it felt too dark as the memories in it aren’t always sad.
On the whole, this project has been really interesting and I felt I could do a lot with it, and have a lot more left to explore within the field of memory.
Mevagissey (Cornish Seaside town)
Just some photo’s I took on the way to Falmouth, where we stopped off at Mevagissey. There were lots of fishing equipment and interesting traps and ropes.
Susan Hiller Exhibition at Tate Britain
Last week I went to see the Susan Hiller Exhibition at Tate Britain and it was excellent, one of my favourite shows of this year. I’m currently writing a critical essay on Hiller, which I shall post in due time. The pieces I found most interesting and inspiring were “Witness” (2000), From the Freud Museum (1991-6) and The J-street Project (2002-5). All are completly different, but all were totally amazing and I really connected with them.
Witness was a large instillation of hanging speakers in a dark room, each one playing a recording of peoples alien encounters. It was really interesting listening to the stories, and all had similar things in them. It was a very atmospheric piece, but a little chilling at the same time.
From the Freud Museum was another instillation, but of a more formal kind. Different objects housed in boxes were labelled and on display behind a glass cabinet. This linkes directly with the work I’m making right now, and I find it a really appealing way of displaying objects. I also liked that the objects themselves appeard random yet they were all interesting in their onw way. Ouija boards, photographs, statues, records; 50 items in boxes. “Shards of memories archived in instinctive combinations of meaning”
The J-street Project is a film which has 303 clips of street names. All are from Germany and all have “Jude” in the name – meaning Jew – “Judenstrasse” or “Judeengasse”. Upon further research I learnt that in previous showings of this piece, their has been a map showing the names in relation to the rest of Germany, a set of framed photographs, and a list of all the names.
Other works I liked included “Hand Grenade” (1972), “The tao of Water; Hommage to Joseph Beurs” (1969 -2010) and “Monument” (1980-1)
The exhibition was well worth seeing and it’s highly likely I’ll be back to see it again before it finishes on 15th may.
Ai WeiWei Essay
Ai WeiWei
Ai Weiwei is one of the most famous Chinese artists working today, and is renowned for creating the “Birds Nest” Olympic stadium in Beijing, despite his lack of formal architectural training. Influenced by the likes of Jasper Johns and Andy Warhol as well as Duchamp, he also draws influence from his cultural roots and from current events. Travelling across the world, and living in two countries – China and The USA, Weiwei makes a political stand against his own government, in pieces such as “Remembering” (2008), a response to the earthquakes, as well as using antique furniture similar to those that were destroyed during the revolution, to make pieces of art.
Ai Weiwei grew up during the Cultural Revolution in 1950’s Beijing. This was a time of violent protests and civil unrest in the People’s Republic of China, and centred on the infamous Chairman Mao. Mao was a communist and because of this there was “social, political, and economic upheaval; widespread persecution; and the destruction of antiques, historical sites, and culture.”[1] Weiwei’s father, a prominent poet, was denounced and exiled to a labour camp along with his wife. This was sparked by a poem called “Garden of Love” which was thought to oppose Mao’s views. Later joined by his young son Weiwei, it was here that a love of crafting and making objects was born.
The destruction of antiques lead Weiwei to use these materials in his works. Daily visiting local antiques markets, he made works such as “Grapes” (2008) (fig 1) using old stools fixed together, and similarly in “Template” (also 2008) (Fig 2) made from 1001 old wooden cupboard doors and windows “Salvaged” from destroyed homes from the Ming and Qing Dynasties. He likes to take things of value to the Chinese people, whether for “Cultural reasons or simple practical reasons, and treats it with a flamboyant disregard for its value” [2] Weiwei himself says he “Reconstructs Classic furniture”, with an emphasis on using traditional methods of fixing them back together – no nails are used. Another piece, beautifully constructed of old bicycles (“Forever” 2003) gives a new meaning to an object – the Chinese are famed for their love of cycling and it is one of the main modes of transport used in Beijing itself. The fact that the basic structure of the sculpture is circular, could suggest the never-ending traditions of the Chinese people or how Weiwei perceives they are stuck in a “cycle” of dictators and political unrest in China. Said of his work in the “Imagine – 2010 Ai Weiwei; Without Fear or Favour” documentary, “Is this decorative art? Is this conceptual art? Is it kitsch? What is this?”[3] With his more controversial photographs “Dropping a Han Dynasty urn” (1995) (Fig 3) Weiwei was making yet more statements about his country and the people. The writer Philip Tinari said that “By dropping the urn in 1995, Ai Weiwei was essentially creating a senate, a tomb of a sort of Unknown Soldier, he was dropping one urn, to draw attention to the many others that were being destroyed around him every day.” [4] In life, he had already witnessed the humiliation of his father, a role model, and seeing all these beautiful objects being destroyed, must make you think that if no one else wants them or they will break them up – I may as well do it for them. A life time of anger against what the Government did to his family, the brutal history he wanted to forget, to destroy maybe, all in the simple act of breaking an urn. “Breaking of a vessel, as if it embodies and contains history”[5]
An artist with direct reference to Weiwei is Richard Long, notably comparing “Mei Le” (2007) (Fig 4) to long’s “Red Slate Circle,” (1980). (Fig 5) Both pieces use similar materials – found from the natural environment – slate and stone. Both are arranged in a large, moderately flat circle on the floor of a gallery. Taken out of their natural outdoors location they are placed indoors in a gallery space. Both command attention, but also do not shout “Come look at me!!”- They have a certain grace and flow to them, consistent with Weiwei’s themes of beauty and grace which he also used to make his furniture pieces. The significance of a circle is a universal symbol of “unity, wholeness, infinity, the goddess, female power, and the sun. To earth-centered religions throughout history as well as to many contemporary pagans, it represents the feminine spirit or force, the cosmos or a spiritualized Mother Earth, and a sacred space.” [6] A circle is a natural shape to create, something wholesome and continual, yet it is precise and often difficult to get exactly in proportion. It is a shape pleasing to the eye, with no harsh corners or edges. It is neutral. Perhaps Weiwei’s use of such a shape combined with the use of stone – primarily a building material, signifies a juxtaposition of these two ideas – the softness of the circle, with the harder more solid building material of stone – representing a nation of both identities; soft and graceful, yet still strong and resilient.
Weiwei is one of China most renowned contemporary conceptual artists. He has a great sense of the need for artists to make a stand and to help out their community. “Remembering” (2008) (Fig6) was a piece created to commemorate the horrific earthquake which devastated the Chinese province of Sichuan. Amongst the many dead, were several thousand children, who died buried under the rubble of collapsed schools. There were theories circulating that the government had allowed the schools to be built in a botched fashion – owing to the fact that buildings surrounding the schools remained standing, a statement which the government rejected. With the help of volunteers, Weiwei researched the names of those children who died – in complete disagreement with the Chinese government who did not officially publish any names or numbers of the dead, and actually threatened the parents if they gave Weiwei their child’s name. Weiwei was still able to publish over 4000 names on his blog, but not without consequences. As well as publishing the names of the children, he made the piece “Remembering” out of backpacks. This medium was used, as all that remained of the children in the rubble was these rucksacks, strewn amongst the wreckage. The backpacks were arranged on the facade of The Haus der Kunst in Germany, atop a metal structure. In five different colours, they spell out the phrase “She lived happily for seven years in this world” in Chinese characters, a phrase a mother used when talking about her lost daughter. This sculpture serves as a memorial of those who died, but also as a reminder of the power of nature to take lives. One must ask though- Why not create this piece in China, where the tragedy took place? After Weiwei published the names of the victims on his blog, his account was de-activated by the government. This was not all. Police came to his apartment in China and beat him, and he was later hospitalised in Germany where he was exhibiting. He was operated on for cranial injuries he sustained “during a recent ‘altercation’ with the police in Sichuan”[7]
A recent piece of Weiwei’s, is his “Sunflower Seeds” (2010) (Fig 7) which is on exhibition at the Turbine Hall in Tate Modern. The piece is made up of exactly 100 million replica sunflower seeds, hand cast and painted by the people of Jingdezhen in the Jiangxi Province in South Beijing. This was the centre for Japanese porcelain, even the streetlights are made with ceramics. After the cultural revolution, in the 1990’s, the workshops were shut down, and the tradesmen left with no jobs or money. The sense of community was brought back when Weiwei had more than 1600 local artists make his seeds. Made in moulds using the compressed porcelain, they are then dried before sanding each one individually, then firing them at 300°, painted using four or five strokes, and then finally fired again. It is a lengthy and intricate process. Weiwei chose to use sunflower seeds, as during the revolution, people practically lived off them. “Growing up in a socialist society, the only pleasure we could get, is to have a pocket of sunflower seeds…We would start to talk, I would give you some…” [8] Peoples teeth even had little marks and cracks from eating them.
The seeds themselves are poignant, as with another reference to chairman Mao (Fig 8). Sunflowers are used in this poster to represent the Chinese people, looking up towards the Chairman. But like sunflowers, who do not choose to follow the sun, the people were forced to obey and look up to him and the government. He made 100 million seeds, as China has a history of mass production, but this is in contradiction to the process and amount of time spent making them – it took 2 and a half years to finish the project – and so there is an idea of individual mass production. Just because there are many of them, doesn’t make them any less valuable or of use – like the Chinese people themselves. The piece is meant as a physical interaction – viewers are encouraged to stand in the seeds, touch and feel them, even sit in them. (Fig 9) The ideas, Weiwei said, is open to personal interpretation. “Only when art connects to ordinary, feelings are ordinary, a common sense, they become more powerful.” (Ai Weiwei) This is true of this work in particular, as he invites ordinary people to come and see and experience the piece, and decide for themselves the meaning of it.
The artist Olafur Eliasson also was commissioned in 2003 (Fig 10) to create a piece for the Turbine Hall at Tate – entitled “The Weather Project”. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’[9] Eliasson’s piece uses this idea as a foundation to “Explore new ideas about experience, meditation and representation”[10]
“Representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.”[11]
The installation was incredibly atmospheric and allowed people a place to sit and talk and visualise – similar to Weiwei’s pieces, it was interactive and encouraged people to be part of it. It occupied the space well but used a more technological approach to the work whereas Weiwei’s is natural and handmade.
Weiwei has inspired many people; from young political activists to artists, and he “believes that taking a social and political stand is the moral responsibility of every artist.”[12] He has made many important and different pieces of work, too many to be named here, but all of them have some kind of political, social message; one of trying to make a better, more tolerant world. Be that by highlighting issues such as in “Remembering” or simply blogging his ideas and thoughts, Weiwei is truly an artist and a man who fights for artistic, even personal freedom.
Bibliography
http://en.wikipedia.org/wiki/Cultural_Revolution
http://www.notcot.org/post/15524/
http://www.youtube.com/watch?v=JQgeqDj7oWo
http://www.youtube.com/watch?v=JQgeqDj7oWo&NR=1
(documentary about Ai Wei Wei ; “Imagine 2010, Ai Weiwei ; Without Fear or Favour.” A BBC show which I watched)
http://search.it.online.fr/covers/?p=1006
http://www.crossroad.to/Books/symbols1.html
http://iamadezyner.blogspot.com/2008/10/land-art-postmodernism.html
http://www.tate.org.uk/modern/exhibitions/eliasson/about.htm
http://vernissage.tv/blog/2010/10/12/ai-weiwei-sunflower-seeds-at-tate-modern-turbine-hall-london/
http://www.beijingtoday.com.cn/center-stage/fairytale-artist-ai-weiweis-conceptual-work-comes-to-798
http://www.aiweiweifilm.org/about-ai-weiwei/
http://www.bbc.co.uk/programmes/b00w5lkw
Due to Weiwei being a contemporary artist, it is difficult to find monographs on him, so I have mainly used the internet and documentaries to research him and his work.
(Fig 1) Grapes (2008)
(Fig 2) Template (2008)
(Fig 3) Dropping a Han Dynasty urn (1995)
(Fig 4) Ai Weiwei, Mei Le, (2007)
(Fig 5) Richard Long’s Red Slate Circle, (1980)
(Fig 6) “Remembering” (2008)
(Fig 7) The Chinese people of Jingdezhen in the Jiangxi Province in South Beijing making the sun flower seeds.
(Fig 8) Poster of Chairman Mao
(Fig 9) (2010) The seeds installed in The Turbine Hall at Tate Modern.
(Fig ten) Olafur Eliasson’s “The Weather Project” 2003 Turbine hall instillation
Insignificat Memories Project Proposal
Insignificant Memories?
I’m interested in the theme of memories, what is it that makes us hang on to, collect even, specific memories, especially when they might seem insignificant. Collective memories or personal, do my memories mean anything to anyone else? Are my own memories insignificant to the outside world? Are some inconsequential even to me, as I disregard certain things myself?
Scrapbooks are objects that contain memories, usually good times and holidays. What would a “bad times” scrapbook look like? Or even one with useless, pointless things in it? Memories that don’t have any significance, or would they? By choosing to remember and log them, do they then become important in some way? How, later on, do these memories affect us?
Film and photography are useful ways to document and explore these ideas, so I will consider these mediums to record and develop thought patterns, as well as making use of printmaking to further create work.
Everyday life and the events that took place in Amsterdam are fuel for this project, as I often decide to photograph seemingly pointless things – such as tiles on a floor or random signs. Courtney Love’s diary is an influence as she records things in a personal and unrefined way. Its interesting, but is that just because its by someone famous? Another interesting object, is in the Harry Potter films; the idea of a memory storage device is a strange concept which would be interesting to explore.
The photographer from Foam Gallery, W. Eugene Smith is of interest to me as at first I thought his photographs a bit meaningless – a man walking, a man holding an infant – and then it becomes apparent that they’re part of a documentary into the life of say – a country doctor. The way the photographs were displayed was a big part of what they mean, or how important they are.
Dada is fascinating as they dealt with nonsense, pointless things to make art, and this links to my scrapbooking ideas.
As I am influenced by the ideas of scrapbooking, I’m looking at making something similar, perhaps a scrapbook or journal, including photographs, drawings prints and found objects. I may also make a film or a kind of blog – to show the things that occurred in Amsterdam and in everyday life. Things that interest me, but that others may not be concerned with. I’m also interested with the idea of a cabinet of curosity – but using seemingly insignificant objects.
In terms of installing the work, the scrapbook/ film combo is quite a powerful thing and I think this could work well together. The book and film don’t necessarily have to have the exact same content, but they will work together.
Bibliography
Dada and Surrealism. Matthew Gale, Phaidon press 1997
Surrealism – the worlds greatest art. Michael Robinson, Flame tree publishing 2005
Aspects of psychology – memory. Richard Gross and Rob Mcilveen. Hodder and Stoughton, 2003
Remembering – a study in experimental and social psychology. F.C. Bartlett. Cambridge university press. 1995
TED talks
TED talks (TED stands for Technology, Education and Design http://www.ted.com/talks) are invaluable research tools, with speakers and seminars on a wide spread of topics. Two in particular have been of interest latley – one which was shown in a research seminar, and one which I found whilst browsing the TED site.
Joanna Blakley; Lessons from fashions free culture (April 2010)
This talk was interesting, highlighting subjects and issues I’d never even considered before. I had no idea that fashion designs are uncopyrightable as the base structure is considered too “utilitarian” to be copyrighted. I wouldn’t be fair for a particular company or designer to own the rights to …say jeans or the t-shirt, as they are too basic.
In the context of the art world, it’s considered a sin to copy or imitate exactly someone else’s painting or sculpture, but its acceptable to refrence it – its even encouraged. if not, no one culd ever make another landscape painting, or make a sculpture of a human being, as its been done before. But what about ideas? Can someone own an idea? With brands and companies constantly bombarding us with produccts, information, documentries and programmes, are any of our ideas really our own? Inspiration comes from everything around us, yet some of these things are so highly protected, can we have the chance to make our own creations that are entirly original? Who owns the copyright on Nature? This thought reminded me of a film – “The man who sued God” (Director Mark Joffe, 2001) who tried to sue God (the church as the physical representative) for a storm damaging his boat. Should someone be held accountable for these things, if we can put copyright on things?
Some of the things that Joanna mentioned that are uncopyrightable are quite humorous; Recipies, Automobiles, furnature designs, magic tricks, hairstyles, tattoos, jokes, game rules, perful=mes and firework displays to name a few.
Daniel Kahneman; The riddle of experiance verses memory (march 2010)
I was interested in this talk, as currently I’m looking into memories, in particular how we remember and why we remember certian things. The talk was really interesting and I made quite a few notes…
There is a confusion between our experience, and our memories – about being happy IN your life, and being happy ABOUT your life.
The Experencing self lives in the present, knows the present, and is capable of reliving the past. the Remembering self, keeps score, maintains the story of our lives – our memory tell the story – it shapes how our Experiencing self reacts to new situations. Time is the critical element the distinguishes these two selves. The remembering self makes all the decisions. We think of the future as anticipated memories. This phrase really struck with me – what we do on a daily basis, is determined by the remembering self that draws up the memories and tells our experencing self how to react.
There was an interesting Thought Experiment which Kahneman did; If for your next vacation, you knew you would have all your photo’s destroyed, and have a drug to antithesis you (no memories of it), would you still choose the same vacation?
This was interesting; you could do anything you like – things which you would normally dislike – as your remembering self would have no influence on your decisions after the holiday. We do or decide to avoid certian things as we have bad past memories of events. Our memories hold us back, even if its to avoid feeling certian things again – we may not go rock climbing due to a small childhood injury. Or we choose to tidy up afterourselves so as not to anger someone and feeling bad about it. I didn’t realise just how much past memories and experiences influence our future. To think that a memory I have may hold me back is horrible.
One last thought Kahneman spoke of, was happiness. He said that true happiness is spending time with people we like. not even particulary doing things we like – our remembering self remember the people we like and this makes us happy – in the past and in the future. I realise that its not the gig or the party that made the night really awesome – but the people I was there with.
So overall in the case of experience verses memory – we can’t help what we remember, but we need to try and contextualise it – and not let it affect us and hold us back in our future. But sometimes it does protect us from harm and its important to learn from past experiences. And spend time with those people you like – it will make you happy, I guarantee it!
A Cornish Adventure
As I type this, I am sitting in in the dining room of The Observatory Guest House in Falmouth. Having left home on Thursday, the plan was to stay over the weekend, visiting the university open day on Saturday and leaving Cornwall on Sunday. I type this on tuesday, our car having “broken the head gasket” and in need of “pitting”…or whatever. So its become an extended trip.
The open day at the uni campus in Tremough was well worth the stay though, and I had my first interview on Friday. Having the tour blew my mind – the facilities are AMAZING! lazer cutters, kilns, wheels, Plaster rooms, looms, …..enough toys and gadgets to keep me occupied for the next few years, should I be lucky enough to get a place here. The accommodation is brilliant too, with massive en-suites, a desk, double bed… the only thing is whether I’d have enough wardrobe space…!
I’ve been shopping around town a little too, and there’s loads of little quirky boutiques, surf shops and tea houses. The hotel (which is beautiful and with amazing service from Heidi and Paul and the best full English I’ve had in a long time) is a lovely 10 minute walk from Swanpoole Beach, a small cove with a restaurant and water sports centre. I managed to bring along the Nikon for a spot of filming and some photography and the views were amazing.
A pretty nice trip and unfortunatly, due to the breakdown, we didn’t make it to St Ives or Truro, but it does look as though I might be coming back…:)
