This is the latest stage of an ongoing project in which I've been working alongside fellow artists Brenda Jet, Duncan Cameron & Claire Winfield in the landscape of North Devon. This time we've turned our attention away from the coastal environment and inland to the woodlands and open spaces of Exmoor.

Once again we were delighted to be invited to stage our exhibition at Broomhill Art Hotel near Barnstaple and our 3 day "open house" event in September 2009 received an enthusiastic response from all who attended.

Although it was always my intention to focus inwards and document the creative process, what started as a sound-art project rapidly became a vehicle for another of my key interests: pinhole photography. To this end, my contribution to the exhibition consisted entirely of pinhole images & related documentation.

Photo: The WOA Crew l-r: Esther Aida, Claire Winfield, Martin Winfield, Duncan Cameron, Brenda Jet.

Pinkery Pond: Brenda's eyeglasses distort the horizon line while Claire photographs the photographer.

Duncan takes a welcome break & catalogues his finds at the White Hart pub, Exford.

Claire capturing the landscape in a quick painting by the River Barle, near Simonsbath

Teabreak for Claire in Shillett Wood while Duncan annotates his collection cabinet. I make a brief & semi-transparent appearance.

Brenda creates a woven grass structure while Hayley looks on

Claire & Martin assist Brenda in creating a seaweed sculpture in a barn near Lee Bay. (45 minute exposure)

All of the above photographs were created using my home made pinhole camera and Ilford Delta 100 roll film. The typical exposure time for each outdoor image was around 10-60 seconds. When using such a long exposure, the inevitable subject movement results in a blurred image which is one of the hallmarks of pinhole photograpy. I feel that the use of a medium which records activity over an extended period is an appropriate method to capture the process of people creating art.

For the exhibition, I printed the images optically on A1 sheets of Ilford MGIV paper using a set-up worthy of Heath-Robinson. The resultant prints included the film edge and enlarger frame border and definitely showed the marks of their creation as objects which was an important part of the overall process.