The Tale Continues...

September and October are set to be eventful months! I seldom write posts about art and projects that I am involved in so feel that this one is long overdue but falls at a relevant time to share with you some details of exhibitions and events that are happening at an art venue near you this autumn....

Telling Tales – A Creative Pathways Artists Exhibition

Five years ago, I and four other artists received a bursary and professional development support as part of the Creative Pathways programme created by Somerset Art Works. I have to confess that I didn’t realise that our year, 2011 was the first time that the programme had run and was none-the-less grateful for the opportunity it provided; for myself it put me in contact with the Somerset Heritage Centre and staff who worked there so I could access a wealth of historical farming implements and tools as research and source material for making new work. Without making this sound too much like a testimonial, more than it already is, I was two years out of graduating with my degree and having a support network of other artists and some financial support that it provided were both incredibly useful and confidence enhancing. That year I exhibited work I had made based on that research in an exhibition titled ‘Tool Tales’. Now, five years later I am delighted to be exhibiting and assisting in curating ‘Telling Tales’ (the name of which is a fab coincidence) an exhibition featuring 22 artists that have since 2011 all also participated in the Creative Pathways programme. I like that synchronicity and it is very exciting to be exhibiting with and helping put together this exhibition of artists who have shared the same opportunity. Work-wise there will still be everything you’ve come to expect from my tool-based creations but for now I will leave what that is exactly an incentive (hopefully) for you to come and see the exhibition in person! Telling Tales opens for Somerset Art Weeks on the 23^rd September and will feature a variety of disciplines from film, printmaking, sculpture, participatory projects, drawing and more. It is open Monday to Friday, 10am-4pm, Saturday 12noon -4pm until October 7^th.

The Brewhouse Theatre & Arts Centre Coal Orchard, Taunton, Somerset TA1 1JL
https://www.thebrewhouse.net/event/creative-pathways-telling-tales/

Saturday 23 September 2017 – Saturday 07 October 2017
Opening Hours: Mon-Fri 10am-4pm, Sat 12noon-4pm

 

STARRING: Laura AISH / Bronwen BRADSHAW / Elizabeth CAIRES / Simon Lee DICKER / Jon ENGLAND / Veronia GAYLE / Adam GROSE / Kitty HILLIER / Leah HISLOP / Sarah HITCHENS / Sandra JAMES / Chris JELLEY / Mayumi KANEKO / Lucy LEAN / Joy MERRON / Jennifer NEWBURY / Andrea OKE / Natalie PARSLEY / Lucy PENDRICK / Dale PERRETT / Beckie UPTON / Gillian WIDDEN

 

Prospectus

Earlier this year I was invited with six other artists in the South West to participate in a Somerset Art Works project titled, ‘Prospectus’. The purpose, as I understood it, was to explore ways of creating an ‘alternative art school’ for the dispersed community of Somerset. Through workshops, discussion, sharing learning and working together we embarked upon a five day ‘takeover’ of Huish Episcopi School’s Art Department over the Easter holidays, (without the students!) during this time we created things, made mistakes, shared elements of our own practices and learnt from invited artists and one another. This is one example of how we hope future groups of artists could access these facilities and provide a form of peer-led professional development.

With the aim of opening the project out to the wider community, in the second phase of Prospectus we have each individually programmed a series of talks/workshops to take place this autumn. Details of which can be found, here; http://prospectus.somersetartworks.org.uk/events/ 

It seemed both logical and important to have at least one speaker, in a project about ‘art schools’, to actually talk about the subject we were exploring.... I have also been interested in the conversations that we have had (often whilst making) as a group of artists across different generations, on how artists continue to ‘learn’, our own experiences of art schools (what are they?) and the place that art schools serve in our communities, towns and wider art world context.

‘Art School’, as a term, carries a significance greater than the institution it actually describes: a sense of possibility or world view, what they call ‘commitment to working a practice, to a mode of learning which assumes the status of a lifestyle.” ¹

Details of where that quote came from and the talk I have arranged can be seen below:

Professor Matthew Cornford is an artist, researcher and course leader for the BA(Hons) Fine Art Critical Practice course at Brighton University. In association with Professor John Beck, Cornford undertook a research project to find and document the sites of former British Art Schools. Their photographs and findings documented in the 2014 publication ‘The Art School and the Culture Shed’. Cornford will be sharing elements of his practice and research into former Art Schools at the location of Taunton’s original art school, the Victorian, Hunts Court.

Hope you can join us there!

 ^{1 FRITH, S; HORNE, H (1987) Art into Pop. Methuen, London. p28}

Artist Talk: Matthew Cornford - The Art School and the Culture Shed
‘The Den’ at The Cosy Club, Hunts Court, Corporation St, Taunton TA1 4AJ
Thursday 12th October
Time: 18.00 – 20.00
Fee: £3 suggested donation on door /Free to SAW Members & students
http://prospectus.somersetartworks.org.uk/

Young ProspectUs

In a slightly indulgent collision of names I have also been assisting in a learning and education project coordinated by Somerset Art Works called Young ProspectUs in which I have been participating as a blogger, documenter and assistant.

“The aim of Young ProspectUs is to facilitate the opportunity for a small number of young people within Pupil Referral Units (PRUs) in Taunton to experience the values of the arts and education, to informally explore the college environment via SAW’s community engagement work.”

During the months this project ran I have learnt so much from both the participating artists and relevantly for me, the students themselves. From April until May six workshops took place [one a week] at Northfield and Taunton Centre Pupil Referral Units in Taunton. Artists, Jacky Oliver, Karina Thompson, Megan Players, Rick Crane and Jane Mowat ran sessions corresponding to their practices of; metalwork, sewing, sculpting, graphics and wood carving/printmaking. It has been immensely rewarding for me to participate in these and I feel that I have not only learnt new techniques but have also experienced how they are taught and how the artists have adapted to working with the students. To read more about this project and see what the students made please click on the link below.

https://youngprospectus.wordpress.com/

HIVE

 

Meanwhile, subversively somewhere in space and time the independent visual arts zine-machine that is HIVE ventures forth with Chris Dart at the helm toward its fifth outing.... Coming soon #March18  

Four Eyebrow-raisingly Good Reasons to Visit Us This Art Weeks

Somerset Art Weeks 2015 has begun and if you were wondering where might be a good place to start then look no further than Venue 1, The Old Brick Workshop in Wellington. Yes, I am exhibiting as part of a group show here, but if the allure of seeing my work alone isn’t enough (and why not?!) then there are plenty more ‘eyebrow-raisingly’ good reasons to make some time in your Art Weeks schedule and visit us...

 

1) A Brand New Brilliant Venue in Wellington, Somerset Set in a former Brick Works on the Poole Industrial Estate; I can confidently say we are as proud of the building as we are the exhibition within it. Under the enterprising vision of local business woman, Alison Cosserat the building has undergone a radical transformation, largely of which (and with many thanks) at the hands of local builder turned artist, James Marsden along with tireless hours spent by Alison herself, exhibiting artists and enthusiastic volunteers in the form of family and friends. The building now boasts nine sizeable studio spaces divided between the upstairs and downstairs areas, a community area/gallery space and purpose built exhibition space downstairs. Every gloss painted door, chiselled-paint removed brick, concrete floor and plaster boarded ceiling, spotlight and wall tells a story. We’d love you to come in for a nosey!

 

2) Loads of Art! This first exhibition features well over a hundred works by fourteen artists* including painting, printmaking, photography, sculpture, film and installation. In addition to our professionally curated gallery space there is also art work to be discovered in our corridors, upstairs and downstairs and in our community room gallery.  

*James Marsden, Anna Newland Hooper, Diana Pilcher, Debbi Sutton, Alex Conetta, Nicky Withers, Jane Mowat, Teresa Wilson, Ashley Thomas, Jane Kelly, Natalie Parsley, Alex Bangay and Judith Crosher 

 

3) We have Cinema Chairs in our film room! 

 

4) We also have a very fine looking propeller!

Duchamp's remark to Brancusi visiting the Paris Aviation Show, 1919; "Painting is over and done with. Who could do anything better than this propeller? Look, could you do that?"

Visit us and decide for yourselves?!

Venue 1: The Old Brick Workshop, Wellington is open now, everyday 11-6 until Sunday October 18th

http://somersetartworks.org.uk/venues/the-old-brick-workshop/

http://www.theoldbrickworkshop.com/

Art That You Really Really Will Not Have Seen Anywhere Else!

Yet another, but perhaps more self-publicising reason to visit our exhibition at The Old Brick Workshop this Art Weeks is to see twelve entirely new works I've created over the course of this year. After having a fairly substantial break from exhibiting anywhere, it is very exciting, enjoyably nerve-wracking  and important to me to have the opportunity to receive feed back and show new work again. They include some familiar themes of mine, namely tools as well as a few new surprises! [See: http://spannerintheworkz.blogspot.co.uk/2015/10/art-weeks-2015-sneak-preview.html]

 

Apart from being a shameless plug for the exhibition this is the first in a series of posts I’ll be writing about that recent work in an attempt to understand it better and share a few thoughts on the making or thinking behind some of the work.



Natalie Parsley 'We Two Tools Together Clinging' 2015 Mono print and ink on paper. 24 x 32cm.



The more familiar tool related thread to my practice includes the work, ‘We Two Tools Together Clinging’ (pictured) inspired from Lee Lozano’s drawings of tools, depicted anthropomorphised locked in embrace or mortal combat [See: http://spannerintheworkz.blogspot.co.uk/2015/07/post-lozano.html ]. The colour scheme unintentionally mirrors that of an early David Hockney painting, ‘We Two Boys Together Clinging’ whose title I have deliberately manipulated to fit my own. That is pretty much where the similarities end and recommend you visit the real thing as Hockney’s is an amazing painting!  Hockney’s references a headline from a climbing accident, "Two Boys Cling to Cliff All Night" which he propagandised into being about his own homosexuality at a time when it was taboo to shout about it publically/openly. I haven’t really assigned sexuality to the tools in my work, it could really be interpreted either way as I’m more interested in it being about a relationship of sorts rather than comment on gender specifically. The ‘clinging’ in the title of my work alludes to the human sense of ‘embrace’ as well as the function of clamps as a tool, to cling, hold or grip something. If assigning human attributes to inanimate objects in this work, the word-play of ‘tools’ could be read both literally about tools but also the derisive  slang of ‘being a stupid or socially inept person’. Rather than mockingly it can sometimes be empowering when such negative labelling is adopted by those it is originally intended to make fun of and there is a sort of strength in unity that these two ‘tools’ of any gender or social commentary have come together in a form of embrace. One could read it that way or of course, it could simply just be two clamps locked together! I enjoy discussion about the double or multiple meanings of art, how it is interpreted. At the very least that is what I attempt to do when I view or write about work I've seen. What is significant and important to me about this piece of my work however is that it is one of the first times I’ve used a title to manipulate the reading of a drawing I’ve created. That’s quite significant and interesting to me and will be something I think I will revisit again for future work.

 

David Hockney 'We Two Boys Together Clinging' 1961 Oil on Board. 48 x 60"

You can see my work as part of the exhibition at The Old Brick Workshop, Wellington. Open daily 11-6 now until Sunday October 18th

http://somersetartworks.org.uk/venues/the-old-brick-workshop/
http://www.theoldbrickworkshop.com/

Art Weeks 2015 Sneak Preview!

Exciting times ahead as we prepare for the opening of our Somerset Art Weeks 2015 exhibition at The Old Brick Workshop. I am exhibiting with twelve other artists but thought I'd give you a sneak preview of what my new work in this exhibition is about...

 

The exhibition opens 11am this Saturday 3rd October. Hope to see you there!

 

“Extremely weak. Fault of Pot. Seed”

 

On April 28th, 1992, Christopher Johnson McCandless hitched to the stampede trail in Alaska. There he headed down the snow covered trail to begin an odyssey with only 10 pounds of rice, a .22 calibre rifle, several boxes of rifle rounds, a camera and a small selection of reading material –including a field guide to the regions edible plants, the ‘Tana’ina Plantlore’. After surviving for more than 100 days McCandless perished sometime around the week August 18th from what was later believed to be starvation by poisoning. It is still uncertain whether the exact cause of his death was due to mistaken identification; the edible Hedsarum Alpinum (Eskimo potato) for the poisonous Hedysarum Mackenzi (wild sweet pea) or the mould which grew on these seeds during their storage inside a plastic bag. Despite the tragic circumstances of his death, McCandless’s story about how finding oneself sometimes conflicts with being an active member in society (actions which were deemed controversial to some) and inspiring testament to the search for enlightenment by immersing oneself into the natural world devoid of material possessions became the bestselling book, ‘Into the Wild’ by the writer and mountaineer Jon Krakauer.

 

 

Nineteen years later, I discover the book for the first time in the local bookshop where I work as a Bookseller in Taunton. Inspired by everyday objects, my work in recent years has been dominated by the tools found in my Grandfather’s tool shed. Taking that same fascination of objects and the possible stories they hold, I have created drawings of the objects that McCandless took with him on his journey. I speculate that I am curious too, not in the materialism he chose to abandon but in the significance and essentiality of the few items he chose to keep with him. Ultimately I believe it is about how books can be as informative, influential, misguiding or deceptive as the illusionary, interpretive qualities of art itself.

 

 Never trust an Artist. Never trust a Bookseller!

 

 You can see my work as part of the exhibition at The Old Brick Workshop, Wellington is open daily 11-6 from this Saturday October 3rd until Sunday October 18th

http://somersetartworks.org.uk/venues/the-old-brick-workshop/
http://www.theoldbrickworkshop.com/

Somerset Art Weeks 2015

Saturday October the 3rd marks the opening of an exciting new gallery and studio space in Wellington Somerset. 'The Old Brick Workshop' where I along with eleven other artists will be exhibiting for Somerset Art Weeks 2015.

Saturday 3rd October to Sunday 18th October, daily  11.00-06.00pm
At: The Old Brick Workshop, Higher Poole, Wellington TA219HW
Directions: From Chelston roundabout follow signs for Poole Ind.Est and Recycling Centre. The Venue is on your left opposite Formula Cars. [Follow the yellow Somerset Art Week Signs for Venue 1]

 

Hope to see you there!

http://somersetartworks.org.uk/venues/the-old-brick-workshop/
http://www.theoldbrickworkshop.com/
 

Something(s) Wicked This Way Comes!

That's right! When I'm not visiting, writing about or talking about art I do try squeeze some time to indulge in the process of making my own! On that note there are a few news related items this week as projects and art happenings that have been brewing away begin to bare fruition...

1#

'Yellow Hammer' (pictured above) accepted into Ilminster Art Open at The Meeting House. Mono print/ink on paper. First drawing of a few new 'tool' related pieces of which retrospectively I feel is now the least successful in how it was drawn/placed compositionally but has lead to other work(s) ideas that I am more pleased with. This piece, originally intended [and is] as part of the art zine project (mentioned below) and works better within its printed, page context  as I've added details/text/format to make it more of a parody of a bird spotting guide book, rather than being quite the 'one-liner' it appears as here. However, elements of how this was printed/painted have since been used in other work (watch this space) so it marks an important, albeit slightly tentative beginning to new work that has followed.

2# 

swarm (n)– a temporary collection of bees, containing at least one queen that split apart from the mother colony to establish a new one; a natural method of propagation for honey bee colonies.

Through a competitive, megalomaniac driven act of plagiarism, 'Swarm' visual art zine was born. Shameless; a hybrid off-shoot of its 'sister' zine 'Hive'! Maybe I got greedy, maybe too ambitious, but being part of 'Hive' had feverishly inspired me that what the art world was missing was, well more art! The aim to make my own zine with friends whom I'd met/known over the years who could 'Swarm' together and celebrate each others work!

'Swarm' is basically a smaller more compact version of 'Hive', hosting a printed platform from which a select group of contributing creatives produce work to a set theme which is then produced into zines distributed to each of the participating artists. There is no profit, they aren't for sale but exist as a exclusive slice of owning and participating in something that is quite intimately special. To those involved its purpose to provide a fun outlet to both make work, share it and discover new artists!

The button badges are ready, the covers have been made and the work has slowly been flying in for the publication of this project toward the end of September! More news here when its out!

3#

*

 Speaking of which, the 'Hive' 2# will arrive on September 23rd, once more featuring the artistic workings of Nina Gronw-Lewis, Jon England, Anna Newland-Hooper, Malcolm Plastow, Frank Edmonds, Eileen Rosamond, Megan Calver,  Kevin Hawker, Stuart Rosamond*, Tim Martin, Ruby Petts, me (Natalie Parsley) and joined by a new contributor Rico Ajao!

MORE DETAILS ON 'HIVE' 1#:
http://spannerintheworkz.blogspot.co.uk/2015/02/here-are-my-bees.html
*Image by Stuart Rosamond from 'Hive' 1



4#

Spent a significant proportion of yesterday looking, chiselling and hammering away at this section of brick wall at Somerset's most exciting, upcoming NEW exhibition space in the former Virador Waste Management Offices in Wellington. Looking further back into the buildings' history in the 19th Century when it was home to Poole Brickworks it has since been dubbed the Old Brick Workshop (and, my there are a LOT of bricks!). The building boasts nine self contained studios and communal space (currently occupied by local artists). OBW will host activities and workshops and is soon to have its own exhibition space opening in time for the public during Somerset Art Weeks 2015 on the 3rd of October! 

As if that wasn't exciting enough, I am  deliriously delighted that myself and a dozen other artists will be amongst the first to exhibit in this new venue during Art Weeks. Featuring amongst others, Alex Conetta, James Marsden, Anna Newland Hooper, Diana Pilcher, Debbi Sutton, Jane Mowat, Teresa Wilson, Ashley Thomas, Jane Kelly and Judith Crosher.

More details as and when it happens, you'll hear it here first!

We are Venue 1, The Old Brick Workshop

The Old Brick Workshop
 Higher Poole
Wellington
Somerset
TA21 9HW

In the mean time, pick up a preview of our venue in the Somerset Art Weeks catalogue for 2015 or visit link below:

http://somersetartworks.org.uk/venues/the-old-brick-workshop/

Look out for the propeller!

Bhaam, the corvids and the marvellous Magnet Man of Alma St

This week's action-packed episode sees our heroine reunited with the Combat Art Kid as they venture into the depths of uncharted Chard and further afield. Be prepared to gasp in awe as they do battle with the sat-nav, puppetry and the unexpected in search for the rare, beautiful and mysterious contemporary arts of the Somerset vale!

Or at least that's one way of explaining my Saturday afternoon spent visiting three Somerset Art Weeks venues...

What this post lacks in the way of images I hope to make up for in words. No mean feat when you've spent an entire Saturday afternoon seeing rich plaster-clad surfaces, painted and sewn into; 10ft charred wooden poles laden in Indian-ink dipped teasels, pots, hand woven fabrics, pantone chart poetry, corn dollies, wooden collages and rags transformed into wolves and women. It doesn't really quite do it justice! Where to begin? But then that's Somerset Art Weeks for you and I am pleased that once again there was the usual mixture of the weird and the wonderful on top of three fantastic locations in some of the remotest parts of Somerset that I'm sort of glad I'd probably never be able to find again!

Without further ado, whistle stop tour number one of the day was 'Corvids at the Jackdaw Studio' (Venue 67) in Wambrook, Chard. It's a diverse exhibition of photography, mixed media, pottery, paintings, drawings and books featuring the work of artists Alice Crane, Michael de Friez, Hilary Dixon, Sarah Hitchens and Nigel Vincent. It was exciting to see a theme used for this group exhibition. Each artist had work around the theme of corvids that were (in most cases) directly present in each of the artists work. Personally I particularly loved Alice Crane's mixed media pieces which were created on pillow cases with stitching and paint; the surfaces were mesmerising to look at and generated a few ideas of things I'd like to try myself. The playful addition to the outside of the gallery space (pictured above) created by a local shepherd, Nigel Vincent was also particularly charming and fun making for an overall good exhibition. If truth be told, I'd have liked to have seen as well as the more representational work some more challenging work that maybe presented a different way of thinking about corvids other than what they look like. Then, that's probably more a reflection of how I have changed in my art tastes over the last few years as I am always now kind of hoping to see something more from the representational or abstract painting that has become so familiar in Somerset. Alas, if you've not grown as cynical as me (thankfully few are) then you'll be in for a treat. 

http://www.somersetartworks.org.uk/venues/corvids-jackdaw-studio

*

Onwards now and up, down and around several ever more labyrinthine country lanes and we arrive Bhaam! 'Skills Unearthed' (venue 66) is an exhibition from the Blackdown Hills Artists and Makers (Bhaam) in (an old favourite of mine) the spectacular, Cotley Tithe Barn. Intrepid Art Weekers' beware this ain't the easiest of places to find, but it is ALWAYS well worth the perseverance as when you do get there you're efforts are rewarded by a truly impressive exhibition venue and, perhaps more importantly, some researched, rewarding and contemporary art! Hurrah!

So what's the deal? You ask. Well,  ten artists received commissions to make work in response to the theme, 'Skills unearthed' exploring the crafts and industry of the Blackdown Hills encompassing the interests of those living and working in this area of outstanding natural beauty (in their words not mine). The chosen artists were, Carly Batchelor (Photography), Catherine Bass (Music), Ruth Bell (Contemporary Dance/Film), Louise Cottey (Textiles), Jon England Painting/Film), Sarah Hitchens (Ceramics), Tim Martin (Film/Drawing), Bryony Tidball (Sculpture), Andre Wallace (Sculpture) and Gillian Widden (Sculpture). Individually the artists created work around, nature in industry (teasel cultivation and hand weaving), local folk traditions (corn dolly making), farming history (managing the land), ecclesiastical architecture and World War Two (airfields past and present). The results make for a diverse and rich show which did an impressive job at filling and contending with the overwhelming presence of the Tithe Barn itself (and I should know, I exhibited in it twice for Art Weeks myself, it's difficult to not let the barn swallow your work whole!).

I was particularly interested in Louise Cottey's work, a hand woven fabric made using  traditional (nearly all but lost) techniques which showed great commitment, time and skill that to me represents some of the loss in our patience and dedication to making things that has been replaced by the demand and need for quicker, more economic means of production. Gillian Widden's teasel poles can really only be described as epic, because they are physically huge things and whilst I cannot get out of my mind the association that they look like gigantic burnt corn on the cobs are also completely fascinating sculptures. Historically they also educate about the lost art of teasel picking and I enjoyed looking to see where moths had emerged from the teasels seemingly surviving their Indian ink dipping (a testament to nature!). My patient and generous chauffeur for the day, Jon England presented new portrait works in this exhibition using his trade mark quality of finding authentic and poignant materials to create images of World War Two soldiers on bandages using iodine. The resulting image on the bandage, like the wounds it was once intended to heal, eventually fade away leaving a ghostly trace or scare of what was once there. The haunting process is also captured in a stop-motion film alongside the original work.    

http://www.somersetartworks.org.uk/venues/bhaam-skills-unearthed

**

And last, but by no means least we come to 'Stitched' (venue 54) starring Gary Dickins, Nina Gronw-Lewis, Emma Riley and Susan M Wallis. Do you know the Magnet Man? He also goes by the name of Gary Dickins and is somewhat of a prolific (some might say obsessed) maker of unique hand collaged magnets made from magazine cut outs and accompanying (often subtlety subversive) text. In a conversation with the artist I couldn't quite make up my mind whether he is mad or a genius, but is perhaps a bit of both, for never have I spent so long looking through a box of magnets with such joy at their witty, surreal and plain bizarre juxtapositions of phrases with images. I love it! I only wish I had some photos to show you, but rest assured they are a cross between Dada and punk and are probably one of the funniest and most original things I've come across in Art Weeks in a long time. Such a joy to see so much work with an element of humour to it and all of Gary's work is witty but also demonstrating an enthusiasm for process (in this case stitching) as well. In the 'Cunning Cavaliers' (detail pictured above) series of works, Gary has used antique silk brocade that he has hand stitched over the wear and tear from behind which we see glimpses of a scene depicting the cavaliers plotting away.

In keeping with the wit and stitched theme, Nina Gronw-Lewis presents hand sewn and knitted works that are beginning to edge out of the frame and take on a life of their own inhabiting the wall and space that surrounds them as cloud-like forms rain down fabric raindrops directly on the floor and woollen jumpers unravel spelling out worn. Alongside these are  Emma Riley's ceramic, tessellated tiles that have been stitched together. Topping off an eventful day was a performance by Susan M Wallis done with great aplomb to her audience as she animated and told a story with her sewn-together puppet creations. Admittedly, watching a one woman wrestle with several puppets to create a performance was impressive and the heightened weirdness of it all (coming from someone, like me that takes themselves probably far too seriously) certainly made me smile.

And what more from Art Weeks could I ask for?
   

http://www.somersetartworks.org.uk/venues/stitched

Thus ended a remarkable day and indeed our tale for the time being.

* Image from Somerset Art Works : http://www.somersetartworks.org.uk/venues/bhaam-skills-unearthed  
** Image from Gary Dickins: http://www.garydickins.com