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St Mary, Gressenhall, Norfolk
Gressenhall is a large village, not far from Dereham. It sprawls along the gentle valley, merging into neighbouring Beetley, and is home to the Dereham Union workhouse building, which is today the magnificent Museum of Norfolk Rural Life. If Dereham has commuters, then Gressenhall and Beetley are exactly the kind of places that they would live, I suppose, but there is nothing suburban about Gressenhall. It is a pretty place with its village green and cottages, and I liked it a lot.
The parish church of St Mary is a good mile outside the village, set in the narrow sunken lanes to the south. Some churches like this seem to be hiding away, but St Mary is a large, impressive building, sitting boldly in the fields as if it was the church of some great French abbey. The imposing central tower is perhaps a little over-restored, and this gives it an echo of Castle Rising church, but in fact Perpendicular is more in evidence here than Romanesque. The wide, sloping graveyard is a perfect setting. In the silence, apart from birdsong, there was a sense of remoteness.
We stepped into a stillness to match the silence outside. As with all central-towered churches, there is a sense of rooms that open up off each of other, the aisles, chancel and the transepts forming separate spaces of their own. High above the tower arch, a double headed window reveals the Norman origins of the place, but otherwise this feels an early 20th century space in a medieval shell. The 15th century font has been enthusiastically vandalised; most of the panels feature hanging shields, but on one panel in particular the iconoclasts really went to town. I wonder what it depicted. Perhaps more interesting than the font are two other medieval survivals.
One is a relief of the martyrdom of St Stephen. He kneels, and is stoned to death. Such reliefs were once common, but few survived the 16th century Anglican enthusiasm for the destruction of images, and those that did were discarded to be found centuries later under floorboards and sealed up in walls.
Propped up against the south wall are some panels from the rood screen. They depict St Leonard, St Augustine, St Gregory and St Michael, all barely decipherable now thanks to vandalism, although the St Michael appears as if it was a good one. The restored roof of the south transept nearby is very beautiful.
There was once a west gallery. We know this, because on a ledger stone in the nave Robert Halcot is remembered. He died in 1640; in the primitive script of those puritan days his inscription reads HIM HAVE WEE FOR A TIME LOST WHO BILT THIS GALEREY ATT HIS OWNE COST. The brass Latin inscription to John and Sarah Estmond, of some thirty years earlier, retains some of the elegance and erudition of earlier times, and reminds us quite how much educational standards were to drop during the first half of the 17th century.
This primitive make-do tree is composed of fabrics and muslin; glass and stone beads; and old textile spool, and topped off with a rusty star.
He's been grunged up with coffee, cinnamon and clove.
This is an Amorphocephala seen from above. Notice the weird base of the antenna with brushes and the narrow snout. The entire beetle measures about 12mm and is narrow. They are night active and feed on fungi and xylophage insects and their larvae. Females drill holes in wood and lay eggs in them. Males often have distinct mandibles. They are attracted to lights and that's how I got them (January, DR Congo, Lubumbashi area).
Stack based on 150 images taken with the MP-E65mm at 3.5x (ISO100, 1/200s, f5.0, paper diffused flash). Zerene stacker (Dmap & Pmax). Uncropped image, slightly treated in Picasa for highlights.
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This clump of mares tail shoots probably looked the same as this many eons ago - the plant is so perfectly adapted to its ecosystem it has had no need to evolve. In Quatsino Sound these plants will grow over 6 feet tall and the frills when open will be over a foot in diameter.
"But what else can we do when we're so weak? We invest hours each day, months each year, years each lifetime in something over which we have no control; it is any wonder then, that we are reduced to creating ingenious but bizarre liturgies designed to give us the illusion that we are powerful after all, just as every other primitive community has done when faced with a deep and apparently impenetrable mystery?"
— Nick Hornby
Editorial Title: Primitive Future
Photography: Aleksandr Villamariona
Makeup artist/Hair/Stylist: Edwyn Vargas
Model: Jennifer Moriarty
Primitive folk art snowman doll handmade by Stephanie Baker of Old World Primitives using a Veena's Mercantile design. Created using muslin, stuffing, ticking, homespun, a vintage button and rusty bell, and sweet annie filling his bag.
Primitive folk art sheep handmade by Stephanie Baker of Old World Primitives using a Kentucky Primitives design.
I had fun making these cute scardey cats prims for Halloween this year. Primitives or "prims" are a form of american folk art. My blog post has the e-pattern link and a bit more about prims...http://www.theknittingblogbymrpuffythedog.blogspot.com/2014/10/an-accessory-shawl-and-halloween-prims.html
This VW VAN is part of an Airbnb/art installation/primitive camping site in Terlingua Ranch, West Texas. Bus Jack's is accessed off of Terlingua Ranch Road and five miles of dirt road into the ranch. This van is one of nine VW vans in a circle on a mesa in the Chihuahuan Desert, Terlingua Ranch. These old, rusty VWs and the ground they sit on are advertised as an Airbnb, primitive campsite and art installation. Take your pick, but it's $20 per night, no bath, no toilet, with a twin size mattress in the back of some of the vans covered with an old sheet.
I was thinking about my youth the other day, about some of the exciting things happening during the 90's, and in particular, a RE/Search book called Modern Primitives. I was thinking how fascinated I was by it, and yet I didn't read the book until it was published in 1989, years after I had begun my interest in body art and cultural beliefs. It's strange to find yourself in the zeitgeist, a little spooky, as if someone had been watching you all along.
I spent a summer in 1983 with a Sikh family in Kenya, getting a double dose of African and Indian culture. Returning to my high school was difficult - I think I had more culture shock coming back to the States than I had going to Africa. I was already a punk then, dyeing my hair and wearing clothes that were as unlike the preppie fashions of my community as possible. In 1984, I pierced my nose as a way of tying myself to my Afro-Indian experiences. It brought me endless ridicule at school, and I thought it was ironic when it became the fashion years later.
I got my first tattoo at age 20. I was an anthropology turned art student on a radical campus that was rapidly becoming conservative. I visited a cousin and began delving more deeply into my family's roots. I had always been interested in other languages and cultures and was searching for connections. As an American, I felt rootless, inhabiting someone else's country.
Some people mock Modern Primitivism as romanticizing other cultures. I think of it more as appreciation and connection. I learn about peoples and history and customs, and believe this cultural richness is worth preserving. Borrowing artifacts and decorations and rituals from other communities helps me feel a connection to them, and is an attempt to get in touch with the spiritual beliefs that we share as humans.
I think it's interesting that my friends Ian and Seide are feeling and thinking some of the same things as I am at this moment. Perhaps it is the pull of Samhain, when the spirits of our ancestors are closer and speak to us.
A StorybookLife Blog: Creative Home Decorating Ideas
I love the colors of this set of primitive boxes.
My friend, Madison's, anvil is a little primitive, having been cobbled together from old mining equipment, but given the high cost of an real anvil, this works quite well for him as he explores the art and craft of blacksmithing.
Photo taken with the Canon EOS R and Laowa FFII 35mm f0.95 manual focus lens mounted to t a sturdy tripod. Post processing was performed in Adobe Lightroom Classic 11. The photo was taken at an aperture setting of f/0.95 in very low light.
primitive pixels is the brownhorse's exhibition currently on show at graage studios. its the out come of the voyage of discovery that brownhorse went on when trying to use one of the 1st commercially available digital cameras. check here for opening times here. once your done there you must pop round the corner and check out my show at the eagle, in fact you should just check out every flickr related brighton festival related show in brighton here
Found at La Selva Biological Station, near Puerto Viejo de Sarapiquí. Heredia Province, Costa Rica.
Found on fallen tree.
Single exposure, uncropped, handheld, in situ. Canon MT-24EX flash unit, Ian McConnachie diffuser.
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this is made by a friend of mine, her name is Yvonne Thor and she pwns you :)