The Crow and the Pitcher

 

The crow was dry, with a stiff dust-cloud flight.

It longed to drink, to ease a rusty throat,

And knowing good water, dropped into the valley

For a pitcher, a vessel, or a stream bed running.

It longed to drink, to cure a curdled throat.

The bird found good water, locked deep in the valley

In a pitcher; a vessel, near a stream bed cracking

The jug was ivy-tangled, hid by a guardian yew.

The crow cried over water, barred from the world

And the jug became a well— its source echo-long down

Ringed by bricks, blocks and man-made forms

And the bird dropped one wish to its staunch reflection.

The well stirred at source from the echo-long down

It talked fluidly with blocks and man-made forms.

The bird dropped another wish in its loose reflection

The water drew closer; shining for the crow’s eye.

The water babbled cures and swept past bricks and blocks.

The bird dropped a wish into a rising tide.

The water drew closer, shining at the moon’s face.

Both shapes flowed through age-old time and dust.

The crow’s one wish was to be fluid in thinking

The water drew closer, rising to the bird’s thirst.

The rivers flowed forth. The crow was restored.

The bird would yet survive, and felt itself soar.

The rivers rushed forward, not ceasing conversation

Restoring ebb and flow and water-locking all cures

Out-living the blocks and the man-made in the valley

The crow became a chalice, and brought forth blossom, on a wingbeat.

by Suzanne Iuppa

for A Drop in the Ocean

 

Spring 2015

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Drop in The Ocean

Where does your waTer come from? What is in your waTer? Who owns your Water?

Where does your waTer come from?
What is in your waTer?
Who owns your Water?

Drop in the Ocean

Gas Gallery Aberystwyth.

April 28th – May 5th

Wells in the stairwell, Sources on the stairs, Water in the Window. Pipeline on the wall.

A furthering of the Ffynhonnell:Source journey this was a specially constructed, multimedia installation as part of an ongoing series of works, exploring what is left of lost and forgotten wells: part of a wider reflection on our increasingly tenuous relationship with water and where it comes from. What do we reawaken – draw up from the earth – when we visit and honour wells? How can we listen to the resonances created by such places?

Drawing from old maps, local knowledge and hand-written texts discovered in the National Library of Wales, I then found and visited twelve wells in the Aberystwyth area and collecting samples, wet and (now) dry. This was juxtaposed with work created in collaboration with artist jess Allen, a bricolage representation of the modern mystery of mains water: how we treat water on its journey from/sky/ground to tap: to make it “safe” for use or abuse. Standing between were two samples collected- by journeys on foot- from the respective sources of the rivers Ystwyth and Rheidol which converge at the sea in Aberystwyth.

Concept, research, design and direction – Jane LLoyd Francis

Film and audio – Sara Penrhyn Jones

- a scene from the FFynhonnell: source installation

– a scene from the FFynhonnell: Source installation

Drawings, pipelines, yoke walking, Creator of Drop in the Ocean – Jess Allen

Ffynhonnell: Source

One of my ongoing projects is an investigation of abandoned of wells within the Dyfi Biosphere.

FFYNHONNELL:SOURCE

Water is one of the most important necessities, both for our physical health as well as for the well being of our imaginations.Ffynhonnell:Source is an ongoing exploration – reaching beyond the surface of ancient well sites and responding to their resonances.This ongoing work has generated a number of projects:

Gwrando ar y Dwr/ Listening to Water. 2013

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A Theatre Production at Aberystwyth Arts Centre supported by the Arts Centre . I led this project, collaborating with artists Naomi Heath and Rebecca Collins Supported by PIP { The Performance in Practice Scheme}

Listening to Water was an artistic exploration investigating sensory connections with the landscape: how might listening inform our sense of place? How might a shift in the gaze allow ancient resonances to emerge.

Echoes and memories of once sacred places lie just out of reach on barely trodden paths, these fragments defy capture in one single medium and yet can speak to us in a multitude of ways.

This production was a creative dialogue between three women attempting to harness the intangible qualities of the out there.

http://www.aberystwythartscentre.co.uk/theatre/pip-practice-performance