The High Window Resident Artist: S.A. Leavesley: Looking Back

In this, the last of S. A. Leavesey’s slots as The High Window‘s resident artist for 2019, she presents some new work and looks back over her experience of the year. Before she leaves us, I would like to offer Sarah my heartfelt thanks for the quality of the work she has submitted. I would like to say also that it has been a pleasure to work with a poet and artist who has been so unfailingly efficient and professional. I know from the comments that I have received that many readers have appreciated her work, especially those who poems inspired her in the previous issue. I look forward to welcoming Penny Sharman as the next resident artist in the spring.

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I started my Resident Artist 2019 slots with some haiku-influenced photo-poem combinations. This was followed by ‘Sunshine and Raindrops’, some ‘double-translation’ combinations of photos inspired by Jacques Prévert poems, with my own short poetry response. (https://thehighwindowpress.com/2019/03/20/sunshine-and-raindrops-photo-poems-by-s-a-leavesly-inspired-by-jacques-prevert/)

In the autumn slot I created some photographic art in response to three poems in that issue as well as one poem from the summer issue of The High Window. (https://thehighwindowpress.com/2019/09/05/the-high-window-resident-artist-s-a-leavesley-responses-to-poems/)

I want to finish my year as Resident Artist by considering the possibility of photo-poems that are a kind of visual or photographic haibun, where the prose poetry element of a traditional haibun is replaced by a photo.

In the two examples below, I actually started with my own completely text-based haibun. Keeping the haiku for use in the final photo-poem, I chose a photo that I felt would work with it as the photographic version of the haibun’s prose poetry. For me, the resulting pieces are not translations of my original text-only haibun, but variations on a theme or setting.

Sudden
from Droitwich to Hawford Lock

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The last red phone box

The text-only version of ‘The last red phone box’ can be found in the Offa’s Press ‘Japanese’ anthology Ripening Cherries.

Writers who enjoy the visual aspect of photo-poems can find collaborative pieces at LitWorld2 online journal. They are also very welcome to submit short poems and flashes for combination with a photo for LitWorld2. (http://www.sarah-james.co.uk/?page_id=9835)

I’m going to end now with something entirely new. When I was invited to be The High Window’s Resident artist for 2019, my artwork was mostly photography. The role has inspired me to try more painting, collage and drawing. Most of these aren’t for show yet, may never reach that stage. But I want to finish by sharing something new that never would happened without this residency – an animated gif combining my artwork with an erasure style poem.

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