The Mizen Peninsula

Flower Power – New Ballydehob Exhibition!

I was around in London in the early sixties, and was definitely part of the swinging Flower Power scene: beatniks, Beatlemania, Carnaby Street, flowery shirts and ties (I’ve still got some of them – below – stashed away in my wardrobe!) – the regulation Afghan coat (and its distinctive smell) . . . What I miss most, perhaps, is the purple velvet flared trousers: sadly an expanding waistline quickly did away with them.

What is less well-known – in my generation at least – is the fact that there was a similar cultural phenomenon in one part of Ireland – our own West Cork! And it was centred on Ballydehob – that’s the main street, above. It’s a colourful village today – as it was then: well-suited to the cultural heritage which the artist community of the time imposed upon it. This building on the main street in those early days was particularly significant:

One of the artists who happened upon Ballydehob at that time lived on here to tell the tale (he still lives in the village and is still a working artist):

BREAKING NEWS: BALLYDEHOB IS DISCOVERED!

. . . During the early 1960s, a group of students at the Crawford School of Art in Cork, heard a rumour that something bizarre was happening in a village called Ballydehob. Here some vestige of Swinging London had taken up residence in a painted-up building called ‘The Flower House’. I was one of those students. We decided to investigate.

      Since nobody owned a car, a parental vehicle must be ‘borrowed’. Somebody’s parent was away so this could be done without controversy. One of the know-it-all students announced that Ballydehob was in County Sligo and we would need money for petrol and have to camp when we got there. Nobody owned a tent. A forever-complaining student said that ‘He didn’t want to end up arrested as a vagrant and to have to sleep in a Garda station’. A few days later we left the Crawford en-route to County Sligo. Fortunately, a more astute student rummaged in the car as we were leaving the city for the West, found a road atlas and announced that Ballydehob was actually in County Cork, a mere two hours drive over the potholes. Tent-less or Garda station camping would not be required.

     We arrived, we saw, we were astonished. Cork was then a darkly conservative place, ditto the Crawford and its staff members. What we found in Ballydehob was a house on the main street of the village with enormous flowers painted on the façade. It might have been in Chelsea or San Francisco. We entered to find a hive of creativity and alternative lifestyles. This was the world of women in flowing batik dresses, bearded men with bead necklaces and leather-thonged trousers. Even a cod-piece was observed. We sat in the café and drank coffee from the brownest of chipped brown ceramic mugs, ate inedible brownies and marvelled at the range of art and crafts being produced by this creative group.

      This establishment, which seemed to have landed from another planet since the remainder of Main Street appeared to have experienced no visual or economic change from the images recorded in the black + white photographs of the 1900s, was run by two women, one German, the other English: Christa Reichel and Nora Golden. Here was a living example of William Morris’s dictum, ‘Have nothing in your homes that you do not know to be useful, or believe to be beautiful’.

       Some ten years later, John and Noelle Verling (participants in that epic car journey) set up the Fergus Pottery in Dripsey outside Cork, later transferring it to Christa Reichel’s former premises in Gurteenakilla, Ballydehob, where it became a fixture of the creative community. A few years following, another member of the car-team, myself and Clair, came to stay with the Verlings, and also remained in the area, setting up an etching studio on the other side of Ballydehob.

       Many of those who established the creative community of West Cork have died. Another generation has grown to maturity, further expanding the tradition of West Cork as a major and continuing centre of creative engagement in all of the arts, an epi-centre of delight. . .

BRIAN LALOR

That’s Brian, in his studio today. Just a few years ago – in 2018 – he and I decided that that creative time in the village needed to be properly celebrated, and we gathered around us like-minded enthusiasts, and opened up the Ballydehob Arts Museum, using a room kindly donated by those who had taken over the disused bank building, right in the centre of town:

That’s the inside of the Museum above: its first exhibition opened in the summer of 2018. We had another the following year, then Covid stopped us until last year, when we featured Ian + Lynn Wright. This year’s exhibition also features a ‘couple’ of working artists: The Verlings – Noelle + John.

John Verling was a contemporary of Brian Lalor (who has written the account above), and they both studied architecture and art in London and at the Crawford in Cork. Brian has penned for us his memories of sharing a studio in London with John Verling:

THE PERILS OF A SHARED STUDIO, LONDON, 1967

. . . During the late 1960s, John Verling and I, then students of architecture in London, shared a quite substantial studio in one of the leafier areas of Kensington. The building, a large brightly lit interior behind a row of decaying Victorian villas (it might originally have been a Victorian studio, we never discovered) had many more recent uses and the first task on gaining possession was to somehow manage to get rid of what had been left behind by earlier tenants; office furniture, old matresses, much unidentifiable plumbing apparatus and a stuffed fox whose pelt had been consumed by moths, were among the challenging contents.

     Conversation among acquaintances in our local, the Norland Arms, evoked interest from other drinkers, an English sculptor and a South African photographer who asked could they share the space and, very willingly offered a down payment on the rent. This was agreed and not long afterwards the studio became operational, with both John and myself busy creating in our new-found haven, with only the occasional appearance of our fellow tenants. John was at that point concentrating on elegant photomontages as well as complex drawings of Portobello costermongers and was extremely productive, while I was engaged in a substantial series of elaborate and brightly coloured timber constructions enhanced by scaffold clamps, in a latter-day Bauhaus manner. Time passed, various local artists called to view the work and admire the space. We were exhibiting successfully and the studio became in W H Auden’s phrase, ‘the cave of making’. Our fellow studio members failed to turn up and when occasionally encountered in the Norland, expressed embarrassment in being behind with the rent while offering a contribution to ‘keep their name in the pot’. This was an extremely satisfactory situation with individuals happy to subsidise the rent but too busy to actually attend the studio.

     A chance encounter in the Norland brought another hopeful artist to our acquaintance, David O’Doherty, Dublin painter, he worked at the international telephone exchange. He came, he admired the studio, and invited himself to join. Fatally, we agreed. An accomplished portrait painter, he often had a sitter posed, but seemed happy to work on, undisturbed by the other occupants. Our new tenant was affable, expansive, a storyteller. He became a permanent fixture. Suddenly we realised that we were entertaining a cuckoo in our midst. O’Doherty had moved in permanently, camp bed, small stove on which there was always a fry-up in progress, an endless stream of visitors, large canvasses propped against the wall, and the catastrophic revelation of his other occupation; he was a keen traditional musician, devoted to the Uillinn pipes. Suddenly the space, ample for John and myself to pursue our work, had begun to feel like a home for the demented. 

     Gradually it became apparent that our studio, which a year before had been, in the midst of the city’s turmoil, as quiet and remote as a stylite’s pillar, had metamorphosed into Picadilly Circus with noise, air pollution and crowd control issues. The dream of having a secure place in which to create had floundered on the fatal choice of an individual whose concept of an ideal workplace was perilously close to Francis Bacon’s taste for irredeemable chaos. I bailed out, John lasted a little longer. And the completed series of brightly coloured scaffold-clamp constructions, what of them?  Occasionally I received reports of their travels. Before he emigrated to Boston, O’Doherty sold them to a construction company and they were later spotted decorating the foyer of a social welfare office in Amsterdam. After that only blessed silence . . .

BRIAN LALOR

Noelle Verling (above) studied ceramics at Hammersmith College of Art. She and John met and married and – when they moved back to Ireland in 1971 – John & Noelle Verling established the Fergus Pottery in Dripsey in 1971 with Noelle as potter. She produced a wide range of domestic ware at Dripsey. When they moved in 1973 to Ballydehob to take over Christa Reichel’s studio, they adapted Reichel’s press-moulds and Gurteenakilla pottery stamp for their own work and from then on, traded as Gurteenakilla Pottery and latterly as Brushfire.

. . . The Verlings loved the windswept West Cork landscape and felt moved to record a disappearing environment. John’s paintings often depicted the doors, windows and walls of decaying buildings, repositories for the memories of past inhabitants, long gone. The windswept thorn tree is a familiar motif which connects John Verling with West Cork: the tree became his icon and frequently appeared in his paintings and on his ceramic work . . .

Alison Ospina – West Cork Inspires 2011

This is a rare photograph of John working on one of his favourite subjects: the gnarled thorn tree suffering from the ravages of harsh West Cork gales. Among the architectural work he undertook voluntarily was the reordering of the east end of St Bridget’s Catholic Church in Ballydehob. This was a major work.

. . . The gold fish hand drawn in the background of the altar and the depiction of one fish swimming against the shoal continues to evoke admiration from locals and visitors alike. He also designed the two ‘windswept thorn’ stained glass windows and etched the brass surround of the tabernacle. The Altar slab, composed of a vast monolith like the capstone of a dolmen, is a distinguished piece of sculpture and a tribute to his imaginative capacity . . .

John Verling Website: https://www.johnverling.com

Special thanks to Geoff Greenham for giving us this superb photo of St Bridget’s Church, Ballydehob.

The sign for the Brush Fire Ceramics Pottery, created by Noelle and John. They successfully produced a large number of individual pieces, crafted and fired by Noelle, and decorated by John.

John Verling died in 2009. Noelle Verling is living in West Cork and has been extremely helpful in providing material and information for this exhibition. Without her we would have been unable to fully present this story.

That’s John Verling in the picture above having his legs plastered by Ian Wright: this was part of a publicity stunt for the visit of a large group of West Cork artists to Zurich in 1985. John is also singing a folk song! You can read more about that particular enterprise here.

The Ballydehob Arts Museum is grateful to the town’s Community Council for providing the accommodation for the Museum. BAM is: Brian Lalor, Robert Harris, Sarah and Stephen Canty. Their combined knowledge and practical experience has ensured that our ambitions for this – our fourth exhibition – are fully realised.

ballydehobartsmuseum.com

Exhibition opens Jazz Festival Weekend in Bank House: Thursday 27 April @ 5pm, then Friday 28 April to Monday 1 May: 11am – 4pm. It will open with the Tourism Centre from June to September 2023

Mizen Megaliths 4: Ballyvogebeg Wedge Tomb

We had, unknowingly, driven past this wedge tomb many times. It’s located on rising ground overlooking the Barley Cove wetlands, in the townland of Ballyvogebeg. The townland name (according to logainm.ie) translates as the Little Place of the O’Buadhaighs, a very scattered clan sometimes translated as Bogue, or Bowe. 

The wedge tomb here was formally recorded by archaeologists de Valera and Ó Nualláin in their Survey of the Megalithic Tombs of Ireland in the early 1980s. They provided the scale drawing, below.

It was next surveyed by the Cork Archaeological Survey Team in the early 90s. Oddly, neither of these reports contain any reference to one of the most striking aspect of this megalithic tomb – the cupmarks on the capstones.

The next person to record it was Jack Roberts for his Antiquities of West Cork series, and his drawing clearly shows the cupmarks. 

If you are new to this series on Mizen Megaliths, or to megaliths in general, you can catch up with a quick read of my post Wedge Tombs: Last of the Megaliths. This wedge tomb, Ballyvogebeg, fits the pattern, although its ruinous state doesn’t allow us to observe much detail. The side stones have collapsed under the weight of the two large capstones, although you can still see them underneath, leaning at a perilous angle.

De Valera and Ó Nualláin noted that there was no indication of a surrounding mound, which seems to be typical of West Cork wedge tombs. It likely dates to the Copper or Bronze Age, making it around 4,000 years old.

Cupmarks are normally found on open air rocks and boulders, not associated with any monuments and are the most frequent element or motif in Rock Art. However, they are found occasionally on Wedge Tombs and Boulder Burials, so while their occurrence on the Ballyvogebeg wedge tombs is uncommon, it is by no means unique. Intriguing, though! If the tomb had been covered by a mound, they would not have been visible, leading to the conclusion that it was the act of carving them that was important.

Like all of our West Cork wedges, it is oriented towards the west and the setting sun – that is the ‘entrance’ or tallest and widest end, faces the west. The most striking feature of the view is the pyramid-shaped Mizen Peak. What gives the Mizen Peak its distinctive point is a small cairn on its summit.

I haven’t yet been up to this cairn, although I am hoping to get there one of these days. So I am relying on the generosity of our friend Michael Mitchell, of the Walking to the Stones Facebook Page, for the photograph below. Like us, he has been struck by the fact that Mizen Peak seems to be visible from many sites, saying, It’s obviously a very important hill. It seems to be a focus for various megaliths, even some that are not on the Mizen peninsula itself. Michael points out that the cairn does not have the appearance of being ancient but more like a marker cairn. 

Curiouser and curiouser, because there is very ancient folklore indeed about this cairn, which, in fact, gives its Irish name to Mizen Head – Carn Uí Néid, or the The Cairn of the Grandson of Néid. Which grandson are we talking about here? Néid had a son, Elathen, who in turn had five sons – the Daghda, Oghma, Bres, Alloth and Delbaeth – all of them figure prominently in Irish Mythology as members of the Thuatha Dé Danann. 

Bres is the grandson in question, but Bres was his nickname. He was really Eochaid bres – that is Eochaid the Handsome, because everything comely and handsome that is seen in Ireland, ’tis to Bres it is likened. I am getting my information here from a piece written by J. F. L. in the Journal of the Cork Historical and Archaeological Society of 1912 (available online).

The Dinnshenchas of Carn Uí Néid has been translated by Dr Whitley Stokes 

Bres, son of Elathan, died there; ’tis he that in the reign of Nechtan Fairhand. . .King of Munster, demanded from every rooftree in Ireland a hundred men’s drink of a hornless dun cow, or of the milk of a cow of some other single colour. So Munster kine were singed by Nechtan with a fire of fern, and then they were smeared with a porridge of the ashes of flaxseed, so that they became dark brown. . . And they also formed three hundred cows of wood, with dark brown pails on their forks in lieu of the udders. These pails were dipped in bog stuff. Then Bres came to inspect the manner of these cattle, and so that they might be milked in his presence . . . All the bog stuff they had was squeezed out as if it was milk. The Irish were under a geis to come thither at the same time, and Bres was under a geis to drink what should be milked there. So three hundred bucketsful of red bog stuff are milked for him and he drinks it all.


JCHAS Notes and Queries Carn Uí Néid, by J. F. L.
1912, Vol 18, 96, Ps 211-213

Of course it’s a huge and unreliable leap from mythology to a wedge tomb, but I can’t help thinking how great it would be if the Ballyvoguebeg wedge tomb was indeed the tomb of Bres, brother of the Daghda, handsome King of Munster, dead from a surfeit of bog stuff. 

12 Arches of Ballydehob – Pics for Christmas Day!

Last week’s post The Twelve Arches of Ballydehob proved a most popular subject. Ballydehob’s railway viaduct – dating from the late nineteenth century can’t be ignored. It was fairly easy to put together another dozen pics of the structure, making a good Christmas Day theme to take your minds off turkey and stuffing!

As we have lived not too far from the viaduct over the last ten years, we have seen it – and photographed it – in many of its moods. And it’s a constant backdrop, of course, to life in our West Cork village. Below – here it is, supporting a very ancient tradition, on St Stephen’s Day (that’s me on the right!):

“No Wrens Were Harmed in the Making of this Post!” That was the title of my RWJ article on the Wren Day festivities in Ballydehob in 2019 – pre-Covid. It was great to be out and about in the village, echoing a custom which has been passed from generation to generation. When I grew up in England I joined in the Mummers’ tradition there: I followed it for much of a lifetime, and even now can recite the whole play without a prompt… “Here comes I, Bold Trim Tram: Left hand, press gang – press all you bold fellows to sea…”

Something else which could do with a revival is the Pedalo tradition. Pedalos were brought out of storage for an unique occasion in the summer – a project named Inbhear, an art installation by Muireann Levis. Here is own my post about it.

I was pleased to have this photo of the viaduct in my collection. If the scale looks a little wobbly it could be because this – and the train – are models sited at the West Cork Model Railway Village at Clonakilty. Below – a local company, in Ballydehob, has chosen to use the bridge in its title.

We showed you some of Brian Lalor’s work last week. Here’s another of his drawings. It is dated 1975: he tells me he has plenty more viaduct pics if I write another post in the future.

Atmospherics a-plenty: we have them all the time in Ballydehob. We do live in one of this world’s most inspiring places… Have a very good and atmospheric Christmas, everyone! And – safe journeying if you are out and about.

The Twelve Arches of Ballydehob

As we are approaching the traditional Twelve Days of Christmas I thought it fitting to give you Twelve views of Ballydehob’s iconic viaduct. Our West Cork village of Ballydehob has many claims to fame. It has been the centre of a great Irish art movement in the mid-twentieth century (have a look at this site). But earlier – between 1886 and 1947 – it was an important stop on the Schull & Skibbereen Tramway. This was a three-foot gauge railway line which must have been a great wonder to those who witnessed it in its heyday. There are fragments of it still to be seen, but its most monumental structure remains with us: the twelve-arched viaduct at Ballydehob.

Above: Brian Lalor was one of the creatives who settled in Ballydehob back in the artists’ heyday (he is still here today). The railway viaduct was a great source of visual inspiration to him and to his artist colleagues.

Here (above) is another Lalor work depicting the viaduct (many thanks, Brian). Behind the arches in this print you can see the former commercial buildings on the wharf, now converted to private use. At first glance you might think what a fine masonry structure this is. In fact, most of it is mass concrete. Look at the close-up view of the arches below: they are cast and faced in concrete, albeit the arch-stones are made to look like masonry. Only the facing infills and the parapets are actually of stone. This is quite an innovative construction for its time. Barring earthquake it’s certain to endure.

I was not surprised to find how often images of this engineering feat have inspired artists and others working in creative fields. Here’s a particularly fine example from the days of the artist settlement around the village in the mid-twentieth century (below): this one is a batik by Nora Golden.

I really like this moody photograph by Finola: it demonstrates the elemental nature which repetition and shadow gives to the scene. (Below): we have to see the way over the top, now a public footpath. The railway was a single track narrow-gauge at this point.

The ‘Tiny Ireland’ creator – Anke – has sketched this wonderful caricature of our wharf area, showing the 12-arched bridge in context. Finola has written about Anke. You can buy your own piece of Tiny Ireland through her website, here.

How better to look at the bridge in context than this view from Aerial Photographer Tom Vaughan. Thank you, Tom, for allowing us to use this magnificent image. Here’s the link to his own website. You will find excellent gifts for the connoisseur here. The last of our ‘Twelve Arches’ (for now) has to show us the bridge in its rightful use. I think this postcard – from the Lawrence Archive -dates from the early 1900s. I can’t resist quoting the caption for the rail buffs among you!

. . . A Schull-bound train has stopped especially for the photographer: this is Ballydehob viaduct looking north. The train comprises GABRIEL, bogie coaches Nos 5 and &, brake vans Nos 31, 32 and 38 . . .

The Schull & Skibbereen Railway – James I C Boyd – Oakwood Press 1999

An Artist’s Encounter with West Cork

Perhaps this book review is a little late arriving? The book was – after all – published by Brandon of Dingle in 1990: thirty two years ago! The artist, and I, were in our forties then. But – don’t hesitate – although it’s out of print you can find copies readily available on many booksellers’ websites. You can spend a Euro (the postage will cost four times that!) or many Euros: but it’s well worth whatever you have to pay.

Here it is: a modestly sized paperback volume. But it punches well above its weight. It is beautifully written, and exquisitely illustrated. For everyone who is interested in West Cork, Ireland or the art of engraving it’s a must for your bookshelves. And, historically, it’s fascinating: the cover picture, above, shows Tig na nGaedheal (locally known as Brendan’s) – once described as ‘the greatest and most famous sweet shop ever in Skibbereen’. Sadly, Martha Houlihan, who ran it with her husband Brendan, passed away a little while ago and the shop is no longer trading. It’s still a significant feature in the town streetscape (below). Note the figures looking out of the door and window in Brian’s etching – a typical humorous touch.

The book includes nigh on a hundred of Brian’s engravings. This is only a fraction of the huge body of work he has created in his lifetime to date, and he’s never idle. It’s good to know that Uillinn – the West Cork Arts Centre gallery – has a retrospective of Brian’s work in the pipeline. It will be impossible to show more than a fraction of the art he has produced so far, but we certainly look forward to experiencing that selection.

What I personally enjoy about Brian’s works in this book is the atmospherics that they create. Take, for example, The Dark Edge of Europe, above. The breadth of its content is overwhelming: it’s the landscape of West Cork summed up in gradations of grey, with coastline, lanes, settlements, hills and distant mountains, focussed on a foreground which features an ancient hill-fort. A tale of occupation and morphology: an eternal human story. The illustrations in the book are accompanied and amplified by wonderfully crafted written descriptions.

. . . Defining the high spots in the ribs of land, and distributed with apparent regularity all over this landscape, were lush green rings. Single, and occasionally double or triple concentric rings of grassy banks, these features resembled a giant’s game of quoits, forgotten and left to decorate the landscape. The gargantuan quoits are of course the ring forts or fairy rings of the Irish countryside, and outlined the forms taken by the rural farmsteads and dwellings from pre-Christian times down to the sixteenth century. Each ring represented an earthen rampart on high ground, with perhaps a dry moat or further rampart encircling some wattle huts. Simple and utilitarian, this form of dwelling satisfied the political and practical exigencies of the day – or aeon, for that matter. Rural life was lived in the midst of the land, without congregating in towns or villages . . .

The Land of Heart’s Desire: West of West, Brian lalor

Mount Gabriel dominates much of the landscape in our part of West Cork. Brian’s view, above, is titled Mount Gabriel Gorse Fires. The artist ‘discovered’ remote West Cork back in the 1970s. In the book he describes the journey:

. . . The road wound away into the distance, a ribbon of reflected light, and the weaving shapes of the blackthorns threw a black Gothic tracery across the landscape. The immediate surrounding had a silvery sharpness, the precision of a lunar landscape; brightly outlined walls enclosed pools of darkness. We were no longer at the door to West Cork but in its very interior. We had arrived . . .

Well Met By Moonlight: West of West, Brian Lalor

Essential to the intimate knowledge of West Cork’s landscape is the sea – and the coastline which encompasses it. This view is titled Rock Island & Crookhaven. Brian enhances the rendering with a description:

. . . From the heights of Brow Head the outline of Rock Island at the mouth of the harbour resembles a partially submerged submarine, its twin customs-observation buildings the conning towers of this strange naval mammoth. An ill-assorted collection of buildings adhere like barnacles to the back of this submarine: the roofless lighthouse barracks, a defunct fish factory and an abandoned, rambling Victorian mansion suggest an unfavourable location. Wedged in the little cove in front of the mansion is the hulk of an old wooden trawler. A graveyard of vanished days and forgotten hopes . . .

Coastline: West of West, Brian Lalor

Ballydehob’s 12-arch bridge – or railway viaduct – must be one of the most profusely illustrated and photographed features of West Cork. The Schull, Ballydehob and Skibbereen tramway was a significant piece of transport infrastructure that ran from 1886 until 1947. It’s a fascinating piece of Victorian engineering, the first 3ft gauge railway line to be built in Ireland. Everything about it was eccentric: here’s one of my RWJ posts setting out the history of the line. Brian has a little anecdote well worth the recounting:

. . . As it is one of the most pleasing architectural features of the local landscape, I drew the Twelve Arch Bridge on many occasions and it reappears in a variety of forms amongst these etchings. One village magnate commissioned me to do a large picture of this monument for his new house. The price was agreed and the picture eventually produced. I had chosen an angle which showed the bridge emerging as it does from thickets of brambles and conifers on either side of the water. Delicate fronds of foliage wound in the foreground of the picture and the subject itself basked in the distance, looking solid and ancient. I was quite pleased with the results. When I presented it to my patron he gazed at it in silence for a long time. Then with a large and calloused hand he ran his index finger across the view a number of times, shaking his head slowly as he did so. ‘No. no good at all, It won’t do,’ he muttered more to himself than me. He had been counting the arches. In my enthusiasm for the atmosphere of the piece the accurately rendered number of the arches had become obscured, those on the extreme edges becoming partially lost in the undergrowth. The commission was rejected. If you are paying for twelve arches you don’t want to be short-changed with ten and two halves!

Coastline: West of West, Brian Lalor

Fastnet. An iconic silhouette – perhaps a fish-eye view? The lighthouse is a ubiquitous element of structure which can be seen from all the waters and islands of Roaring Water Bay. Brian’s words:

. . . Roaring Water Bay encompasses an area of about a hundred square miles of water between Baltimore in the east and Crookhaven in the west. The tortuous coastline of the bay, as of much of the rest of West Cork, is punctuated by small coves, each with an old stone pier or miniature harbour. Up to the mid-nineteenth century these were the arteries of communication and trade and a wide array of lighters, barges, rowboats and yawls plied the coast, ferrying freight around the rim of the land rather than through it. Never far from the safety of land, they darted from port to port with the assurance of safe harbours at frequent intervals to reduce the threat from treacherous seas. Today, however, only the yachtsman holds this perspective on the land; it is a medieval cartographer’s view of the world: good on outlines, vague concerning the interior . . .

Coastline: West of West, Brian Lalor

The eye of the artist searches out ways to tell a story or unfold a scene in graphic simplicity. This is St Brendan Crookhaven: a simple church that is dear to the hearts of mariners, and has long been so.

Stone Circle and Child Sacrifice is a thought-provoking piece. These ancient sites date back thousands of years: there are many here, beyond the West. We wonder at them, and can only guess at the significance they had to their constructors.

. . . The Landscape of the mind, which co-exists, interlocks and overlaps with the geographer’s vision, is an intangible, ephemeral thing. You may encounter it unexpectedly on a moonlit night or on some deserted headland, or perhaps in the dim light of a public bar. In this part of the world, soaked in memories and half-memories of the past, much is implied rather than stated. Like the collective unconscious, the landscape, too, is composed of a multitude of intertwining details. This collection of etchings of West Cork is concerned with those details: with small corners of towns and villages, with oddly-shaped fields and erratic skylines. Each etching is a vignette of landscape, architecture or environment. The pictures are organized around a number of themes yet the material as a whole has such an overall unity that what illustrates one section also has relevance for another. The point which they make is a collective one . . .

WELL MET BY MOONLIGHT: WEST OF WEST, BRIAN LALOR

Brian’s book is as much about the human side of West Cork as it is about the natural or supernatural. He illustrates towns – Kinsale, above – and the landscape. For me, this is a very significant little volume: the travels described within it echo my own journeying through this most special of places. Thank you, Brian, for so vividly enhancing my appreciation of West Cork.

Kilcoe

Spooky!

It’s Hallowe’en. When I lived in Devon, England, in my younger days, we didn’t know the meaning of the word. We certainly celebrated the coming of the dark time of the year, but there the story was all about Guy Fawkes, the ‘Gunpowder Plot’, bonfires and fireworks. Here’s a pic I retrieved from my old files: Hatherleigh, Devon, around the beginning of November. Huge barrels were soaked in tar, set alight, and pulled down the very steep hill that runs through the town at dawn and dusk. It was certainly scary – but not Spooky!

Here things are different. In Ballydehob we are preparing for our own celebration of the shadowy times. There will be a procession through the streets tonight. It will be scary, in a spooky way…

The whole town enters into the ‘spirit’ of things. This post sets out to look at the preparations for the night’s events. I particularly like the display – perhaps slightly understated – put on at the ice cream counter in Camier’s garage and shop at the bottom of the town:

Levis’ Bar is at the centre of things, and I called in to see the workshops taking place to prepare for the evening’s events:

I think this evening’s activities are going to be spectacularly spooky! I will let you know. Elsewhere in our village of Ballydehob, everyone is getting into the right mood.

It’s never ‘half-measures’ in Ballydehob. Everyone joins in with complete enthusiasm. And there are plenty more celebrations of this spooky time going on around us in West Cork. Don’t stay at home!