Iain Sinclair & Edith Walks at Leytonstone Pop-Up Cinema

Iain Sinclair Leytonstone

I had to photograph Iain Sinclair in front of Leytonstone’s Olympic Fish Bar in Church Lane. The great London writer had come to introduce his film collaboration with Andrew Kötting, Edith Walks at Leytonstone Pop-Up Cinema in Leytonstone Library. Iain had been a prominent critic of the London 2012 Olympics, resulting in Hackney Council temporarily banning him in 2008 from speaking in its libraries.

Iain Sinclair Leytonstone

Iain Sinclair introducing Edith Walks

Iain Sinclair Leytonstone

Iain Sinclair introducing Edith Walks at Leytonstone Pop-Up Cinema

When introducing Iain Sinclair, I mentioned how in the boom years of the psychogeography revival at the turn of the millenium, the idea of a Sinclair – Kötting collaboration was considered the psychogeographer’s ‘dream ticket’. Then while I was working at the National Film Theatre that dream ticket quite incredibly manifested itself with the film Offshore Gallivant, which screened at the NFT in 2006. Iain gave a humorous account of the making of the film as the crew spent the entire trip throwing up over the side of the boat meaning little footage was actually shot, however somehow Kötting still managed to make a film.

Iain related this to the making of Edith Walks, one of a number of subsequent collaborations between the pair, documenting a pilgrimage in the wake of King Harold’s wife Edith Swanneck from Waltham Abbey to the battlefield at Hastings. The nature of a 100-mile walk meant footage was not easy to capture throughout. Some of the scenes I shot at Waltham Abbey and on the towpath to Enfield Lock made their way into the final cut. A fair percentage of the film was shot on iphones using a Super8 app. The result was something magical and entrancing that the audience received warmly and sparked a fascinating discussion after the screening.

Edith Walks by Andrew Kötting

Iain Sinclair in Edith Walks directed by Andrew Kötting

Edith Walks Kötting

Claudia Barton as Edith Swan Neck

Leytonstone Pop-Up Cinema is the first Wednesday of the month at Leytonstone Library

Vincent Van Gogh in Brixton – with Iain Sinclair

“I enjoy the walk from home to the office and in the evening from the office back home. It takes about three-quarters of an hour.”

– Vincent Van Gogh, 30th April 1874

A chilly December day and an invitation from Iain Sinclair to look inside the Brixton residence of Vincent Van Gogh, where the Dutch artist lived for a year between 1873 – 1874. The plan is to then follow Van Gogh’s footsteps on the daily walk he took to work at a commercial gallery in Covent Garden. Iain had recently been commissioned by Tate Etc. magazine to write an article on Van Gogh as a walker to coincide with the Van Gogh and Britain exhibition at Tate Britain that runs until 11th August.

“So I began, unpremeditated, a series of walks through those odd, unreal, summer days while I attempted to connect Van Gogh’s English addresses. Surviving houses and chapels, in the end, feel less significant than the movement between them, when weather and light and random encounters effect an interweaving in the strands of time.”

– Iain Sinclair, Tate Etc. Issue 45

Van Gogh Ramsgate

Van Gogh sketch of Ramsgate

Van Gogh didn’t start producing art until he left London, aside from occasional sketches in the margins of letters he sent to his brother Theo. But he did spend a lot of his time in Britain walking, not only in London but also when he worked in a school in Ramsgate.

“Always continue walking a lot and loving nature, for that’s the real way to learn to understand art better and better. Painters understand nature and love it, and teach us to see.”
– Vincent Van Gogh, January 1874

Van Gogh House

Van Gogh House, 87 Hackford Road

Our journey starts though, at the San Mei Gallery nearby in Stockwell, the owners of which have recently purchased the property at 87 Hackford Road and are in the middle of a grand restoration project. Livia Wang told us about their plans for the Van Gough House, to host international artist residencies, tours and workshops aimed at the local community, and a studio space. I remembered the production of Nicholas Wright’s play, Vincent in Brixton that I’d seen multiple times while working at the National Theatre in 2002. Nicholas Hytner’s magical production brought that Hackford Road home vividly to life, featuring a debut performance by a young Emily Blunt playing the landlady’s daughter, Eugenie Loyer, with whom the Dutchman fell hopelessly and unrequitedly in love.

“My dear Theo,

I now have a room, as I’ve long been wishing, without sloping beams and without blue wallpaper with a green border. It’s a very diverting household where I am now, in which they run a school for little boys.”
– Vincent Van Gogh, 30th April 1874

Vincent in Brixton

flier for the event I produced and hosted at Brixton Art Gallery, 2002

Iain leads the way from the house in Hackford Road up Van Gogh Walk and onto Clapham Road. He notes the speed at which Van Gogh must have walked in order to do the journey in 45 minutes. We proceed along Clapham Road, past Kennington Park and the Old Town Hall down Kennington Road to Lambeth North, Victorian Van Gogh era houses lining the route. We cross Westminster Bridge, a point in his commute that the painter in embryo noted in his letters, the light over the Thames.

Van Gogh Walk Cutdown 1.00_10_22_15.Still013

Lambeth Walk

Van Gogh Walk Cutdown 1.00_12_44_03.Still015
We then proceed along Whitehall to the National Gallery and Iain can’t resist going into the gift shop to buy a postcard of Van Gogh’s Sunflowers, another piece of the painter still in London. The final leg of the journey takes us along the Strand and then ascend Southampton Street where there’s no trace of the gallery where Vincent worked selling prints to affluent Londoners.

 

You can book guided tours of the Van Gogh House here

The Van Gogh and Britain exhibition at Tate runs until 11th August 2019

 

Iain Sinclair – Living with Buildings

“I use my own ways of digressing and picking up on other stories that you don’t expect to find by walking and wandering over the ground that’s been described by other people.” – Iain Sinclair

July 2018 and I found myself back out walking with Iain Sinclair, this time retracing one of the walks in his latest book, Living with Buildings and walking with ghosts. We met by Canada Water Station and Iain explained how the book was associated with the Wellcome Collection exhibition of the same name, but was its own beast driven by Iain’s narrative.

John Evelyn's Mulberry Tree, Sayes Court

John Evelyn’s Mulberry Tree, Sayes Court

We proceeded past the old Evening Standard printing works, now slated for development, through Greenland Dock bound for the Pepys Estate – once the home of film-maker Andrew Kötting and featured in the book. After paying homage we moved on to the next key location in this particular chapter of Living with Buildings – John Evelyn’s Mulberry tree at Sayes Court Park.

Iain Sinclair Living with Buildings

Walking with Iain is always a magical experience, layers of London history and lore kicked up and chewed over with every step along the way.  The book, in some ways, is Iain Sinclair’s most traditionally psychogeographical work, exploring the very tangible relationship between the built environment and  human health and psyche.

I was very fortunate to have the opportunity to further discuss the book and Iain’s work in general at the brilliant Wanstead Tap when Living with Buildings was published in October – as you can see in the video below.

Unearthings: On and Off Watling Street with Iain Sinclair and Andrew Kötting

Just under a year after the premiere of our film, London Overground, Iain Sinclair mentioned joining him out on the road again with my camera. This time he was walking a section of  Watling Street, the Roman road said to have much older origins, in the company of the great film-maker Andrew Kötting, from Canterbury to London. I joined them one morning along Shooters Hill Road in South London where they were accompanied by artist Anne Caron-Delion. This first walk followed the road to Westminster (another branch goes across London Bridge to the City) – passing over Blackheath, through Deptford (the ‘deep ford’), New Cross, Peckham, Elephant and Castle, along the way.

Enroute Iain had mentioned a second passage that related to Watling Street but branching off from Shooters Hill to take in the Shrewsbury burial mound and follow cult author Steve Moore’s ‘psychic circuit’ down to Woolwich. This brings Alan Moore into the story and led to a second walk. Steve Moore had been Alan Moore’s mentor, teaching him both the arts of magick and comic book writing. Alan had celebrated Steve’s territory of Shooters Hill in an essay published in London, City of Disappearances, entitled Unearthing. This seemed like the perfect title to appropriate as the title for the film.

 

The film that I made from the two walks ‘on and off’ Watling Street with Iain Sinclair was premiered at an event at Kino-Teatr in St Leonards-on-Sea last October, where Andrew Kötting also premiered his film of the whole walk, A WALK BACK TO THE LAST LONDON BY WAY OF WATLING STREET.

The event was called, Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.

“To pull away from its gravity, he sets off on a Watling Street pilgrimage with long term collaborators (and filmmakers) Andrew Kötting and John Rogers.
Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.
The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.”

Kino-Teatr John Rogers Iain Sinclair Andrew Kotting

The video above captures the discussion with Iain Sinclair and Andrew Kötting after the screenings.

Edith Walks on DVD – Andrew Kötting, Alan Moore, Iain Sinclair, Jem Finer, Claudia Barton

edith walks dvd

I’ve been incredibly fortunate to have a number of pinch myself moments in my life (chatting about Liverpool FC with childhood hero Ian Rush was one), but having the opportunity to participate at the beginning of the journey and shoot some footage for this magical film, Edith Walks by visionary film-maker Andrew Kötting was certainly one of them. The performance event this summer at the East End Film Festival featuring the cast of this film – with Andrew, Iain Sinclair, Claudia Barton, Jem Finer and David Aylward was one of the highlights of the year. Now you can take the journey home on DVD.

Edith Walks Andrew Kotting Iain Sinclair

“Following the Director’s bestselling Swandown film (2012), Edith Walks is a 60 minute 66 second feature film inspired by a walk from Waltham Abbey in Essex via Battle Abbey to St Leonards-on-Sea, East Sussex, in Southern England. The film documents a pilgrimage in memory of Edith Swan Neck. Bits of King Harold’s body were brought to Waltham for burial near the High Altar after the Battle of Hastings in 1066 and his hand fast wife Edith Swan Neck is seen cradling him in a remarkable sculpture at Grosvenor Gardens on the sea front in St Leonards. The film re-connects the lovers after 950 years of separation. The 108 mile journey, as the crow flies, allows the audience to reflect upon all things Edith. A conversation in Northampton between Alan Moore, Iain Sinclair and Edith Swan Neck is also a key element to the unfolding ‘story’.
With images shot using digital super-8 iPhones and sound recorded using a specially constructed music box with a boom microphone the film unfolds chronologically but in a completely unpredictable way. Music by Jem Finer with David Aylward, Claudia Barton and Andrew Kötting. The numerous encounters and impromptu performances en route are proof, as if needed, that the angels of happenstance were to looking down upon the troop, with EDITH as their hallucination. Starring David Aylward, Claudia Barton, Anonymous Bosch, Jem Finer, Andrew Kötting, Alan Moore and Iain Sinclair.
Extra bonus film included: Forgotten the Queen (11 min) is a short animated film that digs into themes inspired by the life of Edith Swan Neck. In this, the Director’s daughter, Eden’s drawings and collages are brought to life by renowned animator, Glenn Whiting.”

(- from the Cornerhouse website)

Lights Out: Iain Sinclair, Andrew Kotting and John Rogers

Andrew Kotting Lights Out

Looking forward to presenting the film of the excursions I made with Iain Sinclair, Andrew Kötting, and Anne Caron-Deline along Watling Street with a fascinating detour following the trail of Alan Moore from Shooter’s Hill. The event will also include a new film and performance by Andrew Kötting, plus readings and conversation with Iain Sinclair and whatever else occurs on the night.

Here’s the information for the event at Kino-Teatr, Saint Leonards 29th October 6pm:

“Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.

The Last London, described by Alan Moore as ‘the masterpiece in a career of masterpieces’, is Iain Sinclair’s final reckoning with a city stretched beyond its limits.

To pull away from its gravity, he sets off on a Watling Street pilgrimage with longterm collaborators (and filmmakers) Andrew Kötting and John Rogers.

Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.

The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.

The collaborators will be happy to sign copies of books (including Last London) at the event.”

Tickets are £12 available from Kino-Teatr box office and online from Ticketsource

The Last London – in conversation with Iain Sinclair

Last week at the Wanstead Tap I had the great pleasure to talk to Iain Sinclair about his new book The Last London.

He read a passage about a walk along the Barking to Gospel Oak branch of the London Overground, a walk that I accompanied him on for a short section through Leytonstone, on the morning of Donald Trump’s US election victory.

“My theories at the time of Lud Heat, deriving from E.O Gordon, Alfred Watkins, John Michell, Nigel Pennick, were about lines of force connecting the churches, making patterns, and provoking crimes, rituals visitations, within an unregistered sphere of influence. What I now understood, in steady rain, on this morning of political madness, tracking an inoperative railway to a place nobody wants to go, is that the walks we are compelled to make are the only story. Walks are autobiography with author.”

Iain Sinclair the Last London

photo by Keith kandrphoto.com

Iain Sinclair’s work has had such a profound influence on London writing over the last 30 years at least, an influence that has stretched into film and visual arts. He synthesised a way of understanding the city and helped codify a new form psychogeography, distinct from its intellectual French roots. He expanded on the background to his hugely influential book Lud Heat:

“There was a period when you were able to absorb so many eccentric influences from all over and it goes back for me to a kind of collision for me between cinema and poetry which were my twin obsessives when I was very young and coming to London to be in film school and beginning to do long rambles and wanders and generally just to find one cinema to the next, whatever it was, and later as a gardener realising that the structure of these churches were enormously powerful and were in some ways, if you looked from the top of Greenwich Hill, connected. London was an irrational city but with rational plans put on top of it at various times generally doomed to fail in their own way but to become part of the story of the city.

I got very intrigued by that and from those kind of interests emerged a hybrid form of writing that was live day-to-day reportage of what I was doing as a gardener in an exciting part of London that I was only beginning to discover. And secondly then having the time to research the churches and their history in places like the Bancroft Road Library, which is sort of more or less gone now, which is a huge resource of local history and the librarians were so knowledgeable, they’d open up dusty boxes and show you all this stuff. It all fused together into a kind of writing that combined wild speculations, satires to do with the awful way the workers were treated down there and the idea that these jobs would disappear and that the landscape itself would disappear because we were treading on the ghosts of the future Docklands, ghosts come from both sides you know, ghosts of the things you find in the past, the ‘scarlet tracings’, but there were also ghosts of the future and they met in that landscape.”

Listen to the full audio of the conversation above.

Iain Sinclair and John Rogers

photo by Keith kandrphoto.com

 

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