This is a project that documents areas of landscape with distinctive Welsh names – they can be surreal or poetic, refer to past events, or are descriptive of the locations. By now, it is impossible to know when and by whom these places were given their names. Research revealed that many of the names probably refer to historic events that took place many centuries ago. Because many of the locations were common ground, some may have been named by cattle drovers, or by hill farmers who used the land for sheep grazing, or through habitual use in the nearest local community.
You will notice that the great majority of these places appear, by now, to be ‘empty’, ‘anonymous’ and ‘inconsequential’. If you were to walk through these places you would not think they were worth naming. Some are noteworthy because of an absence of any traces of human activity. In a sense, the only evidence of this is in their naming. Others, however, regardless, or despite, being named have been transformed, recently, by commercial forestry, for instance – but their names survive on maps, nonetheless.
Together, the names are the remains of a rich, but hidden, social, cultural and political history. The aim of the images and texts on the following pages is to restore meaning to these obsolete places and to invite the viewer to reconsider and expand their idea of where history “resides”. In addition, amongst the history, the descriptions and the speculation, you will find aspects of my conceptual and emotional journey during the making of the series.
There is an additional personal aspect to this series. Perhaps as a result of a childhood spent in a small rural community in North Wales, landscape has been a continual preoccupation in my creative practice, both as filmmaker and photographer, although my visual approach has often been tempered by a reluctance to submit to classic pictorial conventions that offer easily digestible ‘beautiful’ views. Instead, in this series, I want to encourage the viewer, via title and text, to engage actively with each picture as a ‘documentary record’ of an activity that has to be imagined, rather than passively contemplating the images as ‘sublime’, timeless vistas. The series has also enabled me to convey some of the complexities of my feelings for, and interactions with landscape. In this sense, I hope it acknowledges that every landscape is a human landscape and that each view represented will always be a signifier, not simply of ‘nature’, ‘terrain’ and so on, but also of memory, absence, history - and the imaginary.