This is a far more ambitious version of the fish mobile celebrating Gerard Manley Hopkins’s poem than I have made before. It has echoes for me of Escher’s metamorphoses. I’ve made the birds loosely based on the finches he refers to. Like the other fish mobiles it undulates gently even in slight air currents.
Glory be to God for dappled things – For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches’ wings; Landscape plotted and pieced – fold, fallow, and plough; And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him.
This is my third mobile inspired by Ted Hughes’s poem. In the poem the fox is also a thought, an idea, an almost-poem. I wanted to make a mobile in which sometimes you could see a fox and sometimes it would seem hardly to be there.
I imagine this midnight moment’s forest: Something else is alive Beside the clock’s loneliness And this blank page where my fingers move.
Through the window I see no star: Something more near Though deeper within darkness Is entering the loneliness:
This is a larger, more sophisticated version of the mobile I made inspired by Imtiaz Dharker’s wonderful poem “Invisible” in which a swan studies its reflection in the water, seeing in the image a lost lover.
I made this box and another like it from a really hopeless looking piece of burr elm. The wood yard was throwing it out and in conventional woodworking terms it should probably have been burned. It took a massive amount of hard work to bring out it’s beauty but I think it was worth it.
This mobile is not, for once, inspired by a poem, just an idea that came into my head.
The leaves are made by laminating two pieces of veneer together, this makes for a pleasing (hopefully) distortion of the flat shape. They are suspended from willow hoops allowing for a variation in movement.
I was tempted by the thought of putting “Autumn Leaves” by Nat King Cole into the background but that seemed a bit obvious.