Having reflected on the process of making Little Blue Man in the re-edits (2021), I offer here two additional films that explore source and stimulus from 1996 through 2011 and 2015.  I offer here drawings from my notebook, photographs from family archives, photographic explorations in the landscape and an interview I did for radio on ‘My Sister, My Angel’.  Having originally decided to begin the indoor performance with an introductory lecture not unlike what I did with ‘The House’, I am tracing here how I finally found the transition from studio blackbox to landscape and site.  For me this was a very  important development in my work and marked a new phase that has held these past ten years.  The image on the shore in Charmouth dates from 2011 when I first encountered Sandra Reeve’s Strata Course (Autobiographical Body 2011).

Finally I am sharing a document I wrote reflecting on the process of making Little Blue Man. It is called  Charting an alternative course for ‘Little Blue Man’.  I wrote it when I was thinking about the changes that had come about in my work between 2009 and 2015.  It begins with a poem I wrote for my Dad’s funeral, charts the chronological development of ‘Little Blue Man’ alongside other work and moves towards grappling with a dilemma –  split/parallel – a theme I am currently exploring in ‘Follow the Stone’.  The document formed a scroll of evidence at Gate Seven, so in that way it is an artefact/prop from that performance.

Charting an alternative course for Little Blue Man

I have recently returned from my third experience of Sandra Reeve’s Strata – The Autobiographical Body.  In this document  I talk about a trilogy (‘My Sister, My Angel’, ‘The House’ and ‘Little Blue Man’, but maybe the current trilogy is:  ‘Little Blue Man’, ‘Follow the Stone’ and ‘Disrupted Meadow’  – three works emerging from Strata.