I
Before the sea the sound of sea, before the wind a mask of wind placed on the face, before the rain the touch of rain on the cheek. The lee shore of this finger of land is a gathered turbulence of tea-coloured, leaf-curling wave upon wave, wholly irregular, turning, folding, falling. No steady crash and withdrawal hiss, but a chaos of breaking and turning over, no rhyme or reason, and far, far up the beached misted shore. There, do you see? - suddenly appearing in the waves’ turmoil a raft of concrete, metalled, appearing to disappear, the foreshore’s strategic sixty year old litter shifting and decaying slowly under the toss of water and wind.
II
From the lighthouse steps to the sea fifty yards no more: the path, a brief facing of the wind and spit of rain, then turning the back to it see the complexity of low vegetation holding its own on the shallow earth-invading sand and rolled leaves of marram grass. Sea Buckthorn is the dominant plant, not yet berried with its clustered inedible oil-rich orange fruits. The leaves, slight, barely 5cm long, but in profusion, clustering upward, splaying out and upward on thin branches, hiding the wind in its density, never more than chest high, so the eye looks down, sees the plane of the leaves, long, thin, suddenly tapered, dense, stiff, thorny.
III
You said, ‘look the door is curved.’ And it was. In the late afternoon light filtering through the oblong window 150’ into the grey sky the panelled wood was honeyed. Covered with a well-varnished frottage of swirled marks, some of the wood itself, some of gathering age and infestation, the single window’s light blazed a small white rectangle on the larger rectangle of the door. The passage outside the door too narrow for the eye to take in the whole door straight on, one has to move past and catch its form obliquely.
IV
The curve, the long four-mile curve of the finger into the afternoon mist and sea cloud. From the road: only seen the smooth ebbing tide waters retreating from the archipelagos of mud and sand and slight vegetation of rusted grass. From the road: only heard over the marramed banks the sea’s sound of waves’ confusion and winds’ turmoil. Follow the fade of the curve’s progress in the echo of distance. It paints itself from the brush of the eye, the sea a grey resist. This spreading away is a long breath taken . . . then expelled from the lungs of looking. You can’t quite hold it all in one view so you’ll build the image in sections, assembling and projecting across two adjoining landscape sheets as if the spiral binding isn’t there. The resulting image when digitally joined will describe the negative space of sea of sky, silent and uncluttered by marks. Only the curve of the land will collect the drawn, a vertical stroke here for a lighthouse, a slight smudge for the lifeboat station.
V
From the road looking south to an invisible North Shore, the mist hiding the true horizon, there is layer upon layer of horizontal bands: of grass, of mud, of nested water around mud, wet sand, layered water, mud-black, water-grey, a dull sky-reflected white of a sheltered sea, and patterning everywhere, dots of birds near and distant. Then, in the very centre, a curlew in profile, its long downward curving bill dipping for worms into the wet sand and mud. Breeding on summer moorland, wading winter estuaries, this somewhat larger than other waders here, so distinctive with its heavy, calm stance.
Here are five 'drawings' made in an extraordinary place: the Spurn Peninsula in North Humberside. This four-mile finger of land juts out into the North Sea. At this time of year it is one of the UK's foremost places to sight flocks of migrating birds as they travel south for the winter.
