felt tacks, grey as ash, lid of the box

slid back – labelled spikåda

neck piece, claw hammer, enamelled

fragments of urchin shell

unfamiliar shore

kaldbaksvik, silver and fishskin

driftwood, iron nails

the colour of dried blood

fingers of timber

whale tooth

notched with barnacles

shakudo, shibuichi, white and gold

fragments of rubber, sea-worn

silvered as birch bark

necklace, mussel and chain

fragment of trilobite, polished

gold of oakcluster

brooch, reconstructed ivory and readymade hair

willow pattern. the storm hit the

village on 13th November 1872.

electroformed copper, silver and steel

a man sits, still as a deathmask

on the stove the kettle boils

memory container, wood and felt

varnished leaves, peeled birch

glistens like fishskin

necklace, marble, brass and leather

a branch with flowers, a blossoming

industrial copy of the white

ironwood, cotton thread and paint

a slate beach, vortices of shell

in dessicated nest of weed

neckpiece, oxidised silver, industrial enamel

                                                            and shell beads

here are the dead, green

silence of the outer island

twin brooches, cachalong opal and silver

tusked shard of antler. twig

fragment striated as bone

brooch, bioresin and chain

the pressed imprint of memory

catalogued as pendants

neckpiece, pigment, graphite and brass

ochre stone, lichened yellow

the dye presence of croatal

furillen, painted wood, iron and thread

land’s end, dog long dead

nitrate emergence of wrecks

brooch, reconstructed ivory, bone handle (ready

                                                            made) and limpet shell


topographies appears (along with the correct formating – thanks wordpress) in the grind journal