Ruth Maclennan

August 4 to August 11

Wild Angelica

Red Campion, Clover and Angelica

I waded through the nettles at the cliff-edge,
Elbows forward, hands held up above the Thistle spears
On a mission to gather as many flowers as I can hold this windy morning
To lay upon my father’s fresh new grave tomorrow.
Blood red Dock leaves spread beneath their scabby flowers,
Fluffy Meadowsweet sweetly envelops as I sniff and sneeze,
Pale-pink Ragged Robin flutters in a ditch,
Knapweed thistle goblets push through the taller stalks;
Yellows and purples don’t mix,
Just spot the swathes of grass-green, dust-grey, ochre.
Tufted Vetch – bouncing arabesques of dark blue,
Red Campion – bright carmine flags,
Waving crowns of Red Clover,
Each bud covered with a bee or bug
Clinging to sweetness against the wind.
A Little-Blue pauses, slowly flapping,
While other butterflies blow about in gusts.
Little yolk-yellow bubbles of Bird’s Foot Trefoil huddle at my feet;
Around the crumbled edge,
The cliff-crack softened by the grass, Clover, Buttercup and Vetch,
My eye wanders, caught by unfamiliar flowers, like weird wild Angelica, with its
Prehistoric bulbous sepals and cauliflower heads.
My careful clumping boot suddenly drops down a deeper furrow,
A wrinkle formed in land released, rebounding,
Now the last glacier’s melted;
The island still keeling, tipping skyward;
And the sea, warmed, rising, crashing against the sandstone slab.
Purple-red Self-Heal, pale-domed Harebell and floating Fairy flax,
Lamp-yellow daisy-heads of Goldenrod,
And softer yellow powder-puffs of Lady’s bedstraw mingle at my feet.
Across the ditch, up onto the headland, the grass falls away,
And Scottish Heather famously spreads its purple weave
Patched with bright pink beads of Bell Heather,
Heath Spotted-Orchid juts its tiny candelabra of speckled petals
Just above the sea of heather, grand and solitary.
And what of the soundtrack: against the din of wind and buzzing bugs,
The carrot-beaks of Oyster-catchers screak as I pass
Above the beach, maybe fieldfare in the hedges, a few ducks and gulls,
I don’t know all the names, just some my father told me.
I check the book dedicated, ‘with best wishes…and many thanks for encouragement
and support throughout…’
To my father and my mother.

July 28 to August 4

Ruth Maclennan, ‘Old Man of Hoy’, 2020

July 21 to July 29


Dialogue up the stairs

Please will you come downstairs now.

I’m coming.

Please will you come now.

Just one thing.

What one thing?

It’s just One-thing. Give me just One More Thing.

OK five minutes.

That’s not enough. It’s just One Thing. It will take ten or fifteen minutes.

What thing is it?

Just one thing I’m doing.

A Thing you’re doing, OK. But what thing?

Just one thing. Come on.

OK ten minutes.

Ten or fifteen minutes. It’s just Onething.

I know: one thing and you’re doing it.

July 13 to July 21


July 7 to July 13


A Little Field Music

I can’t travel. Most people can’t right now. I have responsibilities at home; there is an ongoing global pandemic, severely mishandled in my country. Travel is restricted, and in any case no one wants to see a traveller. And I don’t have the money to pay for it now anyway. I had a plan to travel to Arkhangelsk in June, to show my film and meet others working and living in the Arctic. It was an exciting prospect. The best bit was going to be when I slipped away after the conference to go filming. I didn’t have fixed plans, because I was still looking for the money when the pandemic broke and the conference was cancelled. But I wouldn’t have planned it much anyway. That’s how I like to travel: to have a few fixed points, a few nights covered, and an excuse for the journey. I make plans as I go, following some hunch or persistent fascination, some alluring thought or story or memory of a person or tale that sets me wondering and wandering. The scale of the adventure fluctuates, from sweeping planetary almost geological considerations, to an obsession with spyholes. I would have met people at the conference – strangers, friends and colleagues, and their friends and colleagues – and we would have eaten lunch together, or dinner, and I would have listened to their stories, and made a plan. There is a local bus I could have taken and then a boat to the islands of Solovki.  Or I might have gone in the other direction, heading north.

Recently I have called this way of working ‘fieldwork’. I recognize the colonial connotations, the historical roots of the term: for scientists, anthropologists, geographers and others. The field implies the separateness, the otherness of that which is being studied, or those being studied. But what I seek and what I experience is something else. It is the opportunity for me to be other, not to study the Other. It is time for me to escape the responsibilities I have and that I have created together with my family, for myself, at home. They are real responsibilities, and fair. The exact delineation and the society that produces them are not the issue here (though they are an issue); I am not complaining about them, but the pressure of competing responsibilities is something I feel, keenly. So, the field isn’t really a field but more like the setting aside of some time and money, for me to leave home. It takes some organising and a support network – at home.  I don’t worry about defining my area of activity, or my research questions.  I create a field for myself as I go along – an imaginary ‘field of vision’ that takes in stories, histories, noises, images and atmospheres in the places I visit. I am an expert in my own field, but it’s a shifting one, it overlaps with many other fields of vision, areas of understanding that I learn from others.

Fieldwork is still a useful idea for me, because if makes solid this need to be elsewhere. Fieldwork is recognised as a valid form of research practice. An alibi? Not quite, though sometimes it feels like it. That is just revealing my guilty feelings at leaving responsibilities behind. But somewhere inside me I know I have a responsibility to myself, to my work too, and for the time being this seems to be my best if not my only way of realising it.

I need to be in the field in order not to be myself, for while. I need the field in order not to be at home, not to be available to those I love, or fulfil my work and other commitments.  I need to abandon expectations to make work, to forget them for a while. Can I bring the field closer to home? Maybe, by creating situations, setting in motion possibilities and seeking out new spaces that I’ve overlooked before, staying open to whatever happens, to all encounters. That is much harder to do from home. It also suggests that the ‘fields’ that I have been pursuing for the past eight years were somehow unnecessary (I could have just tried harder at home) and that my relation to them has been a personal odyssey not a worthy investigation or pursuit. But I have things to show for those eight years. I have stories to tell.

This gives me another idea for what I might do with the ‘field’, from home. It shall become a collective field made up of people I’ve met, and some I haven’t, who might share materials with each other – ideas, stories, knowledge of a place and moment. The idea is still hazy; ‘fieldwork’ for me is a malleable thing. I have had to think about it a lot as I ask, ‘How will I ever travel to the Arctic again?’ So I have been wondering, in the meantime, ‘could I make a film from afar?’

This might be the beginning of a plan for a film about the Arctic from afar. The problem of course is that the Arctic is often depicted from afar – historically, even more so. That won’t put me off, however, this is going to be something else. It’s more about how voices far away can still reach me and I them. There might be stand-ins here for weather effects and wildlife. I can journey in my mind from Deptford’s docks. I will follow the river and look for ships and routes and horizons. And I’ll be in touch soon.

June 30 to July 7


June 23 to June 30


This night, the shortest night in the northern hemisphere, I can’t sleep. So I get up and creep downstairs to write, to stop the fleeting thoughts and leave some tracks, to pick up tomorrow.

My mind slows now to let me notice the space between the interruptions.

Perched in the night I watch the dust rise in the shaft of my reading light, disturbed by the turning of a page. I can blow the glittering specks but they return, free and light, caught in natural disorder. Like meteorites they are torn from some larger body and hurtle out into the unknown, suddenly caught by the atmosphere, in a gust of warm breath. They land somewhere and spread a soft feathery layer over everything. Left undisturbed, they’ll soon be caught up in skeins of new life.

Dust, droplets, particles, particulates are the invisible accompaniment to our days, threatening our encounters.

I live at the bottom of hills and almost every day I walk up one of them. Every day at some point, amid the interruptions, I push myself to step outside and head for the hills. I enjoy the steps it takes to reach the top. I seek a view: the distance across the horizon to a huddle of grey towers. Always the same towers, but different sizes depending on the hill I’ve chosen to climb that day. They are cold, grey, hard interruptions; unscaleable and unreal; an old idea of the new.

The trees and roofs of suburbia spread out, smaller and smaller till they blur into a haze that is returning now the cars are back and diesel thickens the air.

I need to walk up, out of the valley of my day without a view. The windows of my home face a hedge, and higher up, just the houses opposite which are rarely interesting. The poodle that sits in the window watching, a curtain twitcher, makes me smile, but otherwise the view is familiar and flat and I can’t bear to look. In any case I don’t have time to look out – I’m scattered inwards and indoors, from desk to kitchen to calling up the stairs then trudging or scampering up them, to reach my children. I am not reaching them. They are in their own worlds doing their own thing, caught in a blue light. They are good at ignoring the interruption of my voice. I don’t even hear my voice anymore, nor do I want to.

So a walk up one of the hills pulls me into the world. One foot in front of the other, I feel my thighs tighten, stretch my Achilles tendons, deliberately tighten muscles, use more strength than is needed just to feel my own strength, pent up, unused. Reaching the top of the hill means I’ve arrived somewhere. I can see further than my hedge and ‘what’s for dinner tonight?’ I can see far and wide, to the sticks of steel and the blue haze. I can’t see the future, but the space is something. The future is a dangerous thought. I try to hope the futures we might like to make, full of clean air, joy and peace. But the future blinds me to the impenetrable present which is hard enough to contemplate. The future is easier than the now, and thinking only of the future means it won’t happen as I imagine it. But the views: the air and space and distance replace the pressure of time, for a moment. I am suspended, in luckless flight, petering on an edge of now. I turn and catch a Frisbee, and turn again and see the trees.

The lime trees in bloom smell of Berlin beer gardens.

June 16 to June 23

Bye beard


Corona Polyphony

‘My manager’s off on holiday, so I’ll have to wait till he comes back …The call said that’s not open. They’re massively off. I got the letter that says about furlough. It says what they’re going to pay me on the letter. It says my average over the year was 85 something, I can’t remember over the month. …The only thing I put in for was my pension. It’s about 20 quid (laughter). That’s still a big difference from £650 to 80 or 90 – that doesn’t even cover my rent.

I was going to just shave it all off, and go for a pudding hair cut, but it hasn’t had the approval yet.’  You overheard this in the park a week ago.

The polyphony is in your head as well as your home. How to capture this edgy, unclocked, sad glue time? The buzzing, restless insects and chattering, always anxious birds; the back garden sawing and crying; footsteps swerving past others on the street; edges of lives more bird-like than before up against each other: all make it clear that lives go on. But there is a waiting, you don’t know quite what for. Waiting for the world to be safe again? But it wasn’t safe before, for many or most. Waiting to go back to your day to day lives? There’s plenty of everyday now. You aren’t sleepwalking, or sleeptalking. Renew your friendships daily: it helps resist those who renew their enemyships daily.

The tearing apart of quarantine: people are crying inside, in the darkness of losing their loved ones, and twos and threes.  A wrenching, like when a nursery teacher has to unpeel the fingers of a small child clinging to a parent who has to go to work. The child knows it’s a trick. But now it is the parents who are left behind in hospital, or at home, or in a ‘care home’, unable to cuddle their children, wondering when they’ll see them again.

The anger at the enemyships cools as I write. They make me boil and I don’t want to be cooked right now.

The waiting, the larger waiting, in the air you breathe is also a listening, to figure out what to do next. ‘To make the world a better place’ sounds so trite, but it’s just a bit imprecise.

If this were a dream, now would be the time to wake up and make breakfast. That was a long sleep and many are still living the nightmare. Others are ignoring the fragility and ache of bodies just waking.

The half-dream in-between state between sleep and waking can sometimes let loose and bring to the surface deep unfettered wanderings and images, visions and feelings of a different almost world that brushes against this one. The Crown Letter has helped me sometimes to hold on to those moments and bring them into the day, for company.     

I listened the other day to a story of how thousands of meteorites were found in blue ice, pushed to the surface in Antarctica. Over millions of years they fell from Space.   

June 2 to June 9

Happy Monday

May 26 to June 2


May 19 to 26

They will be on the move

They will be on the move.

We’ll all be on the move, next.

Now we’re stuck at home, pacing,

Or asleep.

Soon we’ll be leaving our home if we have one, searching

for somewhere to rest,

On Mars

Or the Moon,

Or Camping until we’re moved on.

Today we take it one meal, one stroll, at a time.

There’ll be no sitting still then, when this is over,

when the heat is on.

It is already of course, and we know it, of course, every day,

There isn’t time to sit still, really.

I heard blackbird, robin, blue tit and a screeching

parrot – brighter than ever, at least in their lifetimes.

“We’ll need five pandemics to really make a difference to pollution and carbon emissions.”

That can’t be right.

Public servants in their private rooms, in public mansions,

Reassure with lies.

If you take stock, during the lockdown,

Those who can,

Who eat readily and have a bed and cash enough to sleep at night,

If we take time to think, together,

‘what next?’

And more to work out ways, ‘I can plot, resist and serve.’

If I, if lots of I’s under brighter skies take private public stock during the lock

Then flight from drought and flood and failed crops and torment just might,

Slow down.

Early May 2020

May 12 to 19

A visitor

May 5 to 12

Walk from my house to the park

A recipe for wild garlic dip.

I soaked some beans overnight, to finish the jar.
Next day I boiled them and left them there in the pot, while everyone wanted eggs and pasta.
Next day in the park again I threw a ball with the boys, spinning it as my son taught me. Kicked it high and straight from the laces.
We’ll have a casserole for supper, with leftover sauce. I must not forget the beans though. They need eating, maybe garlic and spice, as I walked through the trees in the hidden part of the park. I know, wild garlic!
Beans, wild garlic, olive oil, lemon juice, salt and pepper – voilà! Whizz the beans in a mixer, sloosh in the olive oil, squeeze a lemon add salt and pepper tear in the wild garlic.
It tastes of wild, but silky smooth and light with flecks of green, it brings the glade into the bowl.

April 28 to May 5

Windowsill, Lodeyno, July 2018

From The Northern Sea Route series

Photograph, C type print, archival paper, 2019

800 mm x 560 mm

This is the flat of a Sami woman I met in Lodeyno, above the Arctic circle in Russia. I think of her and others looking through windows now, onto empty streets, from empty rooms, wondering and waiting.

April 21 to April 28

It’s all right in the mornings

It’s all right in the mornings

It’s all right when the day is still to make

When everyone’s asleep except the birds

It’s all right in the kitchen –

There’s food to cook and water to boil

And radio

It’s all right in the garden –

Needs watering and planting

It’s all right by the open window

Or closed

It’s all right on the floor –

I can stretch and bend,

Tip myself upside down.

Night sweats and screams and shakes and buries heads.

            Fires flame full fear fracking welts appear itches fiercely scrape fierce skin

                                                                      from within and without.

Burning blood headward rushes –

              swells, retreats, rages through again – drowning the floating thing, off guard.

Blasts it – brain thing – to bits.

Then out goes the tide leaving some embers and smouldering.

              Fingers tentatively tentacly sweep at the ashes to gently hold the little grey scraps

and the rest of it – in place, and still.

Ashes won’t settle. They rise in gusts of breath scattering dust.

              Chase the bigger ones, like bubbles,

               this time, grasp the good feeling (good for many reasons I can’t explain).

The good feeling came just before

                the memory of a thing from his life lived burst in and exploded, silently,

Instant combustion made boiling blood head.

The living I had lived was nearly given back to me,

                and I blew it.

Or it blew me, blew through my blood, to head,

                swelling rush of hot tears instead of cool fond remembering.

I’m left with scattered ashes forgetting whatever it was that had remembered itself to me

                 in that instant. Ashes. My fault –

I blew it, that instant as it was meant to be, as I meant it to be.

All that remains are the ashes scattering my scattering, skittering mind.

My limbs and jaw hold tight and stiff, locked down,

                 forgetting to soften and sleep.

Held alert stiffly still while burning white blood

                 sloshes through lung to heart to throat to brain to heart again and lung.

The rest forgets as the steady loving muscle tries to find equilibrium again.

What are the eyes doing? And ears? They didn’t see the rushing blood

                 or sparks, or ashes blown by the explosion.

The ears missed the white noise blood torrent.

Soon they’ll pick up breathing again, another’s.

They’ll fixate on in and out,

                 rustle of sheet and nose hairs and whistling.

And next the grey sounds of the night,

                 of the abandoned street. And then the birds.

And then prone body aches and shifts woodenly.

Ears and brain start up spinning

                  settling on elsewhere inside, listing

things and forgetting things, blinking blinkering, out.

Side roll bend at the waist, push and sit up.

                   Reach out feet

stretch hands, gather the scraps that make waking getting up.

It’s all right in the mornings.

                                                               Ruth Maclennan, April 2020

Ruth Maclennan is an artist. She lives in London. Her work includes films, multi-channel moving image installations, photographs, performances, writing and interdisciplinary curatorial projects. Maclennan’s films and photographs explore how the climate emergency has irrevocably transformed ways of seeing and understanding landscape and place – both for their inhabitants, and as representation. Informed by ecological thinking, cross-disciplinary research and fieldwork, her works examine places through the relationships, cultures, geographical conditions, and stories that form them. She exhibits in exhibitions and film festivals in Europe, USA, Australia and Central and East Asia.  LUX Artists’ Moving Image distributes her films (

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