MIND'S EYE SALTMARSH... (My new poem inspired by Hannah Blackmore's painting...)

 Mind’s Eye Saltmarsh…

(My new poem inspired by Hannah Blackmore’s painting…)

It is as I imagine it. Such a memorable, uncomfortable thrill. 

A feeling of uncertainty. A destination unseen, wondering where

Life might lead. A mist of hope’s clarity, a future unclear,

Where a mere semblance of light grips the dank, harsh Grasses of salt-marsh, its pallid weak gleam maybe cast upon a pool,

Shimmering for waders, like a fidgety redshank, a stalking egret, the eerie call

Of a curlew, or a fussy train-whistle oystercatcher, its long, red bill 

Inserted deep into a slimy creek, with a stark red-eyed stare.

And the silence is palpable, the North Sea having withdrawn, as if in fear 

Of what might lurk and threaten upon this inhospitable marsh.

The feeling of insecurity here is palpable, the tall reeds shivering at the cruel

Wilderness which yet attracts and beguiles, and for me is held in thrall…

Pete Ray…

13th March 2026…

The painting really did remind me of north Norfolk’s salt marshes on a misty morning, the light perhaps upon a pool, where wading birds gather.

I have been here at Wells-next-the-Sea for a week and this painting was similar to how the marshes appeared on two of the mornings.

Love the work of this artist…

The thoughts of an independent source, The Sand Martin...

‘This gentle calming view with muted shades merging imperceptibly together is completely mesmerising. What might be the sky and the ground are almost seen as one.

It appears as if two thirds of the painting is possibly a subtle sky in shades of pale grey with some areas almost white, which seem to focus the eye. 

The gradual amalgamation of what might be sky into what could be water is virtually impossible to detect, such is the skilful blending of colour to give a misty quality that is almost spiritual in nature. 

Similarly the areas of what might be marsh to each side and in the foreground of the painting merge imperceptibly into the ‘watery’ area. 

A bright band of white brings attention to what could be surf or a heavier sea mist perhaps. The precise location of possible areas of land, sea and sky are unclear and ethereal in this very atmospheric watercolour.

In such places the imagination can run wild with fright and terror. This has been used to great literary effect for example by Charles Dickens. One recalls the horrific appearance of the felon at the beginning of ‘Great Expectations’ as he emerged from the camouflage and hiding place offered by a marsh to the terror of the young Pip.

Salt marshes hold a danger underfoot for the unwary who may easily become disorientated by the moving haze. 

Is this perhaps an allegory for life that we have an idea of what lies ahead but the way is unclear and difficult to detect? 

Like the trials in ‘The Pilgrim’s Progress’, will we be beset by troubles simply by moving forward through life? Or should one step back and admire the glory of the view produced by Mother Nature with awe and wonder? 

This beautiful painting most certainly inspires one to appreciate the natural beauty of our Earth and the skill of the artist…’