A poetry film/documentary hybrid. The filmmaker, Kate Sweeney, describes it in the Vimeo description as
A poetic glimpse into the archives of the North East [UK] poetry publisher Bloodaxe Books, the contents of which were recently purchased by Newcastle University.
The film was made by artist Kate Sweeney in collaboration with poets Tara Bergin and Anna Woodford in spring 2013
Anna Woodford and Tara Bergin both held residencies at the archive. Bergin talks about her fondness for archives in a video introduction to the film. The same site (CAMPUS social network) gives a fuller explanation of how Proof came to be:
In 2013, Newcastle University acquired the archive of Bloodaxe Books, one of the most important
contemporary poetry publishers in the world. Two poets and recent PhD graduates, Anna Woodford and Tara Bergin, were asked to take a look into the as yet un-catalogued boxes to gain an initial sense of the archive’s scope and potential. To document their findings, they teamed up with artist Kate Sweeney to make a short ‘poem-film.’ They called it ‘Proof’.
“It was very strange and very interesting,” Bergin says.
An eight-minute filmpoem that still ends up seeming much too short. Digital artist Tom Schofield and filmmaker Kate Sweeney have created a truly masterful, immersive work that pays tribute to one of the glories of Medieval art. I’ll let Sweeney explain:
The Antiphonal project began as an original commission to 12 poets to write a poem inspired by the Lindisfarne Gospels. The poets involved are all based in the region and include: Gillian Allnutt, Linda Anderson, Peter Armstrong, Peter Bennet, Colette Bryce, Christy Ducker, Alistair Elliot, Cynthia Fuller, Linda France, Bill Herbert, Pippa Little and Sean O’Brien. The poems were then turned into a sound installation, entitled Antiphonal, by digital artist Tom Schofield, and sited in two iconic places: the newly renovated Lookout Tower on Lindisfarne and the crypt of St Aidan’s Church, Bamburgh.
Visual artist Kate Sweeney then produced two films in response to the sound installations. Using time lapse Kate sought to capture the colossal beauty of the landscape at Lindisfarne and how it changes through the course of a day. This is contrasted with the fragile detail captured in the Crypt at Bamburgh, where she imagines the breath of the past gently disturbing the cobwebs over the stones.
There’s more background on the website of the Newcastle Institute for Social Renewal.
This project was also part of a larger project, The Colme Cille Spiral, of which it formed one of six ‘knots’.
The project was a communal act of making, involving a group of poets and digital artists sharing inspiration on two journeys to Bamburgh and Lindisfarne, before they embarked on the commission. Eminent medievalist, Professor Clare Lees, King’s College London, was also involved in a conversation with the poets and artists, providing relevant texts, images and stories. The sound installation produced from the poems worked in a different way from the written page, enacting a dialogue between the poems, and demonstrating the emotive power of the human voice. The project reworked medieval themes and images, translating them and re-interpreting them for the present. It also placed poetry in new settings and involved different audiences. The crypt was more successful than the Tower, because of the number and noisiness of the visitors to the Tower. This was the first use of the crypt, which has been newly opened to the public, and the members of the church and community took ownership of the project, asking for there to be chairs so they could sit and listen over a period of time. The impact of the project continues in two further exhibitions, and a radio programme. The project is about listening and attention, and about hearing the echoes of the past in the present.