After Walking along Hidden Rivers

Before I began walking, I had no idea what I could collect and what my experience might be. After collecting objects from a couple of locations and seeing objects on the grounds and the streets at the beginning, I realised I needed to consider the health and safety aspects. To mitigate the possible risk of infection, I avoided picking up anything that someone has potentially put into their mouth such as cigarette butts, used e-cigarettes, used forks, spoons, and food scraps. I also regularly sanitised my hands while collecting. I cleaned all the objects as soon as I got home. I also decided not to collect objects with sharp edges that were too big or heavy, as they may cause injury. So, the objects I've collected were within a specific size and weight I could comfortably carry while walking around London.

Additionally, seeing so much rubbish in some areas saddens me, although some might see it as a sign of the area's liveliness. Some people litter the streets without much attention, which surprised me. This is probably due to my upbringing and Japanese influence, as we were taught to keep the place clean and tidy and pick up litter, even if it's not our own.

Anyway, here are my reflections and thoughts after visiting all the locations.

General Reflections and Insights

Reflections of sunlight on Serpentine

Initially, I felt quite self-conscious about picking up objects on the streets and worried about what I would say if someone asked me what I was doing. At times, I waited until no one was around to collect objects. However, this self-consciousness gradually faded as I observed that people were often busy talking on their phones or engaging with others, and they didn't pay much attention to me. In fact, no one asked me what I was doing during the entire time I was picking up objects on the streets.

I think one reason for this is that London is a city where people are preoccupied with their own activities—work, sightseeing, shopping, socialising, etc. I also believe that people in London, or the UK in general, tend to be more reserved and leave others alone compared to, for example, people in Australia, who may strike up conversations with strangers on the streets.

From my observations, people in Australia seem freer to explore and express their curiosity without being self-conscious, which is usual or acceptable behaviour for Australians. Interestingly, I noticed that Japanese people's social interactions are similar to those of English, as both cultures often exhibit a level of reserve in public spaces. I believe these behaviours are influenced by each place's history and cultural background. This 'Fragments Collection' experience reminded me how history, cultural context, and collective behaviours can shape the mood and rhythm of a city.

The mood and rhythm of a place seem to influence the objects found on its streets. As I collected items from various locations, I noticed I picked up natural objects like twigs, leaves, and petals in every area. This may reflect my preference for natural materials over human artefacts; it also suggests that London has plenty of greenery. In fact, I've read articles stating that London is one of the greenest cities in the world https://www.timeout.com/london/news/london-is-officially-the-second-greenest-city-in-the-world-040425. Interestingly, this article mentioned that while Tokyo is considered the greenest city, the central area has very little public green space. During my 10 years living there, I felt surrounded by buildings and concrete all the time, so I often had to travel to the outskirts to enjoy nature. As a result, I feel more connected to nature in London, which is reflected in my collections. Generally, people tend to relax in green spaces, and the objects I've collected from these areas reflect remnants of relaxation, such as drinks, cigarettes, and napkins.

Reflections and Insights by the River

When comparing objects collected from each river's watercourse, I noticed that each river displays a different mood and rhythm.

Looking at bottle caps and a champagne cork in Westbourne's collections gives me a relaxed and warm feeling as I imagine people gathering and taking a break together. The presence of round-shaped objects across all locations evokes a sense of harmony, friendliness, and relaxation. I also felt vitality and energy from the items found along this river, possibly because many of these objects are linked to fulfilling basic human needs or cravings.

In contrast, Tyburn's collections show sterile, tight, and cold impressions. While some items, such as a preloved soft toy, tourist attraction entry tickets, and an information card for contacting someone, suggest fun and care, the overall feeling remains detached. I couldn't pinpoint the reason for this. After further examination of the objects, I concluded that the prevalence of rectangular-shaped items might contribute to this impression, as such shapes often evoke thoughts of rigidity, rules, and regulations. The text on the papers and cards only intensified these feelings.

My first impression of the River Fleet's collections was that they seemed somewhat disconnected from everyday life. The artefacts suggest parties, business, and travel themes, which feel out of the ordinary. Interestingly, strings or hair bands appeared in every location, evoking feelings of connection, unity, and fragility, especially in the case of broken strings. Furthermore, apart from the source of the river, I collected fewer natural objects from this river course, which likely amplified the sense of disconnection or detachment from nature.

Impressions I've gathered from fragments of sounds and conversations have likely also influenced the river's moods and rhythms.

As I walked along the watercourses of hidden rivers, I wondered what these areas were like in the past. I imagined the events and human lives that unfolded along the rivers and how those memories are ingrained in the names of streets, like engraving names on gravestones, for the rivers now turned into sewers and buried underneath our feet. These thoughts prompted me to research the history of the rivers.

The River's Historical Background

Watercolour by artist Paul Sandby depicting the fields at Bayswater, with the Westbourne stream seen in the middle ground, https://www.londonmuseum.org.uk/collections/london-stories/lost-rivers-the-westbourne/

According to the London Museum website (https://tinyurl.com/3zru9vn3), Tyburn supplied water for London from the 13th century, and the name comes from 'teoburne', meaning 'boundary stream' or 'two streams' in early medieval English. The river formed a major boundary between estates outside the city. Also, the river was associated with the Middlesex Gallows and was a place of execution. Around the gibbet were open galleries for the public. After learning these facts, I felt the boundaries and gallows from the past might have seeped into the coldness and rigidity I felt from 'Fragments' of Tyburn.

In contrast, the Westbourne was a source of fresh drinking water and was used to create decorative lakes and water features, like the Serpentine. The river's route was mostly rural up to the 1800s, and the area was known for its watercress fields. However, the Knight’s Bridge and the Blandel Bridge, near the current Sloane Square that was called ‘Bloody Bridge’, had a reputation for highwaymen, robberies and even murders. Interestingly, the Westbourne's collection somewhat reflects this idyllic atmosphere up to the Serpentine. After learning about the area's history, the less idyllic feelings in the Chelsea Quay collections made sense.

The website explained how the River Fleet once served as a vital trade route but eventually became a dump for rubbish and sewage as London’s population grew. The Fleet’s waters continued to support industrial activities into the post-medieval period, including snuff mills, liquorice mills, tanneries, and breweries. From the late 1400s to the 1600s, the Fleet Valley, which extended from Clerkenwell to the Thames, was a hub for metalworking. Additionally, butchers from Smithfield discarded animal carcasses into the river. As a result, the river became a receptacle for industrial, human, and animal waste. Surprisingly, this sentiment carries over to the current time, as I felt the areas were for businesses and sensed the disconnection or detachment from daily life. Also, the area’s reputation for danger and disease persisted until the 19th century, which probably drove people away.

Closing Thoughts

After reviewing the collected fragments and their historical context, I felt eerily. Each collection of objects, sounds, and conversations memorises the historical facts and vibes of the location, which I want to reflect in my art installation. Additionally, I intend to remind us of how our lives are built on the sacrifices of nature, which we cover and silence. I now have a clear sense of direction for this project, which will consider how the mood and history of each river are expressed through the collected objects and their presentation in my work.