Making people proud of where they live – the public art of the Glastonbury Mural Trail

A year ago this week the Glastonbury Mural Trail was launched as part of Somerset Art Weeks.  Murals have been part of Glastonbury life for decades – at least since the 1960s when Pat Leyshon decorated the front of Pat Li Shun, her business at the top of the High Street, with colourful flowers – and have always sparked controversy.  I have been visiting Glastonbury since the 1990s, and for years have been aware of various murals springing up around the town (and sometimes disappearing again by my next visit), but the Mural Trail took the concept to a whole new level.  When I came to live in Glastonbury this summer, one of the first things I did was to pick up a Trail leaflet at the Glastonbury Information Centre, grab my camera, and walk the Trail.

Image of mural

Glastonbury mural by M.O.A. (John Mason, LUVM, SYM, DMK, SIKOH)

Image of mural

Drapers – artist unknown

Following the Trail was great fun – the murals are not always in obvious places, or easy to find, and that’s part of the appeal, as it becomes a kind of artistic treasure hunt.  It was a great way to explore parts of the town I didn’t know, sparking many conversations as I enlisted the help of passers-by in searching for elusive murals.  The Glastonbury Mural Trail is also a showcase of serious artistic talent.  The variety of styles, subjects and scale means there must be something here for everyone, and I even came across a few that weren’t on the Trail Map (I was to find out why later).  There’s still one I haven’t found, because it’s in a pub garden and I just haven’t been organised enough to get there when the pub is open.

Image of mural

Avalon Now, by SYM

Having enjoyed the Mural Trail so much, I wanted to know more about how it came to exist, and what the motivations behind it were, so I arranged to meet Kim von Coels, who facilitated the creation of the Trail for last year’s Somerset Arts Weeks.  Socially distanced in the garden of her Glastonbury home, Kim tells me that there had previously been a leaflet produced by Jim and Caroline at the Pilgrim Reception Centre, listing the then existing murals.  Kim – who, like me, loves maps – had produced a Glastonbury town map, and was approached by the Town Clerk, Gerard Tucker, to design a map of the murals.  She agreed, but only if the Town Council would give its blessing to the creation of new murals (subject to the necessary permissions).  The project was born.

Image of mural

Goddess Hall, by Jon Minshull

Image of mural

Our World, by Jon Minshull

A Facebook group was set up, and its members started researching the possibilities.  They found that, even in a conservation area, murals could be painted in most locations, with the permission of the wall owner, provided that the wall had been previously rendered or was of block construction, and that the subject matter was not offensive.

Image of mural

Wildwood (detail) by M.O.A.

Next came callouts – for artists who wanted to paint murals, for owners of walls who wanted murals, and for businesses willing to cover the costs with sponsorship.  Between April and September of 2019 Kim operated a kind of matchmaking service, connecting artists, wall owners and sponsors, and getting the necessary permissions.  As an example, she tells the story of the mural in Bere Lane, where the owner of the wall was keen to have a Viking theme for their mural, which meant that she was able to get sponsorship from Wyrdraven, the Viking shop in town.

Image of mural

Glastonbury Experience (detail) by Jon Minshull

Image of mural

I think this may be my favourite!  By Sikoh

The involvement of local businesses was key, says Kim, and Jill Barker of the Chamber of Commerce and Tourism helped make this happen.  Nobody got paid – there were just a few small honorariums for artist who would not otherwise have been able to participate – but sponsorship ensured that no one was out of pocket.  Support was both financial, and in kind (for example from Thorndown Paints), with some firms sponsoring the project as a whole and others sponsoring specific walls (for details of all sponsors, see the Glastonbury Mural Trail leaflet).  All wanted it to be good and successful, and the Town Council paid for the Mural Trail to be part of Somerset Art Weeks in September 2019.  At the official opening at the skate park, hundreds of people turned up, and Kim admits to being “totally blown away” by the positive response.

Image of mural

Avalon Marshes by Jon Minshull

What, I wondered, gives Kim most satisfaction about the project?  She has no hesitation in replying.  For her, the joy is that it’s free, it’s accessible to anyone, whenever you want – it’s public, it’s always open.  And it cheers people up and makes them happy.  It has, she admits, been a lot of hard work, but she wants there to be murals, to have people able to paint them, and people able to enjoy them.  She loves that people who normally don’t like graffiti are embracing the murals.  Kim feels it’s important that the subject matter of the mural is “universally pleasant – who doesn’t like nature, flowers, animals, landscapes?  It’s great when art creates a conversation but that’s not what the Mural Trail is for.”  Public art, says Kim, “makes people proud of where they live” and she’s keen to take the Mural Trail beyond the main thoroughfares into “the corners” of the town.

Image of mural

Sugar Skull by Sophie Alexi/The Krumble Empire

Image of mural

Winged Bug by Sophie Alexi/The Krumble Empire/Doodledubz

Kim has herself collaborated in the painting of four of the Trail’s murals – whichever way I walk from home to the High Street I pass one of her creations!  I ask her which is her own favourite, and she replies that she is very fond of the mural at the side of Abbey Park (number 25 on the current map) as it was painted by Oksana Gaidasheva from one of Kim’s photographs.

Image of mural

Globe Inn mural by Oksana Gadaisheva

The Glastonbury Mural Trail continues to grow.  At the time of the launch there were 26 murals, and Kim estimates that there are another 7 or 8 now – she thinks the total will be up to 36 by the time she produces the revised Trail leaflet in a few weeks.  Some have just happened – especially during lockdown – and then she is told about them so that she can add them to the Trail.  In other cases, artists contact her – “find me a wall!” – although that’s getting ever harder as “there are only so many walls!”

Image of mural

By DMK

Kim von Coels is an artist and photographer.  She also works at Heart of the Tribe, a new gallery in Glastonbury.  You can read more about the Glastonbury Mural Trail, and download a leaflet, here.  There is also a Glastonbury Mural Trail page on Facebook.  For more about colourful Glastonbury, take a look at this post on the Normal for Glastonbury blog.

Maps: my obsession with the visual representation of place

I know exactly where my obsession with maps began.  My beloved  grandfather passed on many traits, including a love of history and an engineering mindset.  But the most tangible legacy is my ‘thing’ about maps.  When I was about 5 (and he was in his 70s) he treated himself to a new world atlas, and passed the old one on to me.  I adored that atlas.  It was huge, hardback, bound in chocolate brown cloth, its pages thick and sturdy.  Nowadays, with online maps available through every mobile phone, mapping is familiar and cheap.  But in the 1970s, a world atlas was a precious thing, the only real way of engaging with places around the world, seeing how they related to each other, learning how to use the index to find places I was hearing about on the BBC World Service: Tehran, Guyana, Buenos Aires.  I can still remember the excitement of opening the heavy cover and exploring the treasures within.

In my teens, when I was preparing for my Geography ‘O’ level, I was introduced to Ordnance Survey maps.  This was mapping at a whole new level!  The detail – down to individual buildings – was mesmerising.  The contour lines allowed me to visualise the rise and fall of the land.  It was the start of a love affair which has lasted to this day.

Image of a selection of Ordnance Survey maps

The Ordnance Survey’s somewhat military name refers to its original purpose, which was to map Scotland after the suppression of the Jacobite uprising against the Hanoverian monarchy in 1745, and more generally to provide accurate maps of Britain during the Napoleonic wars.  Now mostly producing digital maps, the OS continues to publish paper maps, many aimed at walkers and others who use the countryside for leisure.  I own quite a few of these…

To me, maps are not simply two-dimensional representations – I have learned to imagine them (especially Ordnance Survey maps) as three-dimensional landscapes.  This makes me a better than average navigator!  Sometimes, if I have spent a long time with a map, it can feel almost as if I’ve actually been to the place.  My grandfather’s world atlas helped me feel connected to parts of the world I had never seen, and helped me to conjure metal images of places I would probably never visit.

Detail of an Ordnance Survey map

My obsession with maps is now a standing joke with my partner.  If we are going anywhere, I have to look at the map.  In the car, even if my partner knows how to get to where we are going, I have to look at the road atlas to orientate myself.  Without a map, I feel as if I have been blindfolded and spun around – I lose my bearings, feel confused, get disorientated.  Wherever I am, I use maps to relate where I am to other places I know.  At some very basic level, I seem to need maps to know my place in the world.  Each time I move to a new part of the country, my first purchase is a 1:25,000 Ordnance Survey map of my new habitat.  You can imagine my delight when I discovered, a few years ago, that you can order customised OS maps centred on a location of your choice!  And I was even more thrilled to discover that there is now an OS app, giving me access to maps wherever I am (providing there’s 4G).  I also use Googlemaps a lot, and especially the satellite and Street View functions, particularly when I’m going somewhere new.  It’s a rare day that I don’t consult a map.

That world atlas is, sadly, long gone.  It finally disintegrated, and by then atlases, like dictionaries, were being replaced by the internet.  The smartphone has taken over the functions of the reference book.  But whatever the format, I’m never happier than when I’m engrossed in a map, and for that I have my grandfather to thank.