The spirit of place: Murmurs along the ancient ways | Intellect Skip to content
Volume 13, Issue 1
  • ISSN: 2042-8022
  • E-ISSN: 2042-8030


Andrew Rafferty’s photography has frequently been described as ‘beautiful’, but his work can also be radical and challenging. He finds particular inspiration working with writers and especially poets, but the notion that the images are simply there to illustrate the text is anathema to him. In his latest collaboration with poet Kevin Crossley-Holland, he uses movement as a metaphor to convey the emotions of the landscape – to capture impressions, drawing on the essence of the poetry, but without producing anything strictly representational, and create images, which although rooted in the landscape, are more abstract, more expressionistic. In his view neither poetry nor images should attempt to describe the other, but there should be a close coexistence between the two. As the reader moves back and forward between text and image and image and text, there comes a deeper understanding of ideas within the mind of the poet and the mind of the artist that may not have been made explicit, but are nonetheless there.


Article metrics loading...

Loading full text...

Full text loading...


  1. Craig, David. ( 1987), Native Stones, London:: Martin Secker & Warburg;.
    [Google Scholar]
  2. Craig, David. ( 1990), On The Crofter’s Trail, Edinburgh:: Birlinn Ltd;.
    [Google Scholar]
  3. Craig, David. ( 1995), Landmarks: An Exploration of Great Rocks, London:: Jonathan Cape;.
    [Google Scholar]
  4. Crossley-Holland, Kevin. ( 1983), Time’s Oriel, London:: Hutchinson;.
    [Google Scholar]
  5. Crossley-Holland, Kevin, and Rafferty, Andrew. ( 2019), Seahenge: A Journey, Hemel Hempstead:: Kailpot Press;.
    [Google Scholar]
  6. Guillevic, Eugène. ( 1977), Sphère, suivi de Carnac, Paris:: Gallimard;.
    [Google Scholar]
  7. Guillevic, Eugène. ( 2014;), ‘ Parler. ’, Poemes , Accessed 13 May 2023.
  8. Hodgkin, Howard. ( n.d.;), ‘ Home page. ’, Accessed 16 July 2023.
  9. Hughes, Ted, and Godwin, Fay. ( 1979), Remains of Elmet, London:: Harper Collins;.
    [Google Scholar]
  10. Passion ( 2001), Phoenix Gallery, Brighton:.
    [Google Scholar]
  11. Passion ( 2010a), St. Pancras Church;, London:.
  12. Passion ( 2010b), St. Peter’s Church;, Preston Park:, 9–12 March.
  13. Rafferty, Andrew, and Crossley-Holland, Kevin. ( 1989), The Stones Remain, London:: Century Hutchinson;.
    [Google Scholar]

Data & Media loading...

  • Article Type: Article
Keyword(s): ancient sites; art; impressionism; journey; landscape; movement; photography; Seahenge
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error