Based in Woodford, Essex, Eileen and Flo were both schoolteachers and spent long summer holidays touring in their car and cruising the rivers Lee and Stort with their boat, the ‘Lillian Maud’. Apart from their social history value, the diaries are a unique example of leisure as documented by a keen amateur photographer and artist.
Eileen’s diaries are richly textured containing a curious mixture of observational watercolours and souvenirs, linked together by her highly characteristic writing. The hardback diaries were made in a scrapbook style, using thick sticky Sellotape to anchor collected ephemera and towpath finds. Eileen’s instinct for functional ship’s log-style writing creates a briskly paced narrative, which is equally useful for describing stop-offs, lunches and her disappointment in the behaviour of fellow travellers, “We stopped at Thornton Dale, a delightful village beside the road. Bought a picnic lunch. We ate our pork pies & wished we had bought twice as much! The wind was cool and we enjoyed the fresh air amongst the heather – Found a carcass of a sheep.”
Eileen’s diaries are joyful and entirely self-contained but with little mention of the unfolding changes in the outside world, except for her near-obsessive newspaper clippings of the emerging space race of the early 1960s. Eileen was bitten by the travel bug, especially space travel. On the 13th of August 1962, while Russian Cosmonauts orbited the earth, Eileen notes that she and Flo “had a hurried lunch” and later “had quite a long walk to have a cuppa at a transport café in Bishop’s Stortford.”
No Sign of Canals on Mars is a multi-part publication containing reproductions of Eileen Burke’s watercolours, drawings and excerpts from her diary pages presented as a spiral bound diary with ephemera inserts and tipped in souvenirs. Alongside this is a small wallet of real photographic prints printed from Eileen’s collection of colour slides. Some of Eileen’s more humorous diary entries writings have also been interpreted by Nina Esmund and made into a set of five postcards. Housed in a museum style clamshell box, the publication aims to be a kind of distributed archive allowing readers to handle and scrutinise works that would otherwise be inaccessible due to their fragile condition.
Archive clamshell box containing wool, postcards, spiral bound diary printed by laser, litho, RISO and inkjet with tipped-in ephemera and c-type prints in wallet. 220x160mm
Edition of 50