Fay Godwin - "Paesaggi"

mountains here are really magnificent they're very Rocky very very steep indeed the light is just catching on some of the sort of horizontal strata of stone and there's a lovely little island in the lock which looks like some sort of a little prehistoric bird floating across there Sun's just caught the the the stones on the front which uh uh almost like small Cliffs it's also lighting up the trees a little bit when there's no sun there there there's there's very little texture on that part of the landscape and it just brings out a bit of the texture looks rather flat otherwise the moment it it looks it looks absolutely wonderful it's just coming out nicely cuz they really are amazing Mountains they're very they're quite high and yet they're rising up quite steeply from the lock lights gone now landscape has all sorts of things as far as I'm concerned it is of course very beautiful in many ways but that isn't all that it is I feel in many ways landscape can be quite threatening I'm quite often frightened out in the landscape and it's often quite simply indifferent and I'm interested in all those different aspects in the last decade Godwin has collaborated on nine books giving her own individual impression of different areas of Britain these books show her interest not only in wild and untouched countri but also in the buildings placed there over the centuries it's Lo asent here and the castle is arre Castle it's an old ruined castle where I think many a bloody battle was fought lots of people come and see it it's a great tourist attraction the country around it is very wild and very Bleak and I want to get that feeling across this Castle being in the center of this EXT extremely Wild Country which looks like the original recipe for camouflage mainly sort of very subtle Browns mostly Browns and Greens mled Country it's nearly the middle of June there's new snow on a lot of the mountains all around and it's there's a North Wind and it's ABS bitterly cold but the light has been very dramatic apart from the castle there's a all these ancient burial mounds up the top and I'm interested in combining the two because to me there's a great sense of history in this I took some pictures here in 1978 879 um which were quite nice I quite lik them but I didn't use them in land because I didn't feel that they' quite made it I didn't feel they'd quite gone beyond the picturesque they didn't seem to have a real strength to them now I'm kind of wary of picturesque pictures I get sort of satiated with looking at postcards and local news agents and and at the sort of picture books that are on sale uh many of which don't seem to Bear much relation to my own experience of the place the worst of them here was AAS produced up here in Scotland which is a truly Dreadful postcard it doesn't even give a hint of brown it's all greens and blues and this is why I find most British postcards absolutely revolting um the castle is quite small it doesn't give any idea of what this Countryside feels or looks like at all then there's another a rather glossier postcard quite nicely reproduced and I'm afraid it's to me doesn't say anything at all it's a it's just an absolutely standard silhouetted Sunset picture the only thing they left out was sort of pink but it's uh I I think that's pretty boring castles have always been a popular subject for British landscape artists never more so than in the 18th century when painters began to work directly from nature and to look at landscape in a completely new way from the 1750s onwards landscape AP and responses to landscape were an an amazingly popular talking point I mean everybody was talking about landscape um everybody was going to places looking at places recording their responses to those places in some ways the cult of the pictures was really an offshoot of the discussions which were encapsulated by Edmund Burke in a book which was extremely influential called an inquiry into the origin of our ideas of the sublime and the Beautiful that was published in 1756 and which really categorized experiences of looking at things as either Sublime on the one hand or beautiful on the other the sublime being to do with Darkness Terror privation vastness the beautiful being to do with softness gentl smoothness and so on the castle is an absolutely statutory subject within the repertoire of the sublime Burke picks out castles I mean they're Sublime because they're threatening defensive huge structures which usually Loom lingly and threateningly down and of course they also politically represent as it were a hierarchy the Lord in the castle and The Peasants outside the castle so that there are lots and lots and lots of paintings of castles particularly during the Romantic Period clearly the picturesque does survive in the presentations of picture postcards and it's quite interesting I think how views that were coined in the 19th century by traveling artists reappear in color photograph that are sold in news agents and shops in places of tourist attraction the problem for me about these picturesque pictures and they which proliferate all over the place they are a sort of blanket they're almost like a um a very soft warm blanket of sentiment which covers everybody's idea about the countryside and um it it seems that on the whole people like to look at books of the whole of Britain that's why spot cells there always a new book of pictures of the whole of Britain glorifying the countryside and uh I think that uh individually some of those pictures are very attractive and very Charming but taking on mass they make me feel slightly as if I've had too much cream and I think what it does is it idealizes the countryside in a very unreal way and I'm wary again of of all these country Parks springing up all over the place so people are let out into the country but they don't really experience the country they sort of nice benches and L and everything everywhere and they don't really experience the country and they don't really understand the problems of the countryside and so that there's more and more polarization between people who live in big cities and people who live in the country cuz some of the big city people like myself live in the center of London I like to know these spaces are still here but one can become very unrealistic when one starts saying well you know they shouldn't spoil this area with a fish factory or um various other other things which the local people need in in order to survive because uh if there's nothing at all for people to do the the only population in this sort of area will be services for hotels and that that is totally unreal one aspect of the reality of the British Countryside that most interests Godwin is its ancient history this a heap of stones is an ancient burial mound and I I find them very interesting I look on the map and see where they are and I tend to go and have a look at them I find I'm fascinated by them because they always chose very beautiful places to have these burial mans I was rather unaware of burial mans for a long time when I first started doing landscape work I gradually got very interested of course I photographed ay and whan Smithy and there are quite a number of burial mans there and I gradually came to recognize these mans so that every time I looked at a bump in the ground I'd wonder whether it might be an ancient C and very often they are and somehow looking at one like this makes me think of how many there are all over the country with with what with uh okay Stonehenge isn't a can but there that's also a prehistoric monument and we have so many of them in this country and I find them quite mysterious and very very evocative they get a great sense of History through these stones fa's taken a lot of pictures of ancient remains such as Stone cans in Scotland rings of standing stones in ory um various marker stones in Wales in England now the great recorders of of ancient monuments going back to the Romantic Period show them as very substantial things indeed serious pieces of architecture phase monuments look by contrast as though they got there rather by accident they were propped up as an afterthought and I think that relates to a sense in her work that that all human making is provisional that if you make Standing Stones if you prop them up they're bound to fall down again or their function is bound to be forgotten so they do look as though they've been cobbled together primitive accidental Arrangements of things this is the asent area in Southerland it's an extraordinarily sad part of the world as far as I'm concerned most of the time it's heavy and wet and oppressive and I feel very strongly the the oppressive feeling of the clearances there are practically no people living around here because in the late 18th and beginning of the 19th century almost all the people who lived here were removed moved by the landlords during what is known as the clearances and that was to make way for sheep farming so the Sheep were much more important than the people and the savagery with which the people were removed is is quite extraordinary I they they they were literally physically thrown out of their houses the houses were knocked to the ground all their furniture and and roofs and so on were burnt and if they were found Sheltering anywhere they were immediately evicted and in the end vast numbers of them immigrated I find it quite depressing there's a limit to the number of days one can stay around this area when it's raining heavily and the Mist is down there is so little feeling of real habitation here looking at Godwin's photographs of Scotland I'm very struck by the absence of any signs of human if you take for instance her views of Glen Co the absence of humanity is a very powerful ingredient if you think about Glen CO as the location of the 1691 Massacre of the McDonald's the absence of humanity that absence fills the the whole image with paos which is reinforced I think by these Stripes almost sort of striations of dark and Light as you the eye traverses across sheets of water and areas of more land now what characterizes cople fieldings and other mid 19th century views of Scotland is a very secure reassuring inhabited humanized quality and if you take for instance his ranak Moore done in 1854 it's full of peasants of people on Horseback it gives a a reassuring air of everything being all right and of a productive landscape a landscape that is supporting its Community this sort of imagery is produced of course for a a London Southern Urban Market at a time when in fact I mean all sorts of things were going on in Scotland like the clearances and so on which people in London ought to have been worried about and weren't worried about and really phase photographs are terribly powerful because they are empty my work is often called romantic and it's been reviewed as being romantic which I find I I I don't really find very acceptable I certainly even though the reviews have intended to be fluttering I have not found it flattering I think it's partly because I'm not an academic to me romantic has something to do with you know rather slushy sentimental seeing F godin's pictures look at first sight to be very romantic uh the Romantic element in them are distant Hills that's very important secondly cloudscapes Mists that sort of thing but against every romantic element she puts a practical element a Morland scene will have a pathway across the foreground fences stone walls Gates even Stone in the foreground so there's in her work both a sense of distance and vastness and then in the foreground of what is portable things which might be picked up or things which might be used so the the two senses then in in Phase work of of of Romanticism which is always offset against something which is practical uh analytical Common Place I've often seen this uh stone walls and never seen it in any light where I actually got R to taking the picture it's the sense of enclosure in this very wild landscape which interests me partly um what's happened here uh there are so many different enclosures in this picture with the fences and quite a number of gates and I find that very interesting endless fences and then the telegraph PES going straight through the landscape and of course beyond that is a rather lovely SE it's difficult to say exactly where one wants to take pictures I think if one could say it exactly one would be writing and not being a photographer but um and I find that if I take things too consciously for any particular reason it doesn't necessarily work I think that very often the picture that one takes in instinctively is the one that really works and for some reason those walls have got a very strong pull as far as I'm concerned I don't want to get the post office Van in this oh this particular picture because my exposure is so so slow that I'll just end up with a rather unpleasant blur it's gone out of the picture now she's interested in marginal lands the Welsh Frontier for example Cumberland parts of Scotland just on the edge of cultivation because I think that on those terrains you see culture coming and going it's been there and it's beginning to to withdraw it's best efforts have been slightly scuppered set at not they've been torn a bit by the wind and weather it's the place where the pendulum swings where the the movement of culture and nature is most clearly evident she likes to set them in Balance see the one against the other see them in relation that's the thing the relation ship between the two I was driving nearby where where I taken these pictures of the walls yesterday evening and decided to have another look uh yesterday evening was absolutely beautiful late afternoon sunshine as still as could be uh and now it's a totally different scene there weren't there weren't very many sheep around yesterday um it's very dull light but um uh still find the shapes of the wall and the fences very interesting I'm using a wider angle lens because I've got problems with the uh wind uh says I haven't got the same depth of field but um it's uh it looks as if it might be quite interesting I've used one one or two of them I've used an orange filter to try and bring out the uh a bit of texture on the walls of course the texture was brought out a lot more when the sun was lighting up the walls it's not quite so good in this rather dull light but it may work all the same just reloading cuz I wanted to use some faster film but I do actually sometimes use quite a lot of film just wanted to take a couple more because it's so windy I'm afraid my tripod may have moved now of course my lens is covered with rain which wouldn't give a very good quality all right a just check the light cuz I think it's a lot duller than when I first came down here half half a stop I don't like working when it rains I think that probably um there's not much point in going on the light is getting worse by the moment and if I'm going to get a picture I'd have got it by now so uh I think I'll give up and call it a day today Fay Godwin is one of this country's top photographers but she began like the rest of us as an amateur I first got interested in photography through taking family snaps of the children in most cases um the the uh person who takes the family snaps is actually the the dad that's the majority and it's changing a bit now but um although my husband was very supportive and was prepared to buy the camera and had a very good visual sense he couldn't further out how a camera worked and I seemed to understand instinctively so and I got very excited about photography there's there sort of delight of Discovery it's just like learning to ski you wow you can do it um it's a long time before you realize that the issues are far more complicated than uh just actually producing a photograph but it's great fun I mean photographs like the leaping dog and my children leaping around and I put together a book of a family who lived across the road that they had asked if I would photograph their children and they weren't very well off so I said rather than charge them anything I would do it if I could come in anytime and I put together over a period of year a whole book whole album about that family which I really was very very pleased with I had a great deal of trouble finding anywhere to learn about photography it was totally isolated in those days there were no galleries to go and look at I couldn't find any other photographers I couldn't find out how to learn to process I had terrible terrible problems technical problems and if only there had been workshops available then as they are now I think I would have saved myself an awful lot of pain and grief you all got tripods no you haven't oh oh yes it is yes one down it it obviously yes it's mine's light orange yours obviously dark orange Godwin is now very committed to helping amateur photographers avoid the pitfalls she encountered here she's tutoring a workshop run by the photographers place in the darbishire Peak District a traditional haunt of landscape artists that's why I've had a bit of a problem not knowing what to do with it no cuz I think the lights reasonably clear today I would say I wanted to know how to expose this view I've got a red filter right so that yes I'll I want to get the got two filters on there aren't you going to get vignetting you are oh get all the corners good points cutting off it's not a good idea to use more than one at a time the red filter will give you a very very dram dramatic looking Sky that's what you're after is it yes that's right so as you can see so the clouds will stand out it certainly will can I see what you're doing before we discuss the exposure because I have find more better idea what do I want that's a very difficult shot to take isn't it yes cuz you got that Skyline yes I think in lots of cases the workshops simply enlarge their perspectives their ability to enjoy photography in general their own work and possibly other people's work it just enlarges the whole photographic understanding what I would also then suggest is that the rock is very interesting have you thought of trying to cut out the sky altogether out of it because then you get into a different area where you have got that problem yes but also it's it's it's you if you look at this composition the um it's working from the top downwards you get that lovely feeling come down I don't know if I want it that abstract I found very few people who have absolutely nothing to say I find nearly always there's something there but quite a lot has to do with commitment I mean if somebody says they are definitely going to become a photographer and show a certain amount of energy I tend to assume that they are going to become a photographer in about 1970 my marriage broke up and by this time I was really obsessed with photography and very interested in it and so I decided to see whether I could do it professionally so I had a little leaflet printed up leaflet was of my best portraits and I sent it to anybody whose address I could get and it did bring in quite a bit of work most of the portraits I've done professionally have been of writers uh that's because I have always loved reading and I've been a bookworm since I used to read under the blankets from age about four onwards so it's in a sense perhaps the portraits of writers is a kind of homage to writers I don't go with any clear idea of how I'm going to photograph the writer what I'm looking for is to get a photograph that really makes me feel the person does look like him or herself I'm not trying to use them as a graphic device which may mean that in some cases the portraits are quiet better than they might be it's it's very easy to make exciting shapes but I feel that sometimes the personality may be sacrificed in 1976 my husband from whom I was separated died I was left with no money because even now over 10 years later um his estate has not been sorted out so I had to support my children single-handed and at that point I was diagnosed as having very serious cancer so life was uh pretty bleak at that stage and um I wasn't given very much hope and I I decided that somehow there was no way that I could afford to kick the bucket as well and I had been doing a lot of work in factories before then trying to show to some extent the conditions in which people were working the appalling conditions and as it happened just before I was Ill both Ted Hughes and John FS had invited me to to do books with them and I decided to to pick up on both of those well I knew I wanted to do both but I decided to do both in the same year because I needed money desperately and um so and I also didn't want to do any more work in lousy conditions in factories I decided to spend as much time out of doors and walking as I possibly could Ted Hugh suggested I visit the cder valley and I went up to Yorkshire and saw this vast industrial landscape the Moors with little Mil tons all over and that was a real eye opener this was when I really got interested in landscape also there was all the the the remains of of the old industrial past which really interested me all the Mills were just at the point of closing down but they were still there since then many of them have gone so already lot of the pictures that I've taken of Mills which are simply not there anymore when I worked with Ted Hughes he wrote some of the poems with a bearing on the photographs I'd taken and then the poems would spark off more ideas for new photographs for me to take so it was a very reciprocal book open a huge light wind Shepherds play the reads of desolation dragged out of the furnace they Rose and staggered some way it was God they knew now Hills Bear them through Visions from emptiness to brighter emptiness with music and with silence startled people look up with sheep's heads then go on eating I took Landscapes to try and give an idea of that very black to to me it felt like a a black area though I find it very beautiful but in retrospect I think part of the Blackness was my own personal problems of being very ill at the time uh CU going back there now I no longer find it black she acknowledges the fragility and Frailty of human making and I think that's what audiences recognize about her it's on the one hand romantic photography on the other hand it shows that human making is subject to all sorts of accidents is certainly going to purse after being ill I think that I concentrated more on landscape in a sense it it all all the Natural Things became incredibly important because after having Orthodox excellent Orthodox treatment I decided to to to take um alternative and complimentary which were very natural methods and I went on very uh sparse vegetarian diets and and somehow the natural uh world became even more important and valuable to me it already was but it was even more so and I had this Instinct that it would pull me through many of Godwin's most successful books follow the course of ancient Pathways this is the Saxon Shore way along the Kent Coast here as in much of her other work remains of the past have sparked her interest I came to reculver sort of expecting somewhere with immense resonance I mean I looked at the the the map reculver Abbey Roman all this sort of thing I couldn't believe it when I got here the whole place was swamped by the Sea of Caravans so I I took what I would consider the the picture that people would expect to see reculver Abbey without the Caravans which you undoubtedly can see from the sea but then I decided to show it how I really saw it there was a sort of very interesting sequel to that picture when the exhibition was shown in uh North umland last year there was a a reception at the the preview and there were two Saxon experts and they came up and um really had a go at me I was really pillared and they said how dare you show our Saxon Heritage in such a light and to me this is extraordinary it really shows what a lot of British people think about photography so those picture color books that sell in such vast quantities are really what people want to see they don't want to see what the planners and so on have actually allowed to happen I think that what she's doing there is something that is very much in line with what some 19th century artists did which was to take um a revered object of antiquity um something that was of recognized antiquarian status but see it as it is today um so that an artist like Thomas shter boy for instance portrays the T San jaac in Paris but in order to get to the T San jaac your ey has got to you've got to Traverse a very messy contradictory set of images in the foreground including people selling things and the entrance to a school and old buildings and so on and you simply see the Abby Tower through these and Behind These and I think that F Godwin appears in this to be uh very interested in how Antiquity is experienced today and she therefore sets up a very effective series of binary oppositions you've got the secular and the religious the old and the new the inhabited and the uninhabited and you've got a you know reculver Abbey after all a distinguished place where people lived and worked and is now empty and people are now living and working in Caravans the permanent and the temporary and those opposition I think they don't destroy the ABY at all I mean what they do is enable the viewer it seems to me to appreciate how it is we read and understand these kinds of images in our our own everyday lives remains of old defenses along the Kent Coast have also a Fascination for Godwin we're on the beach at high and the towers are martello Towers which were defenses against Napoleon and there's one which has been converted into a weekend or possibly a permanent residence and the walls are so thick that I again it took them a week to drill through to get the window spaces it's got a very Nifty Cannon just outside it I felt like taking one or two color pictures today cuz the light is very dull as far as black and white is concerned but it's quite subtle for color Godwin's photographs of obsolete defense installations are full of of pathos I think they're objects which no longer have a function but which once did have a significance a meaning which have now lost that meaning and are therefore I think extremely nostalgic and extremely poignant Ford madx Brown in 1860 in Walton on the Nay produces a very cheerful buoyant inhabited landscape which includes not only a martello tower but a variety of sailing vessels Briggs and so on and it is a very nationalistic painting that Union Jack flies from the top of the martello tower but godwins I think is is very her representations are very different from that and again you get this emptiness the lack of humanity um lack of any kind of human presence in them only an implied human presence of of the dead of those who've gone absences it's a pill box presumably from the second World War it's a lookout post machine gun post anything like that most of these things have never been used and will never be used as I hope most of the present defense installations we have and they they just become obsolete so fast we've got them littered all over the country right from the farthest northernmost point of Scotland right down to the very south everywhere you find these old bits of Defense works this pill box is on the Royal military canal and it was built to keep Napoleon's Army out which makes me chuckle because Napoleon's armies had recently crossed the whole of the Rind this is just a little ditch a few feet across but I think at the time it was built it probably cost the exer almost as much as uh nuclear defense is costing us now and it I expect that the nuclear defense will turn out to be just as big a Folly as this canal Godwin's concern with a nuclear issue is one of the things that Drew her to the strange landscape of dungeoness when I started photographing it long long ago probably about 1975 I had a big series of dungeoness pictures I found it totally surreal this extraordinary power station and all these little Caravans and all sorts of strange bits of radar around it's very peculiar that these little Railway Carriage dwellings some of which are beautifully kept and they're kept in great stra of repair very beautifully painted then there are all these little Shacks which are very much treasured places there's all sorts of in congruities like that people Sheltering on their wind brakes on the beach almost looking as if they're Sheltering from the power station I've got a a picture of a sleeping fisherman on the beach and it's almost sort of you know wonder whether he's sleeping while there's all sorts of nuclear things escaping from the Power Station behind him one strange Paradox is is that the warm water from the nuclear power station means that lots of seab basss come in it's actually very good for fishing I personally wouldn't care to eat the fish that are fished out of those nuclear Waters myself at Cliff Lagoon on the Tams estery Godwin finds a compelling subject in another aspect of modern technology I first took this picture of the rotting car about four years ago nice summer Summer's Day in fact I came here several times I was very interested in the car and I someone had managed to fling a bicycle tire around the open boot handle and I found it quite amusing obviously somebody we' been having fun with it I was very surprised to find that there were still any traces of it left I thought it probably would have been entirely submerged by now it's changed Direction slightly with the wind I have taken a color negative picture of it because the color of the the water is absolutely marvelous I I hope it it looks like that and it's quite interesting to Mark the passing of time that way with the photograph it's quite amusing of course it's deteriorated a great deal since then but in a very interesting way I mean see all its insides exposed and all the wiring and so on I think the scenes of coastal dereliction that Fay has done particularly around the Kent Coast are actually very much within a tradition of British Marine painting there is a a formal interest in the kinds of structures visual structures that these things produce creating tensions between smooth expanses of water and sharp jabbing stabbing metallic or wooden forms that project into those smooth areas certainly obsolete objects things that are very dilapidated attracted artists in search of the picturesque a great deal and an artist like ew cook who came from an extensive family of marine painters and engravers in the early part of the 19th century his views of coastal scenery have many similarities with the way in which Fay treat those [Applause] motifs in one of her most recent projects Godwin has been photographing the area around DOA for a conservation group the council for the protection of rural England they asked me if I would photograph the area that's threatened by the channel tunnel I had mixed feelings about this cuz my first reaction is well why shouldn't there be a channel tunnel But as time has gone on and I've started reading about it I've become more and more convinced that it's an absolutely disastrous mistake the channel tunnel group are considering dumping all the spoil from the tunnel at the foot of Shakespeare cliff and nobody knows what that's going to do to the Ecology of the sea around here and all the beaches up and down may affect them very very seriously this is the first time I've become directly involved in a scheme such as this but I really felt it's going to ruin a great deal of the countryside it's going to bring too much industry to the southeast I think it's probably unnecessary anyway it's going to concentrate far too much traffic into this narrow corner of the country and lose a great deal of very beautiful landscape the rural the countryside the landscape has always been the site the area in which debates about morality and theology have taken place after all we man and woman were expelled from the Garden of Eden Adam and Eve were expelled from their paradise and we live in a fallen world and certainly I mean in the 18th and 19th centuries there are enormously important significant moral debates about which Center on landscape and nature and human beings relationship to that nature and I think one of the very interesting manifestations of 20th century interest in environmental problems is the way in which landscape is again very much a focus for um a discussion about the environment and so on the pictures for the anti- channel tunnel campaign are ready for printing on this project Godwin is working with a young photographer Peter catrell which paper is this in fact the prints on grade three and the test trips on grade three and grade two yes and I thought the print should be slightly between the two so maybe we could ICT to grade three and use a software working developer yes yeah um but I also think apart from softening it a bit process of printing in black and white is absolutely crucial to the success of the final PRP it's particularly important with landscape I find even a very small change of tone completely changes the feel of the picture with land a summation of her best landscape work for the first time Godwin was free to select and order the photographs exactly as she wished I spend quite a lot of time editing my work and to me that's a very important part of my work land was the first time I was able to sequence the pictures on their own it's a collection of many different series including the books and some series that I did where there went any books and I decided that somehow or other I didn't want it just to be an encyclopedia of my best pictures I decided I wanted some kind of a sequence even if it's quite elliptical and I had a very interesting time putting it together it took me a long time to put together but I found it very satisfying of course photography is a major medium for art it is a kind of hybrid medium which which allows people to make very complicated intricate formal cultural statements very largely in the book form and some of the major photographic Works have been books I'm not terribly bothered about the argument of Photography versus art I see myself as a photographer and If eventually somebody finds some art somewhere there that's up to them I feel my own feeling is that I do work creatively but that I'm specifically a photographer therefore my work cannot be bought by the Tate Gallery her summary of Britain in the 1980s is of a country which has fallen apart which has been badly treated misused brutalized but which I think is going to recover from it not in any cultural sense it might turn simply into wild nature she shows it just kind of laying of of ancient cultures the latest one made up of wrecked Motorcars and bits of barbed wire but that too is going back the way of Roman forts Saxon abies Norman castles and all the rest of it it's it's returning to nature I think the reason why I find British landscape so satisfying is that I do like this sense of history that pervades it I think we're a gruty little country with all sorts of things wrong with it but that we have some of the most varied and delightful landscape that I've seen anywhere I love the light here the weather is often infuriating but it's full of surprises so one can never get bored with it [Music]

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Keywords: Fay, Godwin

Id: 4JE8I44Ak7o

Length: 50min 13sec (3013 seconds)

Published: Tue May 22 2012