My second collection of items is less controversial, but interesting none the less. I started collecting postcards and art cards around six years ago.

These are not postcards that have been sent to me by others. They do not have a particular story beyond the images on the front, yet each of them means something to me in one way or another. Some of the images are stills from motion pictures, some are illustrated prints and many are inspired by nature.

I have around 30 postcards. Here I will show you a selection.

The first two postcards are of a still and accompanying film poster for the 1920 German Expressionist movie, Cabinet of Dr Caligari. As you can see the drawing is a replica of the film still. I got these from the shop at the Deutsche Kinemathek Museum fur Film und Fernsehen (German Cinema Museum for Film and Television), in Berlin, where I also purchased a Metropolis (1927) one.

This particular film is one of my favourites, and I will explain why in another post.

This postcard came with the DVD of Fellini’s La Strada from 1954. The image shows Giulietta Masina (Fellini’s wife), as Gelsomina, a poor Italian girl, sold by her mother to a travelling circus. Shot in black and white to emphasise the bleak period after World War Two, Gelsomina remains animated and tries to make the best of her situation. The fact that the DVD came with a postcard says a lot about the film – the imagery and cinematography is integral to the story. It is a film that inspires me to keep going, and the character of Gelsomina is testament to that.

Another film still, from the Harold Lloyd classic Safety Last!(1923). This iconic moment is possibly the most famous in silent cinema. Perhaps this is my version of the ‘Hang in there, baby’ poster.

I love this postcard for two reasons, the first being that I love cats. The second being that, I love the angle of the photograph, as if the cat is saying, ‘Here I am’, to the viewer.

This postcard shows the best traits of the cat – curious, inquisitive and playful. (From Paperchase, photograph by Sandra Laird, 1996).

I’m not sure why I’m drawn to red love hearts (I’m not especially romantic), I just enjoy the imagery of them, and own four postcards that feature a red heart(s). I particularly like the stark white background in this, and the fact the heart appears to be bleeding bubbles. To me this photograph evokes many words: clinical, medical, faintly sexual. This is the simplest image of the lot, but in some ways, says the most. (From Paperchase, photograph by Howard Shooter, 2008).

When I was a child I loved the message in a bottle notion and would often try to re-enact this whilst at the beach. I loved the idea that someone from a far off country would read my message and ponder the meaning. As a carrier of life (and death), people, and objects, the ocean became an important influence in my life, and I always feel at peace when I am on a quiet beach. (From Paperchase, photograph by Jeanet van der Meer).

As a child I was also fascinated by lighthouses and the person (or people) who lived in them. This image shows the extreme isolation faced by the lighthouse keeper, and the volatile and threatening extremes of the ocean. Although most lighthouses are now unmanned, the pensive and solitary existence of the lighthouse keeper remains an oft-thought daydream. (Part of a set purchased at Ikea, photograph by Jean Guichard, 2007).

The last postcard is visually appealing to me, but also inspires me due to the representation of nature. What I like about this postcard is the use of colour, the floral design, and the seahorses caught within the reeds. Seahorses inspire me due to their grace, their delicacy and how unique they are as creatures. (From Paperchase, design by Hanna Werning, 2005).