Research Units 1,2,3
Unit 1
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The Natural History Museum in London has proven to be a great source of inspiration for my work. Information is provided through the displaying of museum artefacts and research in a grid system enabling each piece to be easily seen. Many of the works are framed and placed in sturdy glass cases for viewing. Everything is clearly labeled and cataloged, with extra boxes of the text providing further information about what the item is, the date, size, and historical importance.
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According to historians at the Natural History Museum, most botanical illustrations were made to be printed and published as a form of scientific botanical education and information sharing. The earliest forms of botanical illustration were printed using woodblock printing, which evolved into most drawings being printed through engraving copper plates in etching. Most prints were in black and white, with artists and scientists such as Sir Hans Sloane, Sir Joseph Banks and Charles Darwin describing the colours of the plants in words, as this made it easier and cheaper for the images to be printed. However, in more recent works botanical drawings have been created digitally and are easily printed in colour.
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This information has informed my practice as I have focused on botanical illustration, exploring what it looks like for a contemporary audience. I have expressed some of the history of botanical illustration through keeping the majority of my work in black and white, and exploring a variety of types of print. Additionally, I have explored displaying my work as a body of research, giving clear importance to plants, botanical education, and conservation.
I also incorporated some of the museums' displaying techniques into my work. For example, I explored placing areas of my work into a grid system and labelling everything. I also considered labelling in accordance with the styles of Sir Hans Sloane and Darwin's, drawing attention to the focus on British plants, the specific locality of where the drawings are from, the communities that reside in those spaces and the significance of British plants to the British public and the vulnerability of those plants and the risk of loss. My visit to the natural history museum also inspired me to add research-based objects (a protractor, white tags, magnifying glass, specimen jars, and containers) into my work to add to the museum, research, and conservation referencing.
Exploration of the relationship between animals, plants and humans
How humans identify with themselves and the natural world is of a particular interest to me, as our relationship with the natural world seems to be shifting. As society becomes more and more climate change conscious. The shift in climate awareness has caused many people to contemplate their role in saving the planet. With 235,549 people in the UK 2019 signing a petition to declare a climate emergency, putting pressure on UK government to put the climate crisis at the top of their agenda (change.org. 2019). Getting to grips with the different approaches to man-kinds place within the natural world is an integral part of my work. As it not only colours the lens through which I understand my own connection to nature but the lens through which my work will be viewed by a large percentage of the population.
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Through the book ‘Man through his Art: Man and Animal’, by A. de Silva and O. V. Simson, P. Troutman (1965). I have investigated a secular approach to the human relationship with the natural world. This has enabled me to gain a greater understanding of how these relationships have formed over time and the impact it has had on human identity. In accordance to the book humanity started off as part of the animal Kingdom and slowly separated as mankind evolved and begun to see themselves as higher than the animals. With the dawn of civilisation, man has moved away from deepening on the natural world, turning to domesticating animals and ‘dethroning’ the natural world to put himself on the throne of creation (A. de Silva and O. V. Simson, P. Troutman, 1965, p.9-10). This is depicted in many ancient Greek works, as man mastered the illustration of self and focused on human portraiture.
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The human and animal world then began to separate further, as humanity began to replace animals with technology and the artificial. From the prehistoric man who saw himself as lower than the animals, creating animal cave paintings and depending on the natural world for his existence. We quickly evolved into civilised man, quickly advancing with the coming of the industrial revolution.
Which enabled technology to move forward in leaps and bounds, replacing animals as man's partner in the workforce. The increasing development of cities and technology moved man geographically away from natural open spaces, to the condensed smog of the city. Causing a mental shift, whereby humans began to identify themselves more strongly with technology than the natural world (A. de Silva and O. V. Simson, P. Troutman, 1965, p.12).
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However, our connection and self identification within the natural world is not only impacted by the development of civilisation, technology and environmental awareness. "Religious beliefs permeate the very fabric of our existence. Namely, it influences -- if not directly shapes -- our legal systems; and therefore our constitutions; and nations' policy choices"(CNN. R.Oliver. 2008). Having a tremendous impact on our history, our future and especially our environmental views. As it underpins the value we give to the natural world and how we understand our place within it. The impact of religious beliefs on our understand is evident within main stream religions, where there is a defining split in regard to beliefs concerning the environment.
For example, in religions such as Hinduism and Buddhism there is the belief that humans, animals and plants are an equal part of world as a whole. Often coupled with the belief that all things have a soul and therefore should be respected and nourished as equals. Where as in Abrahamic based religions, it is largely believed that the world was created by God and that mankind was made separately from the animals and the world and everything in it was created with the purpose of serving and nursing the human race, yet should be cared for and respected because it was made by God. Although, these different positions seem to be polar opposites and may result in very different approaches to engaging with the environment. Most main stream religions are saturated in positive teachings about caring for and respecting the natural world regardless of it's equal or subversive position(CNN. R.Oliver. 2008).
There has also been a growing debate around Ecotheology. Which is the study of how different religions respond to environmental issues. It is largely argued that religions that believe that 'man has dominion over creation' have largely contributed to environmental issues. As this world view often promotes unchecked exploitation of the natural world for mans end. However, many theologians are calling for a reformation in how Abrahamic faiths (in particular christianity) view humanities dominion over the earth. For example, in The Conversation UK Mark Hall 2017, ask's 'Do passages in the bible justify cutting down forests? Hall argue's that dominion-ship does not mean unchecked control but responsibility and stewardship (Hall, M. 2017) and therefore Christian's need to take responsibility for the care of the planet. Demonstrating that as mainstream religious belief's change so will societies understanding and connection to the natural world.
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In summary, Man-kinds relationship with the animal and plant kingdom has changed over the course of history and will continue to change. Influenced by technological progression , environmental awareness and prominent religious beliefs, which shape our environmental views both positively and negatively. Within my work I hope to illustrate the different forces that have shaped and changed our connection to the world of plants, current areas of society which may also bring about a change in that relationship and the effects of those changes both on humans and plants alike.
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References
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Silva, de, A. Simson, V,O. Troutman, P. (1965). Man through his art / Man and animal. Vol 3. Published: London : E.P. Publishing for Educational Productions Ltd.
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https://www.change.org/p/uk-government-declare-a-national-climate-emergency-now)
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http://edition.cnn.com/2008/WORLD/asiapcf/01/27/eco.about.religion/
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http://theconversation.com/do-passages-in-the-bible-justify-cutting-down-forests-76448
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Christian Faith and the Earth: Current Paths and Emerging Horizons in Ecotheologyedited by Ernst M. Conradie, Sigurd Bergmann, Celia Deane-Drummond, Denis Edwards
As my work develops and I learn more about plants, through research documentaries such as David Attenborough's 'Kingdom of Plants' and 'The Private life of plants'. I am becoming increasingly interested in the ways in which humans mimic plants in through biomimicry, art and design. Art is forever mimicking nature and yet fails to replicate the wonders of nature (Kastner. J. 2012. p.14) or truly capture the advance ways in which plants have evolved to ensure their own survival.
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Through the use of seeds, which are like time capsules with resilience and mobility. Using the mechanisms humans later developed to invent the parachute, glider, helicopter, boat, and explosive and camouflage techniques used by plants to enhance the rate of pollination. Plants have survived for thousands of years growing across the face of the earth (Crane.P. Kesseler. R. Stuppy. W. 2006.p.13).
The use of biomimicry in art and design shows that the wonders of plants are all around us and yet they continue to be "the elusive, originally Other" (Kastner. J. 2012. p.14). Part of our shared world, depending on one another for growth and yet part of a world that is different from our own.
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References
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Available@https://www.youtube.com/watch?v=2d1VrCvdzbY
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​Available@https://www.youtube.com/watch?v=ofxCVJvHqj0
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https://www.hookandloop.com/invention-velcro-brand/
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Kastner.J.(2012). Nature Documents of Contemporary Art. Whitechapel Gallery:London.
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Kesseler.R. Stuppy. W. (2006). Seeds Time Capsules of life. Papadakis Publisher:Singapore.
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Robert Smithson Spiral Jetty
Ethical Challenges
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In my current art practice I have wrestled with the ethical challenges of creating work concerning plant conservation and plant loss, regarding the use and manipulation of real plants in my work, the use of plant based materials and the sustainability of my practice. As a practice, art has had a long history of engaging with the natural world and wrestling with ethics of sustainability. From as far back as cave paintings, artists have thematically represented the natural world in paintings and drawings. Many artworks reflect the protection of natural landscapes, the growth of cities, the consequences of industrialisation and the use of resources and reuse of waste (ACCIONA, 2019).
However, although artist may be at the forefront of creating discussions about environmental issues. They have been criticised for creating art with environmentally ethical messages while using materials and processes that have are damaging our environment (Siegle, L., 2012).
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Furthermore, although movements such as Land/Earth art have been key in encouraging communities to engage with and understand the natural world, there are ethical challenges concerning art that disrupts the natural environment for art's sake (Brady, E., 2007).
In particular, some art physically impacts the environment, using natural resources to create site-specific pieces that alter the face of our landscape (Tate, 2019) or biological tools and processes to manipulate living systems purely for an ascetic and artistic end (Zurr, I. and Catts, O., 2004). Additionally, artists have been criticised for promoting the view that plants are only valuable and worth saving because of their ascetic value or their ability to meet human needs and desires (Brady, E., 2007). Many of these ethical challenges come down to the philosophical debate of man's relationship with nature and how humans see themselves within the natural order, which effects the ethics of manipulating and valuing other living organisms purely for our own gain (Zurr, I. and Catts, O., 2004).
Therefore, it is vital that my work is not hypocritical in the way in which I engage with environmental issues. I must develop processes in my work which are sustainable, reducing my environmental footprint, and the way I represent plants in my work must not reduce their value. In light of these discoveries, I intend to develop processes in my work which involve using recycled or sustainable paper from potential suppliers such as German fine-art supplier hahnemuehle.com, which produces the world's first eco-friendly fine-art paper made from 90% (certified) bamboo fibre and 10% cotton, and is free from optical brighteners. Alternatively, I plan to team up with other artists who can use the waste I create to make art and vice versa.
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References
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Ionat Zurr (Artist in Residence) & Oron Catts (Artistic Director, Artist in Residence) (2004) The Ethical Claims of Bio-Art: Killing The Other Or Self-Cannibalism, Australian and New Zealand Journal of Art, 5:1, 167-188, DOI: 10.1080/14434318.2004.11432737
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https://www.activesustainability.com/sustainable-development/art-and-sustainability/Land art -
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https://www.theguardian.com/environment/2012/apr/15/lucy-siegle-ethical-art-paint
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Emily Brady (2007) Aesthetic Regard for Nature in Environmental and Land Art, Ethics, Place & Environment, 10:3, 287-300, DOI: 10.1080/13668790701578538
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Land art or earth art is art that is made directly in the landscape, sculpting the land itself into earthworks or making structures in the landscape using natural materials such as rocks or twigs. (tate.org.uk)
Unit 2
Humour in art
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Art is often considered to be very serious and audiences often don’t know if it’s acceptable to laugh when they find an art piece funny. Jo Weider (Artland, 2017) questions whether or not art which makes you laugh can even be art. However, as explained in the online magazine Artsper, humour in art has been on the since the beginnings of Dadaism, which is “all about freedom and creative spontaneity”(artsper, 2015) demonstrated in ‘the ready made’. A movement which brought about Surrealism “integrating the world of irrationality and dream”(artsper, 2015) bringing together the strange and wonderful.
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Just as these movements which brought humour into the arts in a very difficult and serious time of war, I think its important that humour, hope and joy take central stage in current art works as the world faces uncertainties due to the coroner virus and potential economic crash. People need art to help them escape and find a sense of relief from covid-anxiety. Similarly, in light of a bombardment of depressing climate change theories predicting the extinction of life as we know it. It seems increasingly important that art draws viewers in through hope and light hearted exploration, instead of reinforcing a message of doom.
Many contemporary artists use “dark humour and irony as a weapon in social and/or political protest”(artsper, 2015), as a means to shock and bring to light dark truths of past and current social and political decisions.
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However, not all jokes concealed within art are successful, there are challenges to using humour in art. For example, Henri Bergson states that “many comic effects are impossible to translate from one language to another, because they refer to the customs and ideas of a particular social group”(Bergson.H, 2003). Humour doesn’t always cross cultural boundaries successfully. On the other hand, it is argued that “when executed with wit, attempts at humour can challenge taboos” (Furtado.W, 2016), which is extremely powerful and can be used greatly to the artists communicative advantage.
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Therefore, in my own work I'm exploring light humour and charm through animations which illustrate the adaptations, qualities and struggles of plants drawings and mini narratives. The use of charm and animation is being used as a means of exploring environmental issues which can be quite heavy in a way which is engaging, playful and doesn't disengage people by making them feel guilty or overwhelmed.
References
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Animations
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12 Principles of animation
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This video illustrates the 12 principles of animation, which I hope to begin to use and consider in my work. The 12 principles help animators to communicate the emotions and thoughts conveyed in the work and help to direct the viewers eyes to the important details in the animation.
This video is a brief history of animation, which I was surprised to find out goes back as far as 2000 years in China. The video has shown me a variety of techniques that I hadn't considered before. Such as; the use of cut outs, silhouettes, shadow, light, music and more abstract images to convey a story.
Narrative in art - see 'Storylines' exhibition at the Guggenheim
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Narratives have been an important part of human history, telling stories to share wisdom, knowledge, morals and beliefs with the next generation. Throughout history up-until the twentieth century narrative has been a central focus within art, “depicting stories from religion, myth and legend, history and literature”(tate).
Narrative “ uses the power of the visual image to ignite imaginations, evoke emotions and capture universal cultural truths and aspirations” (). Unlike humour which doesn’t always translate from one culture to the next, narrative transcends culture and therefore can be shared which each new generation a fresh (lucasmuseum).
Historically narrative can be seen in the art of cave paintings, Egyptian tomb decoration and many Greek vases. Whilst some narrative are told through realistic depictions of dramatic or every day seems, capturing the truth of the time. Some are created through a series of images like comics and other forms of story board. However, as artists moved away from realism many rejected the use of narrative in their work. However, since the 1990’s many artists have begun to reintroduce narrative through both abstraction and representation (guggenheim). Narrative however, is not only explored through the content of images but can also be procured from colour, emotion, atmosphere, materials, process and techniques used in works to convey a message.
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In my own work I hope to use narrative and the personification of plants to illustrate environmental issues such as; extreme weather due to climate change, invasive species, habitat loss and pollution. In an attempt to build awareness of the struggles faced by plants and their adaptive techniques for survival. The work will aim to reignite views interest, love and care for the plant kingdom, using narrative and personification to explore the relationship between plants and humans. The use of personification to give character and emotions to plants, will hopefully enable views to better identify with plants and experience an emotional response, which may move them to reconsider their relationship with plants and impact on the plant world.
References
https://www.guggenheim.org/exhibition/storylines-contemporary-art-at-the-guggenheim-2
https://lucasmuseum.org/collection/narrative-art
https://www.tate.org.uk/art/art-terms/n/narrative
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Exploring nature in art- changing nature into culture
This BBC documentary explores how we have made nature culture by building art and making our mark on the natural landscape. The artists shown in this video have to wrestle against the power and unpredictable natural world in order to erect their art pieces. Their work is a kind of collaboration with nature itself and invites those wishing to view the art to go out into the natural landscape and discover nature for themselves, instead of just viewing a representation of nature in a polished art gallery.
Their approach to working along side nature and encouraging viewers to break out of the concrete city scape and step into the wilderness to experience their work, has inspired me to consider new ways of displaying my work and encouraging viewers to get outside and experience nature for themselves. These works have also opened my eyes in a new way, to look at nature as art and further consider it's cultural value.
Camden Arts Centre
This video and art exhibition helped me to consider the importance of plants in different cultures and religious groups around the world and the recurring depiction of plants in mythology. The rich history of plants in art and the different aspects of the plant kingdom which could be explored through art such as; plants in culture, plants in religion, plants in the future, plants under the microscope. The video it's self as a medium for sharing the thoughts and ideas of the exhibition despite lockdown has inspired me to consider how I could use film, documentation and spoken word to record my own art work and explore the themes within it.
Unit 3
Plants in Pop culture
'I am The Lorax. I speak for the trees. I speak for the trees for the trees have no tongues' ( DThe Lorax r Seuss)
I have always loved animations and recently I have been exploring how plants are represented in children animations and what their representation says about our relationship with them. Plants and animals have always been a focus point in pop culture and a heavy with religious and cultural significance. Historically plants and animals have been worshipped, eaten, bred, sacrificed. As well as being used as mans partner and tool in working the ground and prospering human civilisation. ​
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In pop culture plants and animals are often used as symbols, personified or anthropomorphised especially in children animations and literature. Through anthropomorphism plants are used to reflect human society and human characteristics both good and bad, as they are accredited with certain human stereotypes, prejudice and superstition.
For example, in Alice in Wonderland plants are anthropomorphised to be sweet and delicate, playful creatures or vein and incredibly proud. The Apple Trees in The Wizard of Oz and The Whomping Willow in Harry Potter on the other hand come across as angry and violent when approached by humans and are very capable of looking after themselves. Much like the plant in Little shop of horrors and Day of the Triffids which eat people. Where as, the trees in The Lorax are silent and require others to speak out for them and protect them from being felled. Other animated movies such as Pocahontas and Lord of the Rings represent trees as ancient friendly beings who are helpful and incredibly wise.
Researching and understanding how plants and animals are represented in popular culture has inspired my work a lot and is helping me to understand the different cultural narratives at play and how to avoid simply repeating old narrative's.
The Art of Collage
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The collage movement started in the 1920's 'describes both the technique and the resulting work of art in which pieces of paper, photographs, fabric and other ephemera are arranged and stuck down onto a supporting surface' (Tate, 2020). The movement grew rapidly in the 20th century greatly influenced and featuring in other movements such as Cubism, DADA, Pop Art, Surrealism and Abstract Expressionism.
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Collages in abstract expressionism in particular "emphasis on colour, composition, and emotion. Through simplified silhouettes, blocks of cut-and-glued color, and free-floating, painted lines, the artists added (literal) layers of dimensionality to their already-famous aesthetic.' (Richman-Abdou, 2017)"
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However, collages are not simply random pieces of paper, material and colour thrown together. As the artist Si Lewen(2012) writes that "The artist working in collage, to an even greater extent than the painter, must develop a keen sense of esthetics as the only true guide if collage is not to degenerate into mere decoration or a gaudy assembly of meaningless material. But used discriminately and judiciously, collage can be the means to go beyond the limits of painting and open up for the adventurous artist new fields of ever-expanding creativity."
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I have recently been exploring the art of cut and paste collage and digital collage inspired by David Mach. Through the use of collage I hope to be able to invent new worlds and tell narratives and comment on the relationship between humans and plants.
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Collage by Eugenia Loli
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References-
Tate
https://mymodernmet.com/collage-art-collage/
https://www.silewen.com/collage/index.html
https://mymodernmet.com/collage-art-collage/2/
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Reimagined Worlds
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I was recently introduced to the idea of ring worlds. A science fiction idea that one day we will live in inhabitable ringed structures used to harness the energy of other stars. These imagined other worlds in which life thrives have inspired me to think about creating my own ring worlds or to reimagine the world in which we live in. To create a world in which plants and humans coexist through advanced technology and plants and animals are bigger, stranger and more dominating than they are in reality. I have begun to explore this idea of a reimagined world through my ink drawings, collages and animations and I have found that reimagining a world which does not have to conform to realities expectations has helped me to create more interesting work, create narratives and explore my ideas in new ways.
References
One example of artists exploring the idea of creating new visions of the future through Sci-fi and fiction is the After Nature Exhibition at the New Museum in 2008.
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"After Nature” surveys a landscape of wilderness and ruins, darkened by uncertain catastrophe. It is a story of abandonment, regression, and rapture—an epic of humanity and nature coming apart under the pressure of obscure forces and not-so-distant environmental disasters. Bringing together an international and multigenerational group of artists, filmmakers, writers, and outsiders, the exhibition depicts a universe in which humankind is being eclipsed and new ecological systems struggle to find a precarious balance." (New Museum, 2008).
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https://archive.newmuseum.org/sounds/7277
https://d2b8urneelikat.cloudfront.net/media/collectiveaccess/images/7/0/98209_ca_object_representations_media_7063_original.pdf
This group exhibition presents new ways of thinking about humans and animals through works which transform reality shaping visions of the future by illustrating both our fears and desires for the future. The exhibition is inspired by Science fiction Novel After Nature by W.G. Sebald written in 2002, which discusses the representation of nature in literature and science. As well as other fictional writers who offer utopian ideas based on personal mythologies and personal universes. An idea which has influenced recent collages that I have made creating my own utopian future in which plants , animals and humans live together in a new way.
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Many of the art works in the exhibition are inspired by varies science fiction literature which is also on display and can be read in the show, offering multiply layers of narrative.
Powel Althmer's 1967 models of naked humans made from wood, grass and animal intestines are particularly interesting, as they make it easy to accosiate humans with nature and animals because of their materiality and nakedness. They remind me of models in the Science museum which visualise what primitive humans may have looked like.
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Hive by R.Hogg
William Christenberry's 1936 prints of buildings over run with plants are also very interesting. These works remind me of my own animations in which plants take over human dwellings and of post apocalyptic world in which humans no longer exist. The plant that entangles the building is both beautiful and deadly as it chokes other trees that it climbs on. The conflicting characteristics of the plant indicates that 'greening up' human dwellings isn't as straight forward as one might think, as there are many plants that present a danger to both humans and their homes. There are dark undertones to some plants that we need to be aware of to stay safe and be able to work with plants.
by R.Hogg
Methods of creating interactive experiences for the viewer-We live in an Ocean of Air Exhibition.
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On show at the Saatchi Gallery from the 7th of December 2018 to 5th of May 2019, by Marshmallow Laser Feast in collaboration with Natan Sinigaglia and Mileece I'Anson.
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"We live in an Ocean of Air is a virtual reality experience where the invisible connection between plant and human is revealed through breath. In a 20 minute experience cutting-edge technology illuminates the invisible- but fundamental- connections between human and natural worlds." (Saatchi, 2019)
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This work by Sinigaglia and I'Anson is breathtaking and really inspires me to be more ambitious with my work and explore create interactive experiences for my audience in the future. Firstly, the work brings technology, virtual reality and plants together to give viewers an intermit and eye opening view into the magnificent world of plants. Virtual reality creates new and exciting possibilities as demonstrated in this work and I feel that the new opportunities it offers will also inspire viewers to consider new and exciting possibilities for the future of technological advancements and ways of working with plants.
Secondly, the work reveals the hidden parts of plants, the systems of communication, the insides and tree tops of the plants, the things that we don't see. These new insights and ways of observing and experiencing plants, exposes the fact that there is still much we don't know about plants. Which may lead viewers to take a deeper interest in learning about plants and considering that our interactions with plants and our environment could look very different in the future.
Thirdly, the work builds a strong connection between the viewer and the virtual plants as "breath and heart sensors track their real-time breathing and encourage viewers to reflect on our dependence and responsibility to the organisms we share our planet with"(Saatchi, 2019). Not only does the work build a connection between human and plant survival and the viewer and the virtual reality, the work also connects individual viewers collectively as they experience the virtual reality together.
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Finally, We live in an Ocean of Air has a very similar concept to the work 1 Heart 1 Tree by Naziah Mestaou, which projects 3D models of plants which change and opperate to the beat of viewers hearts onto famous land marks. Collectively these works inspire me to think about how I could involve my audience in my animations. Perhaps in my own work I could create an animation like an interactive story game, that has different storylines and endings and the viewer could be involved in making decisions which lead to different outcomes.
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Examples of interactive story games - https://uk.pcmag.com/gaming-gear/44325/the-25-best-interactive-story-games
This is a really interesting example of a interactive story game I recently discovered on kick start. The idea of the game is that you are in a wildlife documentary and you must make decisions to try and save and protect the animals. Unfortunately, in this game the focus is on the gamer manipulating the animals to stop them from running into dangers created by humans and although I think this would an interesting and educational experience. I think if I was to create an animation in which the viewer had control of the decisions that influenced the outcome of the animation, I would make the decisions all about what the humans did not the manipulation of the animals and plants. I would also want to be careful that my animation represented the true characteristics of nature, rather that just making them cute and friendly for the viewer. In order to do the plants justice I think I would need to spend a considerable amount of time really understanding the workings of plants, how they survive, communicate to one another, develop and are effected by and interact with their surroundings.
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A question I am currently asking myself in my practice is in the future how could I demonstrate messages such as those found in videos demonstrating the impact of our choices on the environment in an animation which uses narrative, is interactive, humours and more palatable to the viewer.
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Public Lands Hate You
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https://www.instagram.com/publiclandshateyou/?hl=en
https://www.publiclandshateyou.com
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One example, of a small decision which has a bigger impact on the environment is straying of the path in protected wildlife areas. A topic which has impassioned the creators of the public lands hate you instagram account.
"What started out as a personal Instagram page used as an outlet for frustration over people trashing my favorite places has turned into a movement to start holding individuals, influencers, and corporations accountable for their actions on our public lands. Social media has begun turning digital footprints into real physical footprints that are having an astounding negative impact in the real world. Trampled wildflower fields on BLM land."
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This social media page has become a form of inspiration for my animation 'Just a little further', which plays on both the damaging impact that small decisions have on the environment for both the good and the bad.
Just a little further by R.Hogg
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Serpentine Gallery Back to Earth Podcast-
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Presented by Victoria Sin and Lucia Pietroiusti. This 8-part podcast series follows artists and an art organisation developing projects, interventions and campaigns at the crossroads of art and the climate emergency. This podcast is part of a wider Back to Earth project, which invites 65+ artists to devise an environmental campaign or intervention to respond to contemporary ecological crises.
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"Artistic director Hans Ulrich Obrist explains how his personal actions are inspired by artists.
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Climate Justice campaigner Suzanne Dhaliwal describes a decolonised view of climate activism
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London-based art duo Cooking Sections share a rich archive of environmental campaigns throughout history with contributions from students from the Royal College of Art’s School of Architecture.
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Sound design by Brian Eno. Additional sound by Cooking Sections." (Serpentine Gallery 2020)
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I think these podcasts are a really interesting way of engaging with audiences more, especially during a pandemic where many people may feel they don't want to physically visit a gallery and have more time to listen to podcasts as they work from home. I have recently listened to Back to Earth: Standing with the Forest.
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This podcast listens too and gives a voice to people outside of the West and draws inspiration for dealing with ecological issues from the ways indigenous people engage with and view nature. The presenters explore the idea of tackling ecological issues by better understanding nature and our interdependence with nature. As well as reconnecting with the origins of plants and animals which make up our materialistic world, giving personhood to the environment and inhabiting nature to gain ideas and inspiration for moving forward in way in which humans and the rest of the environment can thrive as one. This would involve sharing more and not using more than we need.
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I think there is much to learn about working with the environment from different people groups around the world and would be very interested in traveling to other countries and engaging with their way of life to better understand how they work with and protect the environment. I think I could also start much closer to home by working with plants in my own garden and getting alongside people who take a keen interest in gardening, conservation, local wildlife reserves and other organisations that actively work to protect the environment in the UK. So far this podcast has opened my eyes to collaboration and social engagement possibilities regarding my work, I have recently created a series of interactive activity sheets in collaboration with the Garden Museum which I hope will develop in the future into workshops, events and initiatives I can run in the future.
I would also like to find out more about how we can encourage Western viewers to consume less and share more, as I think this is something that is heaven ingrained in our society and something which is going to be vital but incredibly difficult to change. Perhaps by revealing more about how ways of living in the west influence the lives of those living in other counties and increase poverty and inequality and how in turn that effects our lives in the West. However, as a Christian I don't feel that it is necessary for people in the West to take on indigenous religious beliefs regarding Mother Earth and humans being the same spiritually as the environment. As I would argue that many of these ways of thinking can also be found in the Bible and Christian views of the world, in good stewardship.
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Plants from Roots to Riches Podcast Omnibus
Episode 1 :- https://www.bbc.co.uk/programmes/b048s3my/episodes/downloads
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"Kathy Willis considers our changing relationship with plants over the last 250 years - from tools to exploit, to objects of beauty, to being an essential resource we must conserve"(BBC Sound, 2020).
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The podcast explains the history of botany and how plants were named and organised. in a time when botany was becoming very popular in Europe as a means of using a developed understanding of plants to "serve both our understanding of Gods ways and our economic needs." Botany became particularly popular because plants were like money they enabled economic independence and the control of selling and knowledge of plants was believed to help establish British Imperial power. The podcast reveals the significants of plants, especially those that a thousands of years old and their entanglement in human history. I found the organising of plants particularly interesting as plants are in many ways organised by their sexual organs that are described in away that mirrors human relationship of 'husbands and wives'. This podcast is helping me to have a deeper understanding of our relationship with plants as a means of making money.
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