Prairie Rhythms: Predators and Pastoral Stewardship

As I prepare for my upcoming living sculpture titled "Sequel," I had the opportunity to explore the prairie ecosystems at Pierce Ranch. The morning started with collecting prairie seeds, which is a vital step in bringing my sculpture to life. To enhance my understanding of these ecosystems and find the most viable seeds, I reached out to a local prairie conservationist who has been instrumental in restoring numerous prairies, notably preserving the Katy Prairie. Collecting seeds is much like eating crawfish, proven to be a catalyst for engaging and enlightening dialogue.

The insights I gained from this exchange confirmed my concerns regarding land preservation. It might surprise and disturb you to learn that the most vibrant and diverse prairies aren't necessarily those that are protected. Rather, they are the prairies that have embraced a more dynamic relationship with the land through careful ranching practices and thrive with life and diversity.

Historically, the natural balance between predators and prey shaped these ecosystems. Predators once hunted freely, guiding the movements of herbivore herds, naturally managing the consumption of vegetation (energy) and the dispersal of organic matter in the form of dung, returning energy back into the soil. However, human intervention led to the decline of these predators, overgrazing, and the desertification of ranchlands. Modern-day ranchers have learned to adapt by using portable fences to mimic these natural movements. This modern adaptation sustains the prairie as a healthy ecosystem, supporting numerous bird species and wildlife.

Through this blog post, I hope to reach an audience unaware of the critical role of ruminants in preserving and revitalizing prairie ecosystems. It's not merely about protecting a static image of nature but understanding and fostering the dynamic relationships that sustain it. The prairies are a testament to the resilience and complexity of life when allowed to interact naturally, even within the framework of sustainable human practices.

It's exhilarating to see how this knowledge aligns with my artistic vision. The conversations I've had and the observations I've made will undoubtedly enrich the narrative and structure of my living sculpture. The prairie seeds are not just components of my work; they symbolize a deeper understanding of ecological balance and the beauty of a thriving ecosystem. They are a source of energy and knowledge, a way to repay the planet.

As I continue this creative process, conversations with friends and experts will remain the cornerstone of my inspiration. In sharing these insights, I hope to foster a broader appreciation for the nuances of prairie conservation and the subtle yet profound ways we can contribute to preserving our natural world.

I leave you with questions that modern society must consider: How can ruminant populations be managed in the absence of predators? What are the consequences of not culling herds? What does the future cycle of life entail?

WHISPERS OF A SHIFTING DIVIDE

Whispers of a Shifting Divide is a polished bronze sculpture that imagines the unimaginable. It was inspired by my children's 1997 discovery of a crustacean fossil lying in the desert of West Texas just before we moved east to semitropical Houston, Texas.

The sculpture symbolizes the U.S. 100th meridian, the demarcation between the arid western US and the humid eastern US since the early 1800s. Since 1980, this demarcation between arid and humid has shifted 140 miles eastward from the west side of Austin, Texas to the east side of Austin to the 98th meridian. Another 140 miles — another 40-50 years — and Houston, known for its semitropical humidity will be on the arid side of the boundary.

The polished bronze material nods to Houston's future and industrial character, particularly the polished steel street signs in its minimally landscaped commercial tourist area, Uptown Houston.

By imagining the unimaginable, this work fosters a dialogue that calls for environmental consciousness of the possibilities of our actions.

Echoes of Existence-how to engage the students

I am slowly working to find solutions to the problems that will arise when the students implement the installation.

First, how to get students that are not comfortable with nature to want tobe involved. What will draw them in?

Second, a big problem is how to control a group of college kids in a field and have them complete a detailed installation.

Bloomington is a walking city. Every day as I would walk about town and the campus I worried about how I was going to solve these two problem. And like on most college campuses everyone is in their own audio visual world contained between the ear pieces of a headset. And I was the same. The difference was I still wanted to connect to those passing by me with a “good morning” or hi. I found the IU students were very focused on the sounds in their headsets they did not need to make eye contact or say hello.

In a discussion with an English professor, Shannon Gayk, who also teaches a walking class, I learned that a novel idea for students is silent walking. The idea of walking without a headset without sound — silent.

Thinking of headsets and silent - my mind went straight to silent raves then to a silent installation.

Would the concept of a silent installation draw the students in. Could this commitment to headsets be a possible tool for crowd control during the installation?

I love the idea. But that leads to another hurdle. How do I design a silent installation? What technology makes this possible?

With a quick Google search, I found several companies that provide everything you need for a silent event.

Indiana University artist in residence— conceptualism, the site, archeology and anthropology.

October 11th was the end of the first leg of my residency. The experience truly supports the statement you don’t get what you want but you always get what you need. I did not seek out the residency but I can see how it is helping me take my Social practice to the next level.

It is giving me the opportunity to use; the symbolism of a labyrinth, the regenerative symbol of a bison, the turfgrass of an institute of the US collegic system to change societal habits. These features alone are rare and hard to come by resources.

Exploring the campus and discussing my plans with all who would listen resulted in IU providing me with the opportunity to add a few more layers to the work. Specifically conceptualism, archeology and anthropology.

Conceptualism- The Eskenazie Museum on IU’s campus has one of the three complete collections of Marcell Duchamps readymades. Seeing these pieces of Duchamp the father of conceptualism from the 60!s and 70’s gave me the idea that my work at Indiana would be more impactful if it is conceptual.

As I began to plan the labyrinth design and installation I began to see how beautifully Conceptualism works with Social sculpture. If I create the concept and the design the steps to install it and the students implement my concept and design it becomes theirs. It won’t be my art they assist me with it will be their actions taking meaningful steps.

The last Monday at IU in a meeting discussing the actual installation process with one of the professors and directors of the Hilltop Gardens it was suggested I work with the anthropology department and Archeology departments when I return. Archeologists will be enlightening when it comes to installing the grid. The Anthropology department can help facilitate a possible relationship and sharing of culture between the students of the First Nations and the students who do not have a deep connection to the land. I would like the installation to be a catalyst for the two groups to develop a unified way forward, a new tradition or ceremony that will give them all together a personal connection to the landscape and the biodiversity it will support.

The next step is to get the University wheels to approve a site. To be the most successful the site needs to be a sea of turfgrass, have full sun, be spacious enough to accommodate the 85’ X 54’ bison, and accessible to the students and community.

I am thrilled to announce that in late January 2024, IU selected a sloped plot of The Hilltop Gardens for the installation.

Related blog posts

A labyrinth of what shape? http://www.cindeeklement.com/blog/2023/10/2/what-kind-of-labyrinth-a-seed-a-beautiful-design-a-bison-that-is-the-question

The design

http://www.cindeeklement.com/blog/2023/10/8/the-labyrinth-design-how-will-it-be-installation

From 8” X 10” to 53’ X 85’

http://www.cindeeklement.com/blog/2023/10/7/how-do-you-build-a-labyrinth

Language and Perception

In the above image the wrench represents industry and the butterfly the natural world.

For those with philosophical minds, it’s fascinating to explore how language shapes our understanding of the world. The power of words extends beyond mere communication; it molds our perceptions and influences the way we interpret reality.

Consider how our dominant cultural values can impact our vocabulary and ultimately shape how we perceive things. If our society places highest importance on industry and financial gain without regard for environmental consequences, our language will reflect that mindset.

Our perception of the image and the world is shaped by our language. If our main focus is on achieving economic success at any ecological cost, then our vocabulary reflects these thoughts, and these thoughts in turn influence how we value ecology. Take a moment to consider this image of a butterfly and a wrench.

What do you perceive — a wrench supporting a butterfly or a butterfly struggling to withstand the pressure from a wrench?

We can use this knowledge to change society – by analyzing the relationship between language and perception, we can start to question and challenge these dominant narratives. We can choose to broaden our vocabulary, incorporating words that prioritize environmentalism and regeneration.

Imagine if everyone shifted their linguistic focus towards promoting regenerative practices, valuing nature, and taking responsibility for ecological well-being. This change in vocabulary could create a shift in perception – from viewing nature as something to exploit for financial gain to recognizing its inherent value, fragility and it’s power.

So let me ask you again: How do you perceive the image of the butterfly and the wrench? We have an opportunity to reflect on the power of language, challenge conventional thinking, and work towards creating a more regenerative future for ourselves and generations to come.

#ecoart #socialsculpture #wrench #butterfly #language #womanartist #texas #houston #cindeeklementart

Bombus melanopygus - Black tailed bumble bee.

How the bumble bee got its stripes https://www.eurekalert.org/news-releases/600078

Bombus melanopygu, a captivating bumblebee species that I recently began studying for my body of work, “Rumblings”. As an artist, my process begins with thorough research, delving into the intriguing world of each unique species. Despite the limited information available, I find myself captivated by Bombus melanopygus and its enchanting research qualities.

Incredible breakthroughs have been made by researchers in understanding the color differences within bumblebee species. A recent study, conducted by experts at Penn State, has revealed the presence of a specific gene that drives these variations in color patterns. This discovery not only sheds light on the astonishing diversity among bumblebees, but also provides insights into the evolution of mimicry, where individuals adopt similar color patterns within a given area. The gene resides in a highly conserved region of the genome, which serves as the blueprint for segmentation. This groundbreaking research was published in the renowned journal Proceedings of the National Academy of Sciences on April 29, 2019. -

Heat Dome

“What I propose, therefore, is very simple: it is nothing more than to think what we are doing.”

-Hannah Arendt, The Human Condition

Heat Dome

Watercolor monotype

30" X44"

Bare ground, concrete, asphalt, and astroturf emit 4X radiant heat. Great masses of radiant heat create heat domes. Heat domes prohibit weather from moving across the land. In contrast, surfaces covered in thick layers of plants indigenous to the region store water in the soil. When the day warms, the plants transpire, releasing bacteria with the moisture to form clouds that provide shade and then rain. We each need to carry our ecological weight. We can start by considering new ways to surface our city scapes to cool the planet.

Heat Dome ghost

Moving Forward

Moving Forward

67” X 15” X 18”

Image by Jake Eshelman

Found object concrete and rebar curbing fragment, rusted steel, bronze, and gold leaf.

Moving Forward consists of two rectangular concrete curb fragments and two cast bronze roots, the latter with gold-leaf patinas. These objects are tethered like irregular beads strung on a wire of rusty rebar falling to the earth.

The fractured concrete and the more extensive root land at the forefront in a forward strutting anthropomorphic structure. Growing behind the long-necked bird-like form, a stem of rebar twice the creature's height reaches for sunlight. The meandering stem is counterbalanced with the smaller root in a lyrical passed sunflower shape.

The weighted composition invites viewers to reimagine the relationship between our engineered landscapes and ecological systems to support wildlife and forge a path toward a regenerative future.

Interdependence

Interdependence

60” X 10.25” X 10.25”

Image by Jake Eshelman

Texas Bricks, Paint, Plastic Dome and Base, Vintage Globe Bank, Prop $100 bills, Coins from a diversity of economies, Paper Wasp’s nest on Maple tree leaves, Seashell with barnacles, Red swamp crayfish, bird nest, feather of a Pileated Woodpecker, Blue jay feathers, Mantis, Cicada, Great Purple Hairstreak, Tropical Checkered Skipper, White Peacock, Red-spotted Admiral, Monarch, Red lacewing butterfly, June Beetle, Eastern Carpenter bee, Wolf Spider, Beebalm, Sacred Datura, Bundleflower and various dried leaves.

Artist Statement

Interdependence is built from a collection of TEXAS-stamped bricks washed with a white patina. In a staggered stacked square skyscraper form, the bricks shoulder a transparent dome and base, crowned with a vintage Globe Bank finial.

Within the transparent dome is a still-life collection of intricately connected elements from natural and human-made systems. They wreath a "Houston" stamped brick fragment.

By using everyday materials that we typically associate with urban environments, the work conveys that the collective actions of Houstonians, living in a dense population center with a sprawling footprint and long growing seasons, have far-reaching implications for global economies. It is a reminder that our choices impact not just our immediate landscapes but global eco-systems as a whole.

This sculpture is not a warning. It presents a solution. I employ systems thinking to suggest that embracing economic systems is necessary to recover biodiversity. Economic systems dominate our culture and intimately impact natural systems. Houston's ecology and commerce can potentially create a new economy - an ecotourism industry. Houstonians can transform the negative impact of industrialization, commerce, and urbanization into a source of beauty, wonder, and economic growth by advocating for our natural habitats.

Interdependence invites us to rethink our individual relationship with the planet’s biodiversity, recognize the value of our natural heritage, and embrace the idea that supporting wildlife is a global responsibility dependent on a collection of individual acts. 

A Turn of Events: My Dream Installation on hold.

This summer, I was presented with an incredible opportunity. A curator asked me to propose my dream installation, a chance to showcase something meaningful. The site owner was willing to support and fund the work.

After much contemplation, I decided on a proposal that filled me with passion and urgency. However, last week, it all came to a halt.

I am sincerely grateful for the curator’s interest in my work and the site owner’s support. Their initial inquiry inspired this proposal, and I cannot thank them enough for that. I believe that everything happens for a reason, I have an idea and I am hopeful that I will find the project a site and funding.

First a little background. While at Indiana University, I became aware that integrating ecological recovery with natural systems is a new academic direction and numerous educational institutions are interested in this area. After all, universities and school systems are the largest landowners in any city and having research students involved would be a great asset. Transforming the proposed installation into an art/environmental science installation would significantly enhance the social sculpture’s reach and benefit a university and society.

Below is my proposal.

Introduction-

Global warming, food security, drought/flooding, wildlife habitats, economic instability, and health – these problems are not new to humankind. The archeology of ancient civilizations has recorded connections between the longevity of civilizations and the health of their soil. The United Nations reported in 2014 that the world's topsoil would only last 60 more growing seasons. Soil scientists around the globe agree that solutions to these issues are rooted in our treatment of soil—the skin that covers our planet. 

In a moment of global uncertainty, I ask myself, what materials and forms would I use to create the greatest impact on society and the environment? As I think of ancient civilizations' architecture, art, and spiritual practices, pillars and vessels played an important role in shaping their understanding of the world. Much of my previous work has been about conservation issues, looking specifically at Earth’s natural systems of bees, at waterways, at bison, at native plants, at recovery from Hurricane Harvey, and now at the underground systems of Earth. And so, I would use roots as my material and pillars as my vessel.

standingGROUND

In standingGROUND, I propose a four-stage installation of 5’-10’ tall pillars of various shapes grown from the roots of long-rooted prairie plants.

These pillars will be created by stacking various shapes of clay vessels commonly purchased from home and garden stores. The vessels with the bottoms removed will be stacked and centered on a steel pole cemented in the earth with a small footing for stability. The pots will be filled with a leaf-mold compost and seeded with native grasses and plants known for their root depth. They are to be nurtured and watered for approximately twelve months or until the plants are rootbound in the clay pillars. The clay will then be delicately broken away and the above-ground plant material removed, leaving freestanding pillars of delicately intertwined roots bound in the shapes of the stacked vessels. The root pillars will stand erect on the hidden steel posts.

Drawing inspiration from the rhizomatic root structures of native grasses that give structure to Earht’s underground life, these sculptures, woven by natural systems, standing above ground, will bridge the gap between sky, earth, water, and modern humanity. These pillars offer a glimpse into the intricate workings of an underground prairie ecosystem, the upside-down rainforest for carbon sequestration of North America.

Four Stages

The first phase of standingGROUND will focus on the sculptural aesthetics of the work. I will carefully build the pillars composed of ready-mades to be strong sculptural elements on their own. Once a site is selected, I will choose a paint color that harmonizes with the surroundings and emphasizes the sculptural qualities of the pillars. Lighting will play a crucial role in showcasing the sculptures in relation to their environment. I will paint the pots before the installation, touch them up, and paint the joints afterward. Information on the site will discuss the ecological and social aspects not yet revealed.

The second phase will be to install the pillars into an immersive experience. The towering yet human-like pillars will be positioned strategically to create an intimate and inviting space for viewers. Within this space, a stone or stump will be placed as a reflective seat, provoking thoughts on how our actions impact climate and biodiversity and how humanity can find harmony within natural systems.

The third phase of standingGROUND is when I physically chisel the ceramic vessels away to reveal the social sculpture aspect, the delicate white lace-like intertwined roots bound in the shapes of the stacked ready-mades bridging the gap between sky, earth, water, and humanity.

The fourth phase encapsulates the cycle of life, decay, and regeneration. This crucial phase is essential for ensuring life on Earth. The root sculptures will gradually erode and disintegrate when exposed to the elements. Once the installation has reached the end of its visual lifespan, I will carefully remove the root sculptures. The poles and footings will be relocated from the site. This stripping away of the remnants will leave behind a cavity in the ground previously occupied by the footings. Remarkably, this void will serve as a space where the roots can be placed to rest-regenerate and give birth to new life.

I started experimenting with the shapes in their root form last week. I initially created six sketches in the form of watercolor monotypes. Then, I researched more pot shapes with larger mouths and created four more in round 2. The images of these sketches are below. I will continue experimenting with these shapes as I work on a site.

standingGROUND II

Watercolor monotype

30” X22”

StandingGROUND VI

Watercolor monotype

30” X22”

standingGROUND round 2 #1

Watercolor monotype

30” X22”

standingGROUND IV

Watercolor monotype

30” X22”

StandingGROUND round 2 #4

Watercolor monotype

30” X22”

StandingGROUND round 2 #3

Watercolor monotype

30” X22”

StandingGROUND round 2 #2

Watercolor monotype

30” X22”

standingGROUND V

Watercolor monotype

30” X22”

standingGROUND III

Watercolor monotype

30” X22”

standingGROUND I

Watercolor monotype

30” X22”

To Leave

The ephemeral beauty of nature lies not just in living organisms but also in their inevitable decay.

This morning, while examining “deeper than that” a private living sculpture art installation featuring indigenous plants, I was struck by the fading loveliness of the Rosinweed leaves as they withered. Contemplating the homophones “leaf”, “leave” and “leaves”, I pondered how societies historically understood the ecological value of allowing foliage to persist even after senescence. Is that why we call these objects a verb?

Leaves that have left a plant continue to nourish the soil and its microbial inhabitants even in death. Their decaying forms hold moisture, shade the living organisms in the ground, and provide nutrients as they return to earth, building a balanced ecology that sustains urban landscapes. They are an important material natures uses in its engineering of the water table.

Though a single leaf may seem a small, ephemeral thing, in aggregate and over time, the leaves left behind establish and uphold the very foundations of life.

Their decay is not an end but rather a beginning - a quiet, essential recycling of energy and matter that allows new growth to emerge.

In both the noun and the verb there are layers of beauty, and layers of ecological purpose, in the leaves left to molder where they fall. An ecosystem thrives on this gift of decay, using the ephemeral to fuel the eternal. Such is the profound, poignant cycle that the installation’s Rosinweed specimens, even as they bend and brown, help perpetuate. Out of seeming loss, abundance; out of death, life.

Leave your leaves and be grateful for their beauty as nouns and as verbs.

Living Llabyrinth- Building the grid

Building a Large Grid for Installing a Labyrinth: My Process. One reason I write these blog posts is to record my process. The other is to share information.

Constructing a labyrinth grid of this magnitude may seem like a daunting task. And it is for me. With the right strategy, it can be accomplished efficiently. As I embarked on this venture, I took the time to experiment and optimize my methods. Here's a breakdown of the process that was the most efficient.

To begin, gather the necessary materials: X-axis cords measuring 53 at 54' and Y-axis cords measuring 33 at 88' lengths. Keep in mind that the cords come in 100-foot lengths.

I wish I had of planned at 50’ by 100’ bison. The lighter is for singing the ends so they will not ravel. The tape is for tapeing the measured and twist-tied ropes for the installation.

I am making each cord that is a multiple of 5 a white cord. I think this will helpful the day of the installation.

1. X-axis cords: Start by unwinding the hundred-foot cord carefully, ensuring it doesn't become tangled. Here's a handy tip: tie a knot at one end and secure a twist tie next to it. Place the knotted end in a doorway and shut the door on it. This will hold it in place. Then, stick your arm through the middle of the looped cord and slowly unwind it, walking away from the door until it's completely straight.

2. Measure and cut the cord, leaving a few inches to knot and singe the ends to prevent unraveling. Tie another twist tie at the 54' mark. This will serve as the reference cord for measuring all other X-axis cords. Keep this cord secured in the door.

3. Take the leftover cord singe the end and knot it and tightly tie a twist tie inside the knot. Shut in the door with the reference length cord. Measure it against the reference cord and splice it with a piece of the next 100' wound-up cord to measure the 54' length accurately. Now you have a cord to start marking the grid on.

To mark the grid on the first cord—

The dining has been my studio work space. First I covered the 8’ table in a thick paper to protect it. Next I marked every 20” from end to end.

4. Prepare a long table by placing sheets of paper and securing them to the table so they will not slip. Measure and mark on the paper every 20". Lay the cord on the marked paper. To ensure stability, anchor the cord with a heavy object like a case of water.

I used a case of water to weigh down the cords.

Starting from the first knot, and twist tie secure each twist tie tightly along the edge of the table at the 20' marks. Continue tying twist ties until you reach the end of the 54' mark. You may have a little excess cord hanging after the last tie.

The 8’ mark of the table length and the last twist tie. I leave a few inches at the end just in case.

The first piece with every 20” tightly tied with a twisties.

5. Carefully wind up the cord, tape it securely, and mark it as X-axis 54'.

The first grouping of five- 4 red and the 5th white.

53 pieces - completed.

6. Finally, organize the cords by making four red and one white, keeping them grouped together.

IU - The labyrinth design - How will it be installed?

Once the grid is installed, the next step is to think about how to divide the work so that groups of student and volunteers can install my vision. .

Two options seem viable. The first idea is by marking the (X, Y) coordinates for each circuit of planting on individual pages. The other idea is by verticle rows.

Below I have marked the coordinates of the circuits. As I mark the coordinates I am not sure this is the way. I may need to break it down to smaller sections.

I can continue to consider how to breakdown the jobs as I begin building the grid.

IU - How do you build a labyrinth? From 8”X 10” to 83’ × 54’

How to go from an 8” X 10” paper to a field, Is the question ruminating in the back of my mind every day.

Unfortunately Bloomington is in between art supply stores. As a result I could not buy locally any paper larger than 8” X 10” . While I waited for an order to come in I pieced together 8 - 8” X 10” pages and scaled it up 2X.

When I scaled it up 2X I started seeing that I could take it to any size I wanted by using (X, Y) coordinates. I am using a 20” scale.

8- 8” X 10” paper to a make a 18” X 30” sketch.

How I could get a 83' × 54’ rectangular grid with right angles on a field was a big concern.

An idea came to me when I toured the charming Wylie House, a fascinating piece of history nestled just off campus. This historic gem, built in 1835, was once the cherished home of Andrew Wylie, the inaugural president of Indiana University.

The Wylie House master bedroom.

During my visit, the knowledgeable docent unveiled a captivating detail - the simple rope framework that upheld the mattress.

The antique bed’s rope framework that supports the mattress. What looks like a cup is the chamber pot.

A rope grid might be the answer to getting a proper rectangle With right-angled corners and grid onto a field.

This visual solidified my strategy for bringing the labyrinth design from paper to reality in an open field. The framework I need is 83’ × 54’ the vertical and horizontal ropes that cross every 20”. We can twist tie the coordinates together making the rectangle form.

The National Wildlife Federation - feature

Partnering with communities, schools, governments, and organizations across the country, the National Wildlife Federation is leading the charge for conservation.

Through their tireless commitment to protecting and restoring habitats, they have managed to breathe new life into endangered species like eagles, deer, elk, bighorn sheep, and whales.

I am deeply proud to have my work featured in the prestigious fall edition of the National Wildlife Federation magazine. It is a true honor to be recognized alongside such incredible conservation efforts.

IU - How do you draw a labyrinth?

During the first week of my residency at IU when I wasn’t exploring the city, University, art, museums, ecology, architecture, and landscapes I was experimenting with labyrinth designs.

Some sketches of three different types of kabyrintgs.

This design starts with a simple cross. I need to keep this simple.

Turning the cross/square labyrinth upside down I decided to attempted a seed labyrinth. I think a design less feminine will be better.

IU - Exploring the Intersection of Art and Humanity To Tackle Climate Change? Insights from Artists Miles and Melanie.

"If you hit a wrong note, it's the next note that you play that determines if it's good or bad." — Miles Davis

In humanity's quest to harmonize natural processes with industrialization and tame the beast of extreme climate, I consider problem-solving approaches from my artistic practice and the artistic world.

As a master of improvisation Davis embraced musical mistakes as valuable chances for growth—an approach we can apply to all aspects of life. How we respond to so-called errors ultimately shapes the final outcome. Humans have the unique ability to transform something "wrong" into something "right."

How does this apply to our environmental issues? Consider that as a species homosapien is a young species. Having thumbs instead of hooves our brains have evolved to create, and invent, to problem solve to make us not mammalian beasts but human.

Mountain Moving
On exhibition in the GRUNWALD GALLERY of ART IU.

The artist Melanie Cooper Pennington teaches Sculpture at Indiana University.

One of homosapien’s greatest inventions is industrialization. We are now clearly seeing and feeling the impact of industrialization on our ecosystems. The most important question humanity has to answer is — will industrialization be a “bad” note?

By adopting Miles’ mindset, we can discover new and innovative ways to address climate change and find harmony between nature and industry. As an eco-artist I consider problem solving perspectives that I use in my creative practice to visualize and transcend conventional thinking to create a better world.

I am engaged in an artist in residency program at Indiana University direct by the Arts and Humanities Department. The university recently launched an Environmental Resilience Institute, as well as a new A&H laboratory dedicated to Environmental Futures. They created a research platform to allow arts and humanities scholars at every level of education—to connect.

My first visit at IU was with Melanie Coooer Pennington. Melanie, creates mammalian sculptures to investigate the borders between the human/animal body and its psychological states. Melanie’s work provides an emotional visual to the power of thumbs by replacing them with hooves. Thumbs changed everything.

I saw Melanie’s Mountain Moving, thought provoking sculpture the day I started writing this post about Miles Davis and his creative process.

I believe through art and culture, we can move the industrial mountains facing humanity — our next note can create a masterpiece.

Peck + Scratch

Peck + Scratch Installation

Eight chickens and two roosters were installed in Symbiosis, April 1, 2023, from 11:00-5:00

 There's more than eggs when it comes to urban chickens. Peck and Scratch is a throwback to when every family had a symbiotic relationship with these quirky feathered friends. It was common knowledge that chickens are miraculous energy transformers; they effortlessly clean up weeds and bugs from living soil while providing families with a more sustainable and cost-effective alternative to chemical pesticides and herbicides. Plus, their waste is invaluable - it replenishes the soil with much-needed nutrients for plants to thrive. In addition, the protein-packed eggs they lay contain all the amino acids necessary for promoting brain health for early childhood development.

By offering a cozy environment, refreshing water, and a lush habitat, we're showing gratitude towards our curious and joyful friends and providing them a safe home away from potential harm. Instead of supporting factory farms, our chickens deserve to thrive in an ecosystem filled with living soil and all the essential components they need to lead happy, healthy lives.

It's time to think outside the (takeout) box and invest in the power of urban chickens.

The Baby Whisperer

“The Baby Whisperer” 30” X 44” watercolor monotype Horses are truly a marvel of sensitivity and emotion. My daughter-in-law recently visited a stable where she used to ride, and while my son shoveled manure for their garden, she had a beautiful moment with one of the mares. Even though she had never ridden that particular horse, it became clear that the horse had been affected by its owner’s recent pregnancy. This experience reminded me that wildlife deserves much more credit than we often give them.

This observation also underlines how crucial it is to build connections with all creatures in order to restore and maintain a healthy ecosystem. I want to express my gratitude to Griffin and Alex for providing a stunning photo that inspired me to reflect on these profound ideas. They continue to motivate me each and every day.

A few weeks later I created two more pieces. One for my daughter-in-law's parents and one for my son.

Baby Whisperer I

Watercolor monotype 30” X44”

Baby Whisperer I ghost print

Watercolor monotype 30” X44”

Baby Whisperer II

Watercolor monotype 30” X44”

Baby Whisperer II ghost print

Watercolor monotype 30” X44”

CARBONsink rises — how to get rid of your turf grass.

“Carbon by the Yard” was a temporary relief in the shape of the Carbon element symbol, “C”. This simple gesture brought attention to the fact that gas lawnmowers emit eleven times the emissions of a new car.

Carbon by The Yard

In 2022, I transformed “Carbon by the Yard” piece into “CARBONsink ” using solarization and regeneration instead of herbicides to transform the turfgrass into biology. I then seeded it with wildflowers. The new piece soaks up rainwater, stores carbon and supports pollinators.

It is important to note that the EPA estimated that non-native turfgrass monocrops use one-third of all public water. In the US, this translates to 9 billion gallons of water daily.

These two social sculptures highlight how our colonial landscape decisions impact our carbon footprints.

CARBONsink 6/8/2023

DIY- check out the steps to install your own CARBONsink.

Soak the ground.

Use the power of water in conducting heat into the plot. Proper hydration will pull heat from the surface deeper into the soil, enhancing the effectiveness of solarization.

Cover the soaked turf with two layers of cardboard. This will smother the turf grass and use the suns energy to solarize it.

Soak the cardboard layer

Layer 4”- 6” leaf mold compost. I use Nature’s Way Resources and Heirlooms.

Spread the compost evenly .

Soak the compost , and level it for sprinkling the seeds.

Sprinkle seeds generously.

The seeds come from Native American Seeds.

Make sure the seeds make good solid contact with the ground. Press them in.

April 2023

June 8,2023

July 29, 2023