Passionate for Pre-K

This post will serve as a journal for the work.

 “My four-year-old daughter saw her first butterfly and was terrified." – Lawndale Art Center patron, 2022.

This remark, shared during one of my Symbiosis artist talks at the Lawndale Art Center, sparked Passionate for Pre–K. Imagining a generation untouched by the gentleness and fragility of wings—this is a sorrow too heavy to bear—and do nothing.

Wildlife plays a vital role in early childhood brain development.  At the very least, let each school day begin with a procession past living poetry: vines sculpted in fragrant blossoms of lemon honey, trembling with the promise of caterpillars, alive with the fragile ballet of butterflies. Each child develops in the company of nature’s intelligence.

With small acts of passion, this is within reach.

DESCRIPTION

Passionate for Pre–K is a living social sculpture installed in the fall of 2025 on the chain-link fences surrounding the playground at Clemente Martinez Elementary School in Houston, Texas. I sourced 90ish Texas native vines from my three living sculptures: Symbiosis at the Lawndale Art Center, Deeper Than That at a private residence, and Sequel, located next to my art studio in Acres Homes. Passion vines are highlighted in the mix. Sourcing from multiple locations supports the DNA diversity of the ecosystem. Hope Stone and landscape architect Caroline Craddock are coordinating this installation with the school administration.

THE PROCESS

Taking tender 10-inch vine cuttings, using root stimulator and native leaf mold to propagate the plants. I am selecting 90 plants of different species to support a variety of wildlife and accommodate different growing seasons. The school community assisted with the planting in early October.

LONG-TERM GOAL

As ecological knowledge from Symbiosis has taken root in Deeper Than That, which has grown into Sequel, the hope is that Passionate for Pre-K will act as a catalyst. Annually, new tendrils—carefully propagated—will be gifted from Clemente Martinez Elementary School to neighboring schools, allowing the spirit of regeneration to spread from playground to playground, blossoming into a living legacy of wonder and natural intelligence.

PLANT LIST

May pop, Passiflora Incarnata

Stinking Passion vine  Passiflora foetida 

Various proven Passion vine hybrids.

Trumpet honeysuckle,  Lonicera sempervirens

Hairy clustervine, Jacquemontia tamnifolia

Muscadine grape, Vitis rotundifolia

American wisteria, Wisteria frutescens

Crossvine, Bignonia capreolata

Carolina jessamine, Gelsemium sempervirens

COLLABORATION

Passionate for Pre-K is a collaboration with Hope Stone, Caroline Craddock and the Clemente Martinez Elementary School community.

I am extremely thankful for this opportunity, which wouldn't exist without Hope Stone, Caroline Craddock and the incredible volunteers.

NOVEMBER 2025 UPDATE

During phase two of Passionate for Pre-K, a fifth-grade class carefully planted the remaining plants for the installation. The following week, the eager students returned to check on their plantings, only to find a scene of destruction. Unfortunately, a child left unattended in the play area pulled up several plants, leaving only 7 of the original 90 still alive. This act of vandalism is heartbreaking and frustrating, but it highlights how important this project is. The lessons a garden can teach about social responsibility, care, and wonder are fundamental. I will not let one act derail the project. Every child has the right to be inspired by nature. I am propagating new cuttings in preparation for planting again in the spring.

—special thanks to Caroline Craddick for capturing these moments in photos.

One of the plants from the previous planting that was part of the vandalism. Notice the gulf Fritillary butterfly hiding in the shadow.

propagating a passion vine in water.

The Stinky Passion flower’s scientific name is Passiflora foetida. It is also known as Fetid Passion Flower, Love-in-a-mist, Wild Maracuja, and running pop.

It has sticky, feathery, leafy bracts that surround the flower and fruit. When an insect tries to eat the fruit, it gets caught in the sticky bracts and dies. The plant then secretes a digestive enzyme and absorbs the nutrients.

Dreaming of Melting Mummies.

When you understand the natural systems that regenerate our planet, you understand that snow is both an end and a beginning. Tobi, my Labrador, and I could not wait to check on our plant beings in “Deeper than that” this snow-covered morning. Scanning the installation there are bushy snow puddles of Butter daisies and Bluemist flowers with tiny bursts of color saved only for those who care to listen closely.

Layered in the dust of the morning’s snow the blanket flower draws us closest. The fiery blooms not reaching for the sun but in a motherly huddle. I am grateful that I don’t need to spend money, time, or energy on covering native plants that are genetically designed to thrive in extreme temperatures and weather conditions. The exposed plants create a subtle palette of earth tones rarely seen in urban landscapes, showcasing the various stages of life and regeneration that these resilient species represent. When my eyes focus on the details, hidden colors are revealed, and my brain receives a surge of oxytocin. I understand what hope feels like. As l scan down the street I see homes lined not in winters pallets but boxshrubs wrapped like mummies. For a moment I invision those mummies milting into a street lined with nature’s gentle winter lessons. I image things to inspire children to explore and capture their imagination.

In the quiet of the snow, I reflect on its form—a white-covered blanket—and its relationship with a planet that naturally regenerates for future generations. I consider how the plants that freeze back or remain in place become energy sources and habitats, supporting the foundation of the planet’s food network. It warms my heart to think about how this snow-covered landscape protects the soil life that nourishes roots and promotes spring growth.

There are many lessons that humans can learn from a garden that embraces seasons, regenerates life and provides for a diversity of beings. Imagine how different the world would be if every child’s first classroom was a garden, or if all politicians had to maintain a healthy garden without the use of chemical inputs for four years before they could hold office. They would gain insights into networking and learn about symbiotic relationships in real life.

La Mancha’s Sequel: A Mindful, Climate-Smart Urban Landscape.

January 14th

Today, as I immerse myself deeper into the world of ecological restoration and sustainability, I find myself fueled by an overwhelming sense of purpose. My Climate-Smart Urban Landscape project has truly become a labor of love, growing more meaningful with every leaf gathered. As I collect bags of native Oak leaves from curbs, I'm not just gathering leaves—I'm cradling potential life, the eggs, pupae, larvae, and chrysalises that might be nestled within. Astonishingly, Oak trees are home to over 900 species of caterpillars. These caterpillars serve as a crucial food source for many songbirds and their young across North America. By saving these leaves, I am inadvertently contributing to the survival of these beautiful creatures.

The interconnected benefits of these efforts are profound. First, by fostering biodiversity, I help ensure diverse species can thrive. Second, as the leaves decompose, they transform into a rich, nourishing substance that revitalizes our depleted soil, forming the very backbone of our food network. Third, these leaves provide essential shelter from harsh weather, acting as a protective barrier against heavy rains and cold temperatures and safeguarding the tiny creatures that rely on them to survive.

My inspiration stems from personal experiences and a deep sense of environmental stewardship. Through "La Mancha’s Sequel," my urban landscape project, I aspire to blend art, architecture, and environmental literature in a way that leaves a meaningful impact. My goal is to transform the local community here in Houston and ignite a larger appreciation for ecological interconnectedness. By sharing this journey, I hope to inspire others to commit to regenerative practices within urban environments.

With every leaf collected and every small step taken, I am moving toward a more harmonious world. This journey reminds me that each of us holds the power to make a difference in our neighborhoods, communities, and beyond. Together, we can create a future where sustainability and biodiversity thrive hand in hand.

#rain #soil #abstractexpressionism #houstonart #ecoart #socialsculpture #cindeeklementart #art #texasart #sculpture #contemporaryart #modernart #regenerativeart #sequel #acreshomes #foodnetwork #foodchain #regeneration #regenerativeart #artandscience #agriculture #agriart #foodnetwork #foodweb

Living Labyrinth – Echoes of Existence: A Journey Through Nature's Narratives To Redefine The Anthropocene. - Artist statement

Echoes of Existence: A Journey Through Nature's Narratives To Redefine The Anthropocene.

Echoes of Existence is a social sculpture site-specific art installation on the campus of Indiana University. It will reside at Hilltop Gardens in a field of manicured turf grass, creating a stark juxtaposition between a cultivated lawn's carbon footprint and a natural carbon sink. A work of conceptual art that the students of Indiana University will install. It is a living labyrinth, sculpted from the tapestry of Southern Indiana's native plants, embodying the region's rich biodiversity and echoing the inherent beauty of natural systems. In a land that once echoed with the thunderous presence of thousands of bison roaming the prairies.

The materials are modeled as b.bison grazing with a bird on its back, a tribute to the bison's eating and waste habits that have supported North America's ecosystems. The entrance, marked by native limestone inscribed with "What might seem like the endpoint..," challenges our perceptions of beginnings and endings, urging us to shift from modern humanity's linear thinking to a cyclical understanding of our relationship with nature.

 On the journey through this living labyrinth, one is engaged in a walking meditation guided by the rhythm of the winding path. A labyrinth has a fixed path, a deliberate design that allows your mind to wander freely, unburdened by the fear of being lost in a maze. On this path, one is immersed in nature's diverse colors, textures, smells, sounds, and movements, each element enhancing the experience and making every meditative walk unique.

The path culminates at another limestone marker adorned with rudimentary carvings representing the ecosystem's historical biodiversity that reappear when ruminants are reintroduced to the land. The inscription echoes, "What might seem like the endpoint...may also be the beginning." This mantra provokes contemplation on the cyclical nature of existence, where endpoints can transform into starting points. It encourages us to reconsider our landscape policies and redefine the Anthropocene Epoch as the age in which humanity falls in step with natural systems.

 Surrounding this internal limestone marker are four native tree stumps, representing the four stomachs of the ruminant's digestive system. They also serve as seats for reflection to digest how small acts impact extreme climate and biodiversity.

"Echoes of Existence" is a tribute to the enduring spirit of nature and a reminder of our responsibility to care for it. Inspired by wisdom from ancient Greek philosophy, this living labyrinth depicts all life as a complex journey of constant transformation of relationships and the knowledge that what appears to be an endpoint can also be a beginning. It invites participation and engagement in a dialogue with the land embracing life's cyclical relationships. It is not just an invitation to observe but a call to action-to think, to act, to regenerate.

links to other Living Labyrinth blog posts.

Artist in Residency at Indiana University- Living the Dream Installation.

IU- How do you draw a labyrinth?

IU- What kind of Labyrinth should I make? What is my site-specific message?

IU- How do you build a labyrinth from 8’ X10” to 83’ X 54’?

IU- Natural Systems - digestive system.

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

IU- Living labyrinth- Building the grid.

Weingarten Art Group - Reseeding

I am delighted to be included in the spring 2024 exhibition at CityCentre, “Reseeding”, which prompts deep reflection on humanity’s influence on the natural world. The exhibited artwork urges us to envision a utopian future where our impact is positive and mindful choices lead to a harmonious coexistence with nature, inspiring a collective commitment to a sustainable future. The exhibition was thoughtfully curated by Olivia Kimbrell of Weingarten Art Group.

On exhibit until September 2024, the lobbies at CityCentre are open to the public M-F, 8 AM – 6 PM

CityCentre 2 Front – Christian Eckart
CityCentre 2 Back – Cindee Travis Klement
City Centre 3 – Dornith Doherty
CityCentre 4 – Bruna Massadas
CityCentre 5 – Rachel Livedalen

Photography by Nicki Evans

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

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”

Hats and Storytelling.

Indulging in a morning of thoughtful stitching and reflection. Since my youthful days in the 70s shaping hats at my father's feed and Western Wear store, hats have held a profound meaning for me. They possess a unique ability to tell stories.

Recently, I acquired an extraordinary green hat from the talented artisan Edgar Alvarez at Gran Central Hats. Their craftsmanship captures the essence of customization, allowing ribbons, feathers, and all manner of embellishments to adorn your own hat. I made the decision to handle my own stitching, and I must admit, piercing through the resilient felt material is no easy task.

As I sit here, needle in hand, I find myself musing about the idea of incorporating elements inspired by the prairie grasses and the thriving ecosystem that thrives through the consumption and waste patterns of bison. It's a fascinating, how their actions actually contribute to the renewal of life. For instance, birds benefit from the ecosystem by consuming pests that break down bison dung. These birds utilize bison fur to construct their nests, as the fur provides antiviral properties, fortifying their eggshells. Furthermore, the grasses that flourish due to the bison's eating and waste habits offer nesting materials and shelter from predators.

I am hopeful that when finished this hat will be something more than a mere fashion accessory; it possesses the potential to be a powerful catalyst for conversations, stimulating discussions about our individual roles in the process of regeneration.

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.

The American Beaver - research

In her book Beaver Land, How One Weird Rodent Made America, Leila Philip spends a chapter on Lewis H. Morgan's (America’s first Anthropologist) documentation of The American Beaver written in 1868. Lucky me, I have found a copy. I am wondering how this read may impact my work.

During a captivating walking tour of Buffalo Bayou in the early 2000s, led by an esteemed Master Naturalist, my fascination with beavers was sparked. It all started when we stumbled upon a tree stump adorned with telltale markings of these industrious creatures. Surprisingly, our knowledgeable guide harbored a deep dislike for beavers, prompting me to question their significance within the ecosystem. Alas, our Master Naturalist was left speechless, unable to provide an answer. As an artist documenting my practice, this encounter left me pondering the enigmatic role of the beaver, and the profound impact it holds within our natural world.

Just as bison’s behaviors shape our land ecosystems, beavers are the architects of thriving water and marsh ecosystems. Considering that water is the key to cooling our planet. To truly comprehend nature’s cooling mechanisms, I recognized the need to understand the Beaver and how their work may connect with the bisons and how humans can mimic these systems in urban landscapes.

As someone devoted to capturing the wonders of natural history and integrating them into our human-made structures, I’ve been amassing a collection of historical writings on natural history. I am looking forward to learning from this new addition to my collection.

In Morgan’s book, he delves beyond the surface-level characteristics that most naturalists focus on, offering a profound perspective.

Leila Philip‘s book is a thorough overview and introduction to a contemporary view of the Beaver. I will probably rerread Philip’s book overtime.

I want to know about the Beaver before the Railroad and what beavers think and how they work, what inspires these creatures to do what they do. Morgan’s book is that and more.

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.

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.

Artist in Residency at Indiana University - Living the Dream Installation — Labyrinth

Living the Dream as an Artist in Residence at Indiana University!

I couldn't believe my luck when I was offered the opportunity to be an artist in residence at Indiana University. Not only would I have access to all the incredible resources and opportunities of a renowned research university, but it could provide the opportunity to fulfill one of my monumental artistic visions.

As part of my two month residency, I'll be giving artist talks, exploring local artist studios, landscapes of southern Indiana, and creating a special piece to be exhibited at the University or in the beautiful town of Bloomington.

During my interview for the residency, I couldn't help but ask about the size of the campus. And just as I suspected, it is massive. I imagined it with expansive fields of turfgrass. I remember feeling my heart swelling with excitement and hope. Could Indiana University be the site for the monumental installation I dream of?

Let me explain - This summer seeing CARBONsink develop within Symbiosis at Lawndale Art Center and watching the community enjoy entering it made me think. I wondered if the CARBONsink relief was a step to create a larger piece using the same process but with a deeper meaning and making a bigger impact. A little bit of research regarding Greek philosophers and labyrinths and these thoughts turned into a dream. I have a vision of completing a living labyrinth.

I began studying the designs, meanings and histories of mazes and labyrinths. I was lured by labyrinths pretty fast. Mazes are puzzles and meant to confuse you. Labyrinths check all ny boxes.

-A labyrinth is a meditation. —

-There is 1 way in and 1 way out. What seems like the end is also the beginning. It is the perfect metaphor for inspiring ecological - societal perspectives.

-As an artist whose work in the simplest form looks at time and movement a labyrinth is a logical and interesting medium.

-A living labyrinth to convert fields of turfgrass into a living sculpture to regenrrate life.

Typically in an artist in residency one would take some time getting to know the University and the City before propsing their work. I could not contain my excitement so asked if the University would be interested in a site specific living labyrinth? It would be a social sculpture in the form of a relief that demonstrates the steps for turning the largest crop in the US - turf grass into the largest CARBON sink in the US. Ed the Associate Vice Provost for Arts and Humanities responded with great enthusiasm in his voice. Every summer the University and the city of Bloomington celebrate the life and writings of Kurt Vonnegut with the Granfalloon Festival. A living labyrinth would be a fitting art installation in conjunction with the festival.

For inspiration on my drive to Bloomington, I listened to Cat’s Cradle and Slaughter House Five.

TOAST - 1.5 Degrees - planet toast

I am still at IU busy working out the details of an installation. I start each morning reading/researching as I enjoy my coffee. I found this article alarming and inspiring. Climate Change Is Speeding Toward Catastrophe. The NextDecade Is Crucial, U.N. Panel Says.

Working out an idea for a future work.

1.5 - sketch for TOAST

Myy work is about the ecological solutions in urban landscapes. What solutions can I unearth in food, toast, char? - time to ponder and ruminate. Stay tuned.

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.