Fear&Loss - Industrial Karoo group exhibition

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.

Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.

- From The Hollow Men, T.S. Eliot 1925

A word by the curator

The installation Fear&Loss speaks of the possible environmental damage should the Dutch oil giant Shell be granted an exploration license to drill for shale gas in the Groot Karoo – the place of my home, community and livelihood.  

Fracking - or hydraulic fracturing - involves pumping toxic chemicals and fluids under high pressure five km deep into the earth’s core. This causes the seams in the layers of sediment to break apart for gas and oil extraction. Large volumes of water are needed for this and these fluids and chemicals cannot be recycled and remain in the earth, causing the fear of contamination of the underground water supply. In the Karoo, this is drawn from its reservoir of interconnected aquifers through the use of boreholes and springs (http://www.greenpeace.
org). 

My work has evolved out of my own deep concern and passion for this widely-ignored part of our country. Despite larger questions that arise, the work is also intensely personal since it addresses a situation that will impact dramatically on me, my family, and community. As such, my intention is that the work may raise awareness in its creation of a specific and intimate
installation space. 

Fear and Loss focuses on the impact of global capitalism and consumerism on individuals and small communities. Eliot’s poem, The Waste Land (1922) reveals the emotional and physical scars and damage left by World War I and expresses the unspoken wish that this type of tragedy will not be repeated. But Fear&Loss represents the probability that man-made disasters will. Creative works, such as the poem The Waste Land, or the visual art installation Fear&Loss, remain tools for communication, to reach out beyond our immediate realm of understanding and lay bare our hope for humanity.

- Katie Barnard du Toit 

 

WWF-SASSI Limited Linefish Exhibition

Say Goodbye to Plastic Bags

In Manchester, this environmental performance is planned for 3 July - International Plastic Bag Free Day. We could do something similar in South Africa, can't we?

Addition (28 July 2014):

On local soil, in Greyton and Montagu:

Thank you, Jurgen from Simonskloof Mountain Retreat for sharing this poster!

IDEA: Art Gardens

The Mud Man and Moss Maiden - source

I've been following the blog Gardens in unexpected places, and always admire the innovation, creativity and ingenuity of people in other countries, planting food gardens in public spaces, as well as improving urban areas through guerilla gardening.

Closer to home, in Jozi, we've got Linzi Lewis, a.k.a.  leading an urban gardening revolution that not merely improves spaces, but also connects people to each other, their culture and the environment in which they work and play. Read more about the project:

• Article in the Cape Argus
• AMbush Gardening Collective
• M&G Young South Africans

Source

One of the best ways to eat healthy, GMO-free, organic vegetables, is to grow your own. Check out Square Foot Gardening: sfgsa.co.za. Now, how about using your considerable creativity and skills as an artist to create an Art Garden?

Source

As an artist you have skills that you have developed that could result in something really unique!

Garden, installation at Lockport Gallery, Illinois State Museum, Illinois by Michelle Stone. Source.

contextual art installation by Anouk Vogel and Johan Selbing. Source

You don't need to be a qualified landscaper or horticulturist to create a garden. Ask someone who loves gardening to teach you the basics, read some library books, browse the web for countless articles and guides about gardening, or learn through trial-and-error.

Source

You don't need to have an architectural degree to plan or build something. If you don't know how to use the materials, learn how to, join a workshop or find an artist who specializes in the materials or techniques you need to create an art garden.

Source

What's stopping you? Start now! Don't have your own garden? Why not create a balcony, vertical garden or indoor garden? Or start an urban garden in your neighbourhood? The sky is your limit!

Source

Some more ideas and more, and even more

Artist Feature: Georgia Papageorge

Georgia Papageorge is a South African land artist, who attained her bachelor's degree in fine arts from the University of South Africa in Pretoria in 1979 and a higher diploma in graphics from Pretoria Technikon in 1981. Much of her work explores the theme of geographical rifts, and how they are metaphors for rifts between races, countries, continents, and also personal identity or experience.

Papageorge's work has been motivated and informed by evidence of the effects of climate change as well as the highly illegal and dangerous charcoal trade that is carried out in most Central African countries.

Left: MKAA III, 2008, installation with bags of charcoal and red chevroned banners, Northern Tanzania September 2006, Lightjet prints on Fuji Crystal archival paper, 230 x 110 cm. Right: Kilimanjaro – Southern Glaciers, 1898, 2010, mixed media on canvas, with inkjet print taken from the earliest known photograph of the glaciers, and lines of poured ash from the ash cone of Kilimanjaro itself, 230 x 140 cm

Kilimanjaro/Coldfire is the fourth in a series of major African land art projects which Papageorge has worked on since 1994. A crisp red temperature line moving across the surface of images of the mountain demonstrates an analysis of glacial melt. Photographic documentation of Kilimanjaro's southern ice field, taken over a period of 70 years by people living in the vicinity, is also shown in one of her works and bares testament of the enormous effect of global warming.

Georgia Papageorge. Global Warming Series: Kilimanjaro from the Tanzanian town of Moshi, mixed media on paper with collage of inkjet prints from photographs by local people in 1940's, including the 1943 film taken by General Jan Smuts, 100 x 100 cm

Exploring the Gondwana schism, she completed Africa Rifting: Lines of Fire, Namibia/Brazil in 2003, which featured broad lengths of red cloth wrapped around the oceanic borders of two nations: Namibia and Brazil, who once shared a border before the continents drifted apart eons ago.

"...transforming mere cloth into lines of fire and blood. They are symbolic lines, symbolic of fire and blood. In my Kilimanjaro works, I see water as the lifeblood of Africa.”

- Georgia Papageorge

Sources: 
www.artrabbit.com/all/events/event/21944/georgia_papageorge_kilimanjaro_coldfire
www.artfirst.co.uk/georgie_papageorge/pe_10.html
http://www.mac.usp.br/mac/templates/exposicoes/exposicao_contemporaneo/exposicao_contemporaneo_africa.asp
arttattler.com/archiveafricandiaspora.html
www.facebook.com/events/761380223873297 (initial introduction to Georgia's work)

read these roads and see the water flow...

read these roads. Kai Lossgott. 2010. Experimental Film.

This morning, artist Janet Ranson sent me a link to Kai Lossgott's video 'read these roads', and watching it I am feeling a spark of new inspiration for my own artmaking. Drinking in the words, lapping up the visually intriguing water patterns and shapes that evaporates along with each syllable and nuance of Kai's voice, I am taken to the streets of Cape Town, where Camissa is rushing, wasted, to the sea. The griminess of the tarred roads seem in direct contrast for me to the gentle liquid state of the water. Here's the synopsis for the video:

Fresh water, one of South Africa's scarcest resources, is currently in drastic decline due to climate changes and pollution.  In 2008, a top WWF (World Wide Fund for Nature) official called the SA water crisis "a ticking time bomb" waiting to explode. 

The soundtrack of the video is taken from Adderley Street in the Cape Town CBD, above the underground storm water drain where, since 1957, 3 million cubic tons of untapped fresh spring water has run into the sea daily. Underfoot, the now forgotten Varsterivier, among others, is a seminal unacknowledged site of national heritage, one of the rivers which gave Cape Town its original Khoi name: "Camissa", meaning "place of sweet waters".  This was the fresh water that originally drew Portuguese explorers to stop at the Cape on their journey to India, and set in motion the colonisation of the region and the conflicts that followed. 

Natural time versus city time is emphasized in this stop frame animation, intended as a projection on the floor.  Water dries in time lapse photography on the pavement.  Running in and out of drains and gutters, it spreads into tentative images, which evaporate as they morph into other shapes.  These forms hint at the living systemic relationship between Table Mountain's hydrology systems, the City of Cape Town's water system and the biological systems of the human body.  In contrast with the evaporation (a metaphor for both waste and scarcity), a mysterious tunnel world of abundant water is periodically glimpsed beneath the streets.  With many of our rivers now being the equivalent of drains, re-claiming the symbolic power of the river under Adderley Street confronts us with an emotional connection we have lost.  This is the link to life-centred awareness, currently the most critical challenge to Western culture, with its legacy of human-centredness. "read these roads" is a video poem of unfulfilled desire for a personal relationship with the natural world.  

In association with Reclaim Camissa - http://www.reclaimcamissa.org
For more visual art and poetry by Kai Lossgott, visit http://www.kailossgott.com

Nature in Expressive Movement

In 2010 Karl Cronin from San Francisco got backing from sponsors on Kickstarter for a project in which he documents the movement patterns of plants and animals. It's facinating work and I love watching his reenactments of these movement patterns. View the Somatic Natural History Archive at naturalhistory.us and dryearth.org



You can also read more about the project at Cargo Collective, the Movement Research Blog, and a review by Cathy Fitzgerald entitled "Performance artist creates movement portraits of 10,000 plants and animals".



When looking at a project like this, I am reminded how endless the possibilities are for art or creativity to express and explore our natural world, and to educate people about the wonders of nature! 

Are you working on a project focused on appreciating, researching, archiving, expressing and/or exploring the natural environment, animals or the landscape? Share it on this blog - email your story to artlovenature@gmail.com. 

NESTING by Danien Esselen

Look at these fabulous works by Danien Esselen! Nests, bark hideouts and bulb-like art habitats. I first saw her work at the Gallery @ Grande Provence in Franschhoek, Western Cape, as part of the Walk This Earth Alone exhibition, and recently saw these photographs from her "Nesting" exhibition. Danien Esselen completed a BA (Hon) Fine Arts at the University of Pretoria, but have lived in the country side all her life - growing up with a strong connection to the land and nature. 

Herewith images from the exhibition and excerpts from Danien's artist statement:

"The Nest artworks are a subjective reflection of myself as a woman becoming a mother. The work therefore has a strong feminine quality and focuses significantly on the Maternal. The Nests symbolise a maternal womb; a place of safety, shelter and protection. Each Nest becomes a sacred place where any mother can safely shield and nurture her infant. The intense detail and aesthetic quality in the Nests reflect this fetish and compulsive nature of the female -The Maternal."

"The creation process of these Nests are also very significant. The natural materials are delicately collected, gathered and rummaged for. The material is then delicately handled further and processed until fitting. Then only is that material woven, platted, entwined and manipulated into a Nest structure. All these processes are essential and a significant feminine act. The natural media which is used in creating these nests is very metaphorical, referring to the notion of the caring and nurturing mother/ Mother Earth. "

"These Nest artworks become a symbol of protection and to “memorise a loss and also defend against it.” It is symbolical that nature and the environment are disappearing and being destroyed daily and that it is essential that we protect it. Viewers can interact with these Nest artworks and explore nature at a closer and more intense and spiritual level as one can touch, feel and smell the works, highlighting the sacred and almost spiritual powers nature embodies and what an essential part it is of life and our daily lives.

Artist Feature: Imke Rust

Keep an eye open for work by Imke Rust, who is making waves... Her work casts a critical eye on the controversial mining and industrial developments on the Namibian coast, and her exhibition showing this work has been rejected by the Swakopmund Arts Association due to it being labeled as "an irrelevant and scientifically dubious campaign against the economically important uranium mining in Namibia".  Rust works in a variety of mediums and techniques to express her views and raise awareness towards the concerns and feelings of the community. Find out more on her website: imkerust.com.

Dorob (NOT) 4Sale 2013

Temporary installation of 15 signs at 5 different locations along 

the C34 road in the Dorob National Park, Namibia.

Dimensions of Signs: 60 x 80cm

Correx Board, digital prints, spray paint, iron poles & cable binders

11 – 29 January 2013

Permanent webpage:  www.dorob4sale.wordpress.com and 

life cellular phone number with prerecorded answering message.

Read more about this work

 Subrosa 2012

Temporary Installation of 99 black roses in the Namib Desert

22° 43’ 01” S – 14° 33’ 47” E,  April 2012

Original Dimensions: 90 x 270 x270cm

Black rubbish bags, barbed wire, wire

Read more about this work

Tokoloshe Trap 2012

Temporary installation of 1521 white thorn pairs from the Acacia Karroo tree arranged into 39 circles in a side tributary of the Swakop river bed, Namib Desert.

22° 38’ 10” S – 14° 43’ 40” E, April 2012

Original dimensions: 5 x 600 x 250 cm

Medium: Acacia thorns

Read more about the inspiration behind this work

"Imagine the Unthinkable" installation by Strijdom van der Merwe

"Imagine the Unthinkable", Strijdom van der Merwe, Installation View, exhibited at Circa on Jellicoe, JHB. Photograph from the BEELD.

Land artist Strijdom van der Merwe created an art installation entitled "Imagine the Unthinkable" as part of his exhibition 'Drawing clouds in the Karoo' at Circa on Jellicoe, Johannesburg. The installation comments and expresses the effects or nature of fracking, or hydraulic fracturing, planned for the arid and beautiful Karoo basin. Fracking entails drilling into the earth, and extracting natural gas from the shale layers by flushing a cocktail of chemicals and water down the shaft and into the rock layers to fracture the shale and release the gas captured in these layers. Strijdom's work makes use of maps of the actual sites for which drilling and fracking is planned, and uses sound as a device to accentuate the unnatural and disturbing nature of the process.

As with most industrial and mining processes, there is a lot of money to be made, and the companies who benefit from this have no qualms in doing what is needed to stake their claim and make their profits. At the cost of the environment, and the local people who need to live with the consequences - in this case the very high risk of contaminated ground water and reduced air quality caused by toxic pollution (particularly from the spent fracking fluid 'dams' and from cracks in the drilling shaft).

Van der Merwe does not perceive himself as a protest artist. His work usually rather enhances or encouarges an appreciation for nature's beauty. He aims to strengthen or accentuate the landscape's inherent beauty, and through this sometimes make people more aware about desertification, global warming and nature conservation. He often works in the Karoo, and therefore the risks or threat that fracking poses are a very real and personal matter.

Read more about the art installation:

• Stilte, skoonheid – en verset, on the BEELD website
• Review of Strijdom van der Merwe at Circa on Jellicoe by Ann-Marie Tully
• The fracking intrusion of a sacred space, by CHARLES LEONARD 

Read more about fracking in the Karoo:

• Treasure the Karoo Action Group: www.treasurethekaroo.co.za
• Greenpeace against Fracking
• Beginner's Guide to Fracking, on Karoo Space
• Fracking in the Karoo, by Cape Chameleon

Zapiro: www.zapiro.com