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?

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.

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.

Cuenod wedding gift day #7

I have not posted on this piece since January of 23. Since then I cast bronze feet. They are now welded to the rebar.

Today I protected the bronze and painted the rebar with a chemical to keep it from rusting.

I am excited to get back to this piece.

Potentia // Actualitas

Potentia // Actualitas is a collaborative, immersive installation that explores the potential and actualized complexities of natural and human-made intelligence through lens-based media, found objects and ready-mades, in a site-specific installation. The lens-based works record iterations of light, space and water surrounding a central structure created from organic matter, rusted artifacts, glass, and construction materials. Running throughout is a neon line that connects these varying attributes into a systematic relationship. Together, Roykovich and Klement build a world that investigates the balance of opposing dichotomies and subsequent freedom from dualistic constraints. They advocate for a wild and intuitive response to a possible future of unbound potential.

images by Jake Eshelman

POTENTIA

Potentia is an exploration into the possibilities that all entities possess. Using evolving personal systems, taking incremental steps, an environmental recollection merges with mystery through natural but intangible forces. As complexity develops into new hypotheses, imagination meets at the intersections of undefined futures, and a space is created that contains multitudes. We become scouts at the periphery of realization. –JR Roykovich

ACTUALITAS

Actualitas metaphorically represents a societal shift that fosters the coexistence of human-made structures and natural systems. The contention is not one of harmony in dispossession but rather a balanced composition where both are enriched. This new perspective invites us to harness the power of measured and natural intelligences rather than work against it in our pursuit of progress and innovation. – Cindee Klement

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.

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

Planetary Mission Statement .

Integrating systems theory into my art practice has influenced my work in many ways. It is one of my core beliefs that in order to save the planet it is imperative that every organization, be it large profit-driven or small non-profit, commits to embedding an environmental ethos into their core values. The place to start is with an organizations mission statement.

In a serendipitous encounter with an acquaintance from a prestigious art institution this weekend, I learned of their significant reorganization. I suggested that every institution embed an environmental ethos into their mission statement and then I thought - even Throughline. Throughline is a newly organized Collective that I am a member of.

Today I discussed these thoughts with fellow Throughliner Caro Otero a gifted artist and caring human being. Caro and I are part of the Throughline facilities committee. We discussed that there are steps we can take to improve our day to day operations and become better stewards of the planet.

Envisioning a profound commitment, we proposed to the administration committee to incorporate this spirit into Throughline's mission statement:

It could read something like this-

We vow to serve as Earth's custodians, honoring its natural rhythms. Embracing accountability for our environmental footprint, we strive to operate conscientiously, leaving a positive mark through purposeful actions. We are advocates of planetary regeneration.

Or something that says Throughline cherishes nature and restores the environment through conscious daily actions.

In our role in the facilities committee, Caro and I will examine Throughline's everyday activities as an organization and consider ways to operate more responsibly and advocate for the planet. We will re-evaluate these procedures annually.

Please pass this idea on to your organizations and incorporate planetary responsibility into your bylaws.

Besides making greener choices in the products we buy, such as disposable cups and beverages, our treatment of urban landscape and protection of Earth’s living soil is a powerful way reduce our carbon footprint and support biodiversity.

There is tremendous power in the collective action of small acts.

Fleabane-

I enjoy the powerful, beautiful Fleabane. This resilient plant not only naturally repels fleas with its sweet scent but also boasts antioxidant and neuroprotective properties due to its caffeic acid content. Throughout history, this plant, like other asters, has been cherished for its medicinal benefits - from astringent to diuretic qualities by Native American tribes.

Despite its valuable attributes, Fleabane is often overlooked in the US, labeled as a weed in urban areas, and treated with herbicides. Conversely, in European gardens, it stands out as an exotic wonder waiting to be admired.

On either side of the pond, nurturing this delicate gift benefits humans, wildlife, pollinators, and family pets.

How do you not love this delicate gift? What is your opinion, let it grow or use a herbicide?

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.

Baby Whisperer

Baby Whisperer I

30” X 44” watercolor monotype

Horses are indeed a marvel of sensitivity and emotional knowledge. Eight months pregnant, Alex, my daughter-in-law, visiting a stable where she used to ride horses, had a beautiful moment with one of the mares. Even though Alex had never ridden Diva, it was clear that Diva had been affected by her caretaker's recent pregnancy.

 I carefully manipulated watercolor ink and coconut oil to record this profound emotional connection. The placement of these physically independent ink cells creates a visual of the spiritual cellular-level connection between the mare, the unborn child and Alex.

This moment is a reminder that all species deserve much more credit than humans often give them. It also underlines our potential to build connections with all creatures inspiring the desire to care for and maintain a healthy ecosystem.

Baby Whisperer I Ghost

Watercolor

Baby Whisperer II

30” X 44”

Watercolor

Baby Whisperer II ghost

30” X 44”

Watercolor

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. 

"Ancesteral Learning: A Watercolor Monotype Celebrating Self-Experiential Learning and the Vitality of Water"

We have two granddaughters 6 months apart. Both girls are inspiring. I decided to try again to capture the moment of self discovery.

The back story-

With my commitment of shaping society for the better. My recent contemplation on human learning, sparked by observing my son and daughter-in-law’s newborn granddaughter discovering their toes, has deepened my belief in self-experiential learning. Inspired by this and other experiences, I have decided to create a conceptual installation at Indiana University, granting the students the opportunity to take ownership and install the work themselves.

In this watercolor monotype, I delve into the ways in which humans learn and highlight our crucial connection to water. Just as we care for an infant, it is vital that we care for and protect this precious resource.

Experiential Learning

Discovery

30" x 44" watercolor monotype

Delving into the realm of societal transformation, I can't help but ponder our initial interactions with the world. The spark behind this creation was ignited by a captivating photograph captured by my daughter. It beautifully captured the moment her daughter stumbled upon her own toes. What resonates with me deeply is the notion that personal exploration at one's own pace yields the most profound influence. 30" x 44" watercolor monotype #watercolor #monotype #discovery #toes #granddaughter #socialsculptor #cindeeklementart #contemporaryart #modernart #texasartist #houstonartist #womanartist #mom #grandmother image by @light42studio

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.