Echoes of Existence-how to engage the students

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Related blog posts

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

The design

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

From 8” X 10” to 53’ X 85’

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

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 - Natural systems - digestive system

Scaling up the drawing I also wanted to incorporate another layer of interest in the piece - the ruminant's digestive system.

Before the digestive system and with shorter legs.

In order to add this intestinal circuit his abdomen and hump had to get larger to allow for the walking paths on either side of it. The wider girth made his legs look like stumps so I lengthened his legs.

After the digestive system and leg adjustments.

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.

Here I started thinking about how to take the design from

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

I wrestled with this question. There was not anything in either of Kurt Vonnegut’s books that inspired me. I do feel he wrote about what he knows and my work should be true to my own heart. A list of the obvious came to my mind- butterfly, chrysalis, beatle, seed, flower, IU letters…….

After a full day at the Eskenazie Museum on IU’s campus I was intrigued by this piece.

The museum label read-

According to traditional Bamana beliefs, an energy or force called nyama animates the universe. Objects such as this boli are made to harness that energy and use it for the benefit of the community. The thick, crusty surface is the result of offerings such as millet, other vegetal matter, beer, and chicken or goat blood, all of which are applied to attract nyama and serve as physical evidence of its presence. A boli does not represent a particular creature.

It is kind of perfect., should I make another bison? Can I make a Boli bison labyrinth?

I can see it.

Here are the steps I took

More to come tomorrow.

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.

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

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

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

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

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

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

The artist Melanie Cooper Pennington teaches Sculpture at Indiana University.

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

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

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

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

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

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

IU - How does Earth transform energy from leaves to a soil?

It is Labor Day weekend, so I have time to relax and experience the IU campus landscape.

Sample Gates the IU portal to

Natural landscapes on college campuses are rare finds. Dunn’s Woods is a veritable gem of Indiana University’s “Woodland Campus.” The iconic Sample Gates are a portrayal to the cycle of life and rebirth in the urban woods/ college campus.

This rare and sacred space unveils the harmonious dance between sun-kissed leaves, rustling branches, and fertile soil. The emerald foliage, gently illuminated by the celestial glow, gracefully surrenders from sky to earth, transforming into nourishing sustenance for woodland creatures and retaining rains, dew and moisture.

Sun’s energy is transferred to Earth in the shape of sun crisp leaves, the main ingredient of Earth’s soil sponge and the planet’s digestive system.