Lindsay Olson

December 11, 2023

Art H 309 B

 Final Project Submission

Lindsay Olson, Intention, 2023

Thesis

        By channeling one’s relationship with nature and understanding its processes to adapt we can implement that into our solutions to climate change. It is important to be respectful of nature and create a mutually beneficial relationship where we are cautious of what we consume and utilize in our daily lives. These ideas are supplemented by various sources and artist’s renditions.

Readings

In her conversation with Jessica L. Horton, Rose B. Simpson discusses her upbringing living a more sustainable lifestyle than those around her. She reflects on teachings surrounding permaculture and pattern understanding learned through her indigenous culture. Her emphasis on embracing a lifestyle aligned with nature as a proactive response to climate change could serve as a more approachable perspective for some.^[1] Permaculturists encourage the use of collaborative and mutually beneficial relationships with each other and nature to adapt to evolving environments. By raising awareness about existing instances of plants and animals adapting to natural environmental changes, it could be valuable for those worried about climate change, suggesting a potential starting point for solutions and possibly aid in a sense of comfort.

Let’s become fungal was one of the books that I looked at in the library. This book has its roots in indigenous teachings surrounding environmental understanding. It also refers to collaborations between species that lead to co dependencies that are reflective of mycelium. There is a section in this book that offers a flow chart of possible ways the climate collapse will affect you as if you are various types of fungi. Some of the species are resilient in nature and can withstand even the worst conditions while others may not survive with these failing environments.^[2] Another book I looked at was Enfleshed: Ecologies of Entities and Beings. This book’s teachings come from conversations from people across Eurasia. It strives to implement collaboration by understanding multi-species ecologies. Similarly to the first book I looked at, it also suggests living in a way inspired by other beings. There is a section I looked at that encourages us to “be like plankton” and push us to live in a way that can not be done alone. It discusses the co-dependencies that we all should rely on.^[3] Additionally, I viewed Let the River Flow which is a book that focuses on the indigenous fight against colonization and push for environmental justice within their communities. It highlights the damming of a river crucial to Sámi people’s lives. It is not unknown that the climate crisis disproportionately affects people of color and those already disadvantaged. This is demonstrated in this book as the Sámi people fight against their government to reclaim their cultural land.^[4] The government’s damming of the river shows what happens when we are disconnected from nature. By trying to control nature instead of working with it we only cause more harm to our environments and our society. Our class book, World of Art: Art and Climate Change, offered many different perspectives and told many stories. Parts three and four of this book resonated the most with my thesis. Part three titled, “Floral Collectivism,” explores the ways in which plants live and survive in our changing environments. It offers literal and unique representations on how plants are surviving whether through their innate intelligence or ability to migrate despite boundaries created by man.^[5] Part four titled, “Animal Solidarities,” depicts how the climate crisis affects the wild populations. This part is a pertinent reminder that in our quest to be more connected with nature to not only consider plants but also animals. Animals are critical to our planet’s ecosystems and their behaviors are often reflective of the changing environments in their efforts to adapt.^[6] These literary sources represent the importance of connecting with nature not only for its benefit but ours as well.

Artworks

In conjunction with the sources above that inspired my project, there was also visual resources as well which inspired me in many ways. Some of these artists and works I found in my research for this project. The first artist I encountered was Bryan Nash Gill. He was an

American artist whose work aimed to show the essence of the trees. Through his woodcut prints, Gill was able to show the lives and memories of the trees. A quote from him that reflects the purpose of his work is, “It is up to the observer to give meaning to the tree’s existence.”^[7] This relates to the idea of the importance of respect for nature that we must have. By giving a voice to something that does not necessarily have one, shows the level of respect and understanding that can guide us to a better future. Another artist I found was Celeste Sterling. The work I looked at in particular was a pressing of sweet pea and basil leaves. Sterling created these works while attending a permaculture workshop. The environmental impact of creating art had been a concern of hers and so by working with nature instead of against it she felt she was able to find a way to create artwork that wasn’t so resource hungry and highlighted her surrounding environment.^[8] The final artist that I came across during my research was Christie Belcourt. She is a native Métis artist who created this piece titled, Wisdom of the Universe, which is a beautifully painted depiction of the knowledge that resides in the natural world around us. It was commissioned by the Art Gallery of Ontario and features some of the endangered or extinct species of the area. Belcourt mentions that the planet has an innate ability to recover. I think this leads to a different perspective on climate change, maybe one with more hope for the future. In her artist statement Belcourt has this quote that I felt really described this well,”The planet already contains all the wisdom of the universe, as do you and I. It has the ability to recover built into its DNA and we have the ability to change what we are doing so this can happen.” ^[9] Within our course material, I found the most visual pieces in the book, World of Art: Art and Climate Change. The first work that really stood out to me was Stress Call of The Stinging Nettle by Christine Ötlund. This botanical illustration shows the scientific explanation for the plant’s change in behavior in response to negative environmental factors.^[10] I think it captures the capabilities and emotions of plants that are often dismissed. Another artwork from this book that inspired my project was Syrian Elephant by Marcus Coates. This sculpture shows two hands in a formation that when light is shown and a shadow is cast, a silhouette of an elephant is shown. This is just part of a series of works created by the artist that show the correlation between human and animal relationships. All the animals represented by these works are extinct species due to the deterioration of their environments and exploitation. ^[11] An artwork, also from the same book, Terraza Alta III, is by Abel Rodríguez. This piece is reflective of his ancestral connection to nature as he had to draw the landscape of trees from his memory after he forced to flee his homeland of the Colombian Amazon. Although his departure from his land is another instance of indigenous being pushed off their land, in this case, for the exploitation of the trees. ^[12] This is another example of a disconnect from nature where people are motivated my money with no regard for nature, animals, or those already mutually connecting with the land. An additional piece from this book, Mimosa pudica (Yabba), by Barbadian artist Joscelyn Gardner is a more nuanced approach to the human connection with nature. The piece shows the back of a woman’s head with an Afro hairstyle, around her neck an iron torture collar and from below grows a plant in which enslaved women would use in order to prevent pregnancies and produce more slaves. I think this another example of western colonization’s desire to disconnect from nature as it is noted that European botanists chose to leave out this information when recording Caribbean medical applications.^[13] A work that I think shows nature’s perseverance is Seeds of Change: Liverpool, a photograph by Maria Thereza Alves. It depicts the transcontinental journey of plants through dormant seeds that travel through human movement. It also reflects nature interconnection with us and that our actions do affect plant life whether or not it is our intention.^[14] The last piece I looked at from this book was Hermitage Cats by Anna Jermolaewa. It is a collection of images of cats that have a long history in St. Petersburg. Initially used to kill pests, these cats have gone from useful to food during a time of starvation to becoming overpopulated. It is meant to show the cats as “heroes of labour” and critique the interspecies relationship humans have with the cats. ^[15] I think all these works show the importance of interconnectedness we must have with nature and offer different perspectives on the consequences of denying it.                                                    

Integrating Rifkin

        Rifkin’s commentary on climate change resonated with me and I acknowledge the stance that it might be idealistic but at least it proposes change and offers a sense of hope. His work suggests that the use of conscious efforts based in empathy are and recognition to nature are the leading factors to coming to a solution to climate change. He notes that human’s ability to empathize is what makes our species noteworthy. So it is our capacity to empathize not only with each other but with nature and other creatures as well, something he calls biophilia consciousness. By understanding nature’s success in resilience, an empathetic approach to understanding it can reflect in one’s own response to climate change. ^[16]       

My Work

                  When I started creating my own work based on these ideas I did not have a clear sense of where I would end up but I wanted to see where my work would naturally take me based on my research and references. First I drew the center part of the drawing with black pen, this was the longest part of the process due to the detailed nature of a cell. My reference for this portion of the drawing was a microscopic slide of an actual evergreen tree cell and when I came across the image I was inspired to create a piece of work which included that.^[17] I then drew the outreaching arms and tree branches, also in black pen, together on a separate sheet of paper. I did this because I was unsure if my idea was going to be successful in the way I wanted it and by separating the two drawings I could still make changes if needed. After completing both drawings, I photographed the pieces and took them into photoshop. I cut out and overlaid the arms and branches over the cell drawing to merge them together. Another reason, I utilized photoshop was so that I could play around with the colors of the work and not be cemented to a certain color scheme if I had done it a more traditional way.  So in my process I actually created multiple color variations before I decided on the one that I liked best. I chose to create this piece to show that there is correlation between humans and nature and that us, like trees or nature, share the same capabilities to adapt and recover from the natural disasters around us. This work is representative of the connection between humans and nature. The center of this piece is a reference to the cellular structure from a tree which is surrounded by tree branches and outreaching human arms. In relation to climate change, this work shows a different perspective that differs from much of art that typically addresses the topic. I think it shows that if the cells of something like a tree, something we do not think of being sentient or intelligent has to ability to adapt and grow despite the surrounding environment, so can we. Instead of leading viewers to varying degrees of denial, it can show there is some innate way in us to cope and change, something that already happens in nature, which is something we can look at to guide us.

(Lindsay Olson,  Intention,  2023)

(Fig. 1, Left) Gill, Bryan Nash. Yellow Cedar, 2012. Accessed December 10, 2023.                                                      https://www.bryannashgill.com/woodcuts#/woodcuts/yellow-cedar.

(Fig. 2, Right) Gill, Bryan Nash. Acorn, 2013. Accessed December 10, 2023.                                                               https://www.bryannashgill.com/woodcuts#/woodcuts/acorn.

(Fig. 3, Right) Sterling, Celeste. Sweet Pea and Basil, 2012. Accessed December 10,  2023.     https://celestesterling.wordpress.com/2021/04/24/autumnal-art-and-permaculture/.

(Fig. 4, Left) Belcourt, Christi. The Wisdom of the Universe, 2014. Toronto, Art Gallery of Ontario. Accessed December 10, 2023. https://americanart.si.edu/exhibitions/native-women-artists.

(Fig. 5, Left) Ötlund, Christine. “Stress Call of The Stinging Nettle”. In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 128-129. London: Thames and Hudson, 2022.

(Fig. 6, Right) Coates, Marcus. “Syrian Elephant.” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 192-193. London: Thames and Hudson, 2022.

(Fig. 7, Right) Gardner, Joscelyn. “Mimosa pudica (Yabba).” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 140. London: Thames and Hudson, 2022.

(Fig. 8, Left) Rodríguez, Abel. “Terraza Alta III.” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 170. London: Thames and Hudson, 2022.

(Fig.9, Left) Alves, Maria Thereza. “Seeds of Change: Liverpool.” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 154. London: Thames and Hudson, 2022.

(Fig.10, Right) Jermolaewa, Anna. “Hermitage Cats.” In World of Art: Art and Climate Change by Maja and Reuben

Fowkes, 186. London: Thames and Hudson, 2022.

Bibliography

Alves, Maria Thereza. “Seeds of Change: Liverpool.” In World of Art: Art and Climate Change         by Maja and Reuben Fowkes, 154. London: Thames and Hudson, 2022.

Art Gallery of Ontario. “Artist's statement: Christi Belcourt on The Wisdom of the Universe.”         Accessed December 10, 2023. https://ago.ca/agoinsider/artists-statement-christi-belcourt-wisdom-universe.

Belcourt, Christi. The Wisdom of the Universe, 2014. Toronto, Art Gallery of Ontario. Accessed         December 10, 2023. https://americanart.si.edu/exhibitions/native-women-artists.

Bryan Nash Gill. “About Bryan.” Accessed December 10, 2023.

Coates, Marcus. “Syrian Elephant.” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 192-193. London: Thames and Hudson, 2022.

Demos, TJ et al. The Routledge Companion to Contemporary Art, Visual Culture, and Climate         Change, 311-321. New York: Routledge, 2021.

Deng, Zoénie et al. Enfleshed: Ecologies of Entities and Beings, 140-141. Eindhoven: Onomatopee, 2023.

Fowkes, Maja and Fowkes, Reuben. World of Art: Art and Climate Change, 124-171. London: Thames and Hudson, 2022.

Fowkes, Maja and Fowkes, Reuben. World of Art: Art and Climate Change, 172-221. London: Thames and Hudson, 2022.

García-Antón, Katya et al. Let the River Flow. An Indigenous Uprising and its Legacy in Art,         Ecology and Politics. Amsterdam: Valiz, 2020.

Gardner, Joscelyn. “Mimosa pudica (Yabba).” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 140. London: Thames and Hudson, 2022.

Gill, Bryan Nash. Yellow Cedar, 2012. Accessed December 10, 2023.                            https://www.bryannashgill.com/woodcuts#/woodcuts/yellow-cedar.

Gill, Bryan Nash. Acorn, 2013. Accessed December 10, 2023.                                                       https://www.bryannashgill.com/woodcuts#/woodcuts/acorn.

Jermolaewa, Anna. “Hermitage Cats.” In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 186. London: Thames and Hudson, 2022.

Ostendorf-Rodriguez, Yasmine. Let’s Become Fungal!: Mycelium Teachings and the Arts, 302-311, 320-321. Amsterdam: Valiz, 2023.

Ötlund, Christine. “Stress Call of The Stinging Nettle”. In World of Art: Art and Climate Change by Maja and Reuben Fowkes, 128-129. London: Thames and Hudson, 2022.

Stanley, Yankowski. “Mastixia (an evergreen).” The Marginalian. October 11, 2018. https://www.themarginalian.org/2018/10/11/archie-f-wilson-wood-specimens/.

Sterling, Celeste. Sweet Pea and Basil, 2012. Accessed December 10, 2023. https://celestesterling.wordpress.com/2021/04/24/autumnal-art-and-permaculture/.

Rifkin, Jeremy. The Age of Resilience: Reimagining Existence on a Rewilding Earth. London:         Swift Press, 2022.

Rodríguez, Abel. “Terraza Alta III.” In World of Art: Art and Climate Change                         by Maja and Reuben Fowkes, 170. London: Thames and Hudson, 2022.