Posted on

In Virtual Forests

I have recently learnt, via an email from Sussex University, about a virtual reality project called Tree VR that enables people to “become a tree”. Intrigued I looked up the project and found the Tree VR website and a couple of videos.

Basically, Tree is a multi-sensory exhibition in which participants can experience the life of a rainforest kapok tree from it’s time as a seed to it’s growth as an adult tree. As part of Tree participants are exposed to various sensory inputs to enhance the illusion of being in a rainforest – sounds, scents and breezes. Tree was shown at the Davos conference in Switzerland.

Here is a little video of the first part, Tree VR – Seedling:

There is another video with more about the installation.

After experiencing Tree, participants are encouraged to support the Rainforest Alliance,

“an international non-profit organization working to build strong forests, healthy agricultural landscapes, and thriving communities through creative, pragmatic collaboration”.

Rainforests and forests in general are so important for the health of the earth. Sadly, they are still being cut down at an alarming rate. Scientists have found that they are vital for carbon-capture and the best thing to offset the effects of climate change. More trees in the ground!

I really wanted to experience Tree VR so was pleased to find a website where you can download it. All I needed was somewhere with the right VR equipment to “play” it.

Luckily Kevin, my partner, has a friend, Andy Baker, who is well into VR. So we went to his house and tried it out. Tree was my first VR experience.

Experiencing Tree VR
Experiencing Tree VR

It was all a bit mind-blowing, not real but surreal. It was an excursion into an alternative world, an interior world like that of dreams and the forests of one’s imagination. I was amazed at the very real sense of space and depth all around me. As a seed I climbed through metres of soil. On the level of a giant mushroom and leafcutter ants I broke through the leaflitter and ascended higher and higher. Macaws, morphos and bats flew all around. At first my arms were leafy blades but soon they became proper branches with bark and leaves and hung with lianas. My body became the tree’s trunk. Looking down I felt a touch of vertigo. Night came along with a huge moon, stars and birds flying home against the darkened sky.

I won’t say how Tree ends as that would spoil it for anyone who gets the chance to have a go.

In the rainforest mood, I thought I’d make another rainforest altered book – another forest of my imagination – but this time in colour. Based on a Central/South American rainforest, it features a kapok/ceiba tree along with a tapir, agoutis and scarlet macaws.

Rainforest Altered Book
Rainforest altered book in colour.
Rainforest altered book detail
Among the trees in my Rainforest altered book with the tapir and a scarlet macaw.
Rainforest altered book detail
Lianas, cecropia trees and palms among the rainforest trees of my Rainforest altered book.

I plan to display this altered book at an open house I’m particupating in during Brighton Festival in May. I think I’d like to donate some of the sale price to the Rainforest Alliance or another rainforest charity. I’ll write more about the open house nearer the time.

I went a step further and decided to grow a kapok/ceiba tree. I bought a few seeds and have just sown them in a tray after soaking them in tepid water for 24 hours. Somehow I need to create an acidic rainforest environment and try and keep the seeds warm – they need an optimum temperature of 25C. With this warm, Anthropocene February we’re having, under plastic on the window sill might do fine.

Kapok seeds planted.
Ceiba pentandra seeds sown.
  • Interesting (0)
  • Like this (1)
Posted on

Inspired by Deer

We recently visited Wakehurst Place in West Sussex. I haven’t been there since I was a child. It was a damp but bright day and the gardens were autumnal, browns, russets, greys.

Wakehurst Place in November
Wakehurst Place in November

I liked the carvings and one in particular, the portrait of a Sika deer’s head in a living Japanese cedar tree:

Sika Deer Carving in Cedar at Wakehurst Place
Sika Deer Carving in Cedar at Wakehurst Place.

It’s by Japanese Tachigi-bori carver, Masa Suzuki. Tachigi-bori means ‘standing-wood carving’ and is a traditional Japanese practice of carving sculptures into living trees. According to Shinto belief, all things have a sacred force and a large old tree would have a strong sacred force. The carving gives form to the tree’s spirit. This carving was done in dead wood that arose from the great storm in 1987. The dead wood where the carving has been made will eventually heal over with callus wood in the next 25-30 years. For Masa it’s all about connecting to the natural world.

The Sika deer was chosen as, in Japan, it is traditionally seen as a messenger between the earth and the spirit world. The deer were introduced into the UK by the Victorians and I’ve seen them at Arne RSPB Nature reserve.

Well before the Victorians, according to my medieval bestiary,

…”Stags are the enemies of serpents: as soon as they feel the symptoms of illness, they entice snakes out of their holes with the breath of their noses and overcoming their harmful poison, feed on them and are cured……..after they have eaten a snake, they hasten to a spring and drinking from it, their grey hairs and all signs of age vanish….Does do not conceive until Arcturus appears in the heavens.”

Medieval Bestiary
Medieval Bestiary – Richard Barber

The book mentions other peculiarities such as the ability of deer to eat a herb that will help draw out arrows which have harmed them. Such is the weird and wonderful medieval world.

Deer Doodle from my Sketchbook
Deer doodle from my sketchbook

I thought I’d create a little shrine to the spirit of the deer:

Deer Shrine
Deer Shrine

Recently I stumbled on some music I liked by Martha Tilston and was pleased to find it is called Stags Bellow. Here is a Youtube video of the song:

  • Interesting (0)
  • Like this (0)
Posted on

Bee Goddess

I’m very into natural sound recordings and came across Be:One last year. It was created to accompany The Hive installation. The Hive was an installation by artist Wolfgang Buttress at Kew Gardens last year.

“An open-air structure standing at 17 metres tall and weighing in at 40 tonnes, The Hive encapsulates the story of the honey bee and the important role of pollination in feeding the planet, through an immersive sound and visual experience.”

Here’s a video about the soundscape:

There’s something hypnotic about the bees’ droning.

The soundtrack is available from Caught By the River’s record label, Rivertones.

In the Ancient Greek world bees were worshipped as they represented a link between our world and the underworld. There were special priestesses refered to as “bees” or “Melissas”, the Greek word for honey bee. In Ancient Greek myth Melissa was a nymph who nursed the baby Zeus, feeding him honey instead of milk. It was from her that the cultivation of bees for honey was supposed to have come.

I’ve worked on a Bee Goddess illustration with this ancient bee nymph in mind. I’ve now made it into a card available in my Folksy and Etsy shops.

Bee Goddess
Bee Goddess

Since February I’ve been noticing many large bumbee bees while out walking. They’re queen bees seeking nesting sites. I came across a carder bee nest one summer which I was a little wary of but it was also quite charming like any nest!

Carder Bee Nest
Carder Bee Nest
  • Interesting (1)
  • Like this (0)
Posted on

Spirit Boat Project

I’ve been thinking about boats and the idea of a Shamanic boat. When I googled ‘shamanic boat’ I found a website about Finnish Shamanism, Spiritboatblogspot (which is very fascinating and worth checking out if you’re into shamanic practices.) I also found a link to the Living Shaman Museum and a workshop that took place by a ‘spirit boatist’/artist, Jennifer Ewing. Her work intrigues me. She started making boats when her father died to help her deal with her grief.

My Uncle Ken made boats – it’s one thing I remember about him. Sometimes boats make an impression on me and one such boat was the Vasa ship in the Vasa Museum in Stockholm. It has some lovely carvings of sea spirits, tritons and mermen decorating the sides:

Vasa Ship Mermen
Vasa Ship Mermen
Sea Spirit on the Vasa Ship
Sea Spirit on the Vasa Ship

Another boat that comes to mind is Grayson Perry‘s ship in The Tomb of the Unknown Craftsman.

Grayson Perry's Ship
Grayson Perry’s Ship in The Tomb of the Unknown Craftsman, British Museum 2011.

I like boat ruins too and featured one in a previous post that’s supposed to be haunted.

There is something lovely about the idea of a container carrying you over the waters.

“At night I sleep and dream reed-lined, silt-laden dreams, drifting channels in my skiff, hugging the shallows, calm and sheltered from a ravaging sea beyond.”

I decided to embark on my own Spirit Boat project, making boats and putting night lights inside them before placing them into a river at dusk as another river project.

So I started by making a simple origami boat and covering it with pieces of a letter written to the river with my hopes and dreams, words and poems. (I tried to write in the language of the river!) I stuck a rabbit vertebrae in the bottom of the boat to hold a gull feather. This became my Boat of Words.

Origami Boat
Origami Boat made out of an old drawing of a fox I no longer wanted.
Boat of Words
Boat of Words

The second boat I covered with used coffee filter papers that were stained a nice, natural coffee brown. I sewed on to the sides rabbit bones with scrim twine and used a rabbit skull as a figurehead. This became my Boat of Bones. At last I have a use for the natural materials I’m always collecting!

All the materials have a story. I collected my rabbit skulls and bones during a visit to Morfa Dyffryn, an extensive stretch of sand dunes on the coast of Wales. We visited on a cold April day when the winds off the sea chilled us to the bone. It must be a harsh place to be a rabbit.

Boat of Bones
Boat of Bones

My third boat I covered in coffee filter papers and scrim and trimmed it with dried grasses that I’d collected from a basket making day last year. I put some sheep’s wool that I’d collected from the Downs on the first really sunny day in April. This is my Harvest Boat.

Agricultural Spirit Boat
Harvest Boat
Nest Boat
Nest Boat

Finally I covered a boat with dried, used teabag papers to give it a rustic, natural look. I then placed moss inside to finish off my Moss Boat.

Moss Boat
Moss Boat
Spirit Boats in Process
Spirit Boats in Process

In my boats I placed a night light.

Five Spirit Boats
Five Spirit Boats

One evening in July as the moon was waning, my partner Kevin and I set off for the River Ouse at Barcombe Mills where the river is gentle and accessible. It is a popular place by day; people have picnics and swim in the river. I have swum there once myself….

Swimming in the River Ouse
Swimming in the River Ouse – I can’t resist a bit of wild swimming when I get the opportunity!

We waited for dusk and then lit the night lights. I can’t help thinking the boats look like shoes! ( I think ‘shoes’ and then ‘footprints’ and have ideas for another project! Watch this space :) )

I slowly put the boats into the water and filmed them while Kevin took photos. When I looked at the footage I found it quite meditative, so I made the video below and set it to some deep, Tibetan chanting. You may be able to hear the odd chaffinch singing from the hedgerows.

  • Interesting (0)
  • Like this (0)
Posted on

Touching the Earth

I am yearning for the land. Hearing the wind outside it is not exactly inviting but I feel a pull, a need to connect with layers beneath me feet – rock, sand, mud, grass, the earth’s bone against my bone.

At Eridge Rocks

Over the past few years I’ve been moving outdoors, relating to the natural environment through movement – as I did in a workshop, River Women, earlier this year. In the last year or so I have tried to make a short video, a movement video. It is about the earth, about woods and the sea. I felt a bit lost during the filming and was going to call it “What have I lost on the path?” a phrase I remember writing and illustrating in my diary many years ago. I felt that I had lost something on the path – in the earth – and the film was about acknowledging this. Originally the video was going to be a filmpoem – a film of a poem – but I’m no poet so I decided to keep it simple and see what would arise. I can’t dance or move very well either, but it’s just an experiment :)

  • Interesting (0)
  • Like this (0)
Posted on

Grass Baskets, Nests and Blackcaps

At the weekend I did a grass baskets workshop with Ruby Taylor of Native Hands. I have wanted to connect to nature by making something and using my hands. The closest I’ve got so far is making a moss journal. The workshop took place at Wowo campsite in a special campfire area in the woods. First we cut handfulls of grass in an adjacent field, golden and maroon sheeves we carried to the workshop site. After tea, Ruby took us through a few minutes of opening up the senses to the natural world around us. She lit a fire with metal and flint, to have a constant supply of tea throughout the day.

Grass Baskets Workshop
Concentrating hard weaving grass baskets.
The base of my grass basket
The base of my grass basket.
My Grass Basket
My slightly scruffy grass basket.
Grass Cutting Video
Click here to see a short video by Ruby of a few of us cutting grass during the workshop.

As Ruby pointed out, baskets can be like nests and she brought out a box containing a beautiful nest with a couple of thrush eggshells within it. Birds are the ultimate artisans.

When I was younger, I used to collect nests, empty ones. I climbed trees like many children, fascinated by being up high in the leaves with a birds-eye view. I came across the occasional nest and if it was empty, I’d bring it down if I could. I grew a stash of nests in my bedroom. Unfortunately birds nests harbour fleas so my collection didn’t last for very long.

Thinking about this, I am reminded of some passages in Jay Griffith’s book, Kith: The Riddle of the Childscape about children and nests:

Stumbling on a bird’s nest as a child, I was breathtaken. I gasped at the tenderness of it, the downy feathers, softer than my fingers, moss folded into grasses and twigs in rounds. My eyes circled and circled it, caught by the mesmerizing perfection of the nest. It was the shape of my dream, to be tucked inside a nest and to know it for home.

A nest is a circle of infinite intimacy, a field-hearth or hedge-hearth. Every nest whispers ‘home’, whether you speak English, Spanish, Wren or Robin. Part of a child’s world-nesting need is answered seeing a rabbit warren, a badger sett or otter holt, as children’s writers instinctively know, giving children a secret passage to dens, nests and burrows.

Through nests, a child’s own hearthness is deepened and the child grows outwardly and inwardly into its world. Outwardly, children stare at a nest, fascinated. Inwardly, the nest reflects not just the body’s home but the mind’s. In the snug refuge of the nest, the psyche fills itself out from within, as round and endless as a nest, creating its infinite-thoughted worlds. Intertwined with the world of fur and feather is the world of metaphor where mind makes its nests. Metaphor weaves ‘grass’ and ‘shelter’ together. It ties ‘twig’ to ‘refuge.’ It knits ‘moss’ to ‘home.’

Finding a nest is a homecoming for a child. In Greek, homecoming is nostos, the root of the word ‘nostalgia’—an ache for home, a longing for belonging. Children, filthy little Romantics that they are, have an uncanny gift for nostalgia in nature; something inchoate, yes, but yearning, yearning for their deepest dwelling.

She also has some interesting essays about home as part of the Stay Where You Are project. I never outgrew my fascination with nests, eggs, found animal skulls. I still collect such things when I find them.

Throughout our time in the woods, we heard a persistant blackcap – or at least I think it was a blackcap, blackcaps can sound very similar to garden warblers. A few years ago I spent a few days watching and recording a blackcap singing in a nearby wood as a volunteer for The Woodland Trust, so I am quite familiar with its song. Blackcaps have a lovely, flutey, scratchy song. Here is my recording:

  • Interesting (0)
  • Like this (0)
Posted on

Moving Below Vulture Rock

Blue tit, tree creeper, bullfinch;
fallen acorns and the dry crunch of dwarf oak leaves;
scent of lemon and lavender as I wade through cloud fields
flower husks, the dry, deadhead suns of Autumn,
burnished mists, soft on the gaze.

A cricket zips past with a flash of blue sky in its wings;
a praying mantis strikes a combative pose on the path, quizical, as I walk past lonely ruins,
rocks that could be sacred.
And above me, vultures caress the currents and gather on the pink-grey vulture rock of vulture cliff.

What is the land saying?
It sloughs off Summer insignificantly,
in layers and earth warming browns,
in shards and bones,
in dry, bone trees in skeletal stances,
twisted and rattling,
abrasive and catching at my trousers.
Birds flit from tree to tree,
tick tick, tack, tack…
browns, honey, straw colours, beiges…
Even the snake wears beige.

In this basin of rock outcrops,
place of layers and silence,
shades of blue fade to more watery, distant, blues,
a valley of liquid air,
a valley I fall into with my gaze,
that I could almost swim into if I reached out…

I am the cliff,
I am the vulture,
I swim the valley and push to fly;
I am the knarled tree,
the scissoring cricket,
the lizard’s liquid escape,
the overarching sky.

  • Interesting (0)
  • Like this (0)
Posted on


This is becoming another year of trees for me – and for others too. I came across a brief video about women and trees made by Megan Hollingsworth. Megan is the creator of Extinction Witness. She is a poet, writer, dancer, mother and compassion activist. She feels passionately about stopping the destruction of large forest trees and has set out to create a seven minute film that explores this destruction and how it relates to her healing journey following childhood incest.

“VIRGIN is a 7-minute film that tells the stories of grandfather tree, a giant sequoia cut for show in 1853, and a woman healing from early childhood incest in 2013. The film uses poetry in the form of spoken word, dance, imagery, and song to weave these stories through to the roots of violence toward all that shines with grace.”

To help fund the production of the film VIRGIN and find out more go here.

I have been working on my own mini video that involves trees, woods and movement. Coming soon!

  • Interesting (0)
  • Like this (0)
Posted on

A Few Inspirations 1

Progress is slow on the art front. I’m continuing with my goddess book and every-so-often get drawn to doing a painting or two. While researching occasionally I stumble on an artist, poem or film that resonates with me. So I thought I’d share a few artists and other inspirations that make me feel encouraged to work more expansively.

Firstly I’ve chosen this video clip of Ariel from the film, The Tempest. It aludes to a liminal, spirit world just out of sight, beside the shore, through woodland trees on an island. A haunting, beautiful realm of magic and spirit. Ariel, male or female or both, resides there in this realm. I like the description of him that accompanies the video clip:

“the embodiment in spirit of human emotion, vulnerability and compassion. He can transform his physical presence into essences of light, fire, wind and water, and the corporeal manifestation of harpies, frogs, stinging bees and bubbling lava”.

Freed from his/her imprisonment in a tree by Prospero, he/she is bound to serve the magician but yearns for freedom; (I can relate to that.)

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that does fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Hark! Now I hear them – Ding-dong, bell.

Ethereal, otherworldly, ghostlike, haunting, with nature and water – all ingredients that moved me to paint my Siren picture a few years ago.Siren

I’ve drawn on my Siren painting for my goddess Lethe of the River Hades, one of the six rivers of the Ancient Greek Underworld – a goddess of the liminal world. While researching for her, I stumbled on the an installation which was the result of a collaboration between the sculptor Rosalyn Driscoll and the film-maker Tereza Stehlikova called “Rivers of Hades: Forgetfulness (Lethe)”. Forgetfulness by Rosalyn Driscoll and Tereza StehlikovaBoth artists were exploring perception and synesthesia. (Synesthesia is something I’m fascinated by … hearing colours, seeing sounds, the blurring of the senses.)

I like the description and photos of the installation, how it is about a viseral relationship with nature, memories, feelings and dreams. It is made of translucent rawhide giving it an organic, animal quality and the colours of twilight. It is sculpted in such a way as to suggest water caught in time or a body in water with video images projected on or through it, representative of memories, dreams, the otherworldly, hauntings, ghosts and death. This is Lethe, a river which the dead must cross to forget their former lives, a River of Forgetfulness (like my River of Memory painting that I have painted before). Video images cross and blur boundaries and edges suggesting impermanance and fragility. I would have liked to have seen the exhibition and the Sensory Worlds conference that staged it.

  • Interesting (0)
  • Like this (0)