In my last post I said I was happy to be at home right now. That’s not exactly true. I spend a lot of time day dreaming about how I’d like to be elsewhere – often overseas, which is quite difficult right now with Covid and the climate crisis making one think twice about flying. I think about how much I would love to be in a rainforest and how much I would have loved to have been a tropical ecologist working in a rainforest, familiar with the birds, mammals, insects etc. That was my dream, or one of them. Still, it didn’t turn out that way. Now I draw forests, trees and rainforests instead, and I’ve just created a Rainforest Concertina card.
The card shows a scene from a Central or South American rainforest (such as those in Costa Rica or Ecuador). One side is a day scene featuring coatimundis, snakes, monkeys, butterflies and, of course, trees. The other side shows a night scene featuring a jaguar, an oil bird, frogs, small mammals and a tapir. I haven’t seen a jaguar or tapir or even an oil bird, but I have seen coatimundis, capuchin monkeys and morpho butterflies when I was fortunate enough to visit rainforests in Costa Rica, Guatemala and Ecuador.
I don’t anticipate these cards will be as popular as the others, as not everyone has a passion for rainforest like me. Anyway, I wanted to make one. Rainforest concertina cards are available in my Etsy shop and soon my website shop.
Here is a little glimpse of a young caiman I saw on my trip to Ecuador quite a few years ago:
This week I visited Olafur Eliasson‘s The Forked Forest Path exhibition at Fabrica Gallery. I walked into a tunnel of cross-hatched branches. Spotlights threw light on to the branches, highlighting their skeletal forms, while sunlight beamed in through high windows creating square pools of dappled light on the flagstone floor. There was a fairytale ambience – I thought of witches’ brooms and caught the faint smell of dusty earth, old barns, country museums, hay; the smell of time holding still, memories just out of reach. The exhibition has echoes of a stage set awaiting a moment of drama. It holds a presence, something to kindle the flame of imagination. I followed the path to a fork where I chose to go right.
Back in April I joined an online discussion about the exhibition. After watching a video of the artwork it was interesting to hear other peoples’ thoughts. There was talk of a dreamlike experience, of fairytales. Someone mentioned a portal. We discussed holloways, winter branches, the impoversishment of nature, the space as a sanctuary in the hectic life of the city and the sanctity of nature within an old sacred space. We contrasted the exhibition forest with a real one, noting the lack of movement – of dancing leaves – and colour. I couldn’t help but think of ruins reclaimed by nature that I’ve come across occasionally.
To accompany exhibitions, Fabrica’s volunteers put together a magazine, The Response. I submitted a few relevant images of artwork with a forest theme (as I’m so into forests and woods!) before I realised the magazine is meant just for volunteers. If they use my images I think I owe them some volunteering.
Click on the images for larger versions.
I am contributing to the exhibition in a different way – they are selling my concertina cards and sepia cards in the Fabrica shop – and they’ve been selling very well.
There have been some interesting events associated with the exhibition. Check out the blog of Steve Geliot, who is a current artist in residence at Fabrica. He has an interest in nighttime forays into the woods just outside Brighton.
Finally done, my Night Wood nature zine/booklet. I’m pleased with how it’s turned out. I decided to call it ‘Night Wood’ instead of ‘Night Forest’ because I started thinking about what the words ‘forest’ and ‘wood’ mean to me.
The word ‘forest’ conjures up a vast area of trees, sweeping over the landscape into the distance. On the other hand, when I think of a wood, I imagine a smaller, more intimate place of trees. So, my booklet title is Night Wood.
I do like the word ‘forest’ though. It is the Old French word, ‘forest’, which later became ‘forêt’. Forest probably came from the Late Latin words forestem silvam meaning ‘the outside woods’, or the woods beyond the fenced park.
The word ‘wood’ comes from the Old English word wudu meaning a collection of trees. Wudu may come from the Old Norse word viðr or the Swedish word ved, meaning tree or wood. Another possible source is the Welsh word gwydd, meaning trees. This website mentions a few other interesting forest words including Silvanus, the Roman God of woods and fields from which we get ‘silviculture’. Apparently Silvanae were goddesses who accompanied Silvanus… (I can see some further research and pictures that might materialise).
My Night Wood nature zine/booklet is full of wildlife, including badgers, deer and an owl, beneath the moon. All special to me. I like getting lost in intricate detail. There isn’t a story, just a few words – enough to set the scene and tie the book together. The book is A5 size and comes with a black, C5 tie and washer envelope. I like to think of it as a special gift, more than a card, a little book to treasure for anyone who loves woods, trees and wildlife as much as I do. It’s available in my Etsy shop and my Reflections shop.
I woke before dawn to see a crescent moon high in the southern sky. Now it’s a beautiful bright cold day with frost on the lawn and on the rooftops. I am longing to get out into the woods, but the car is broken, I’ve put my back out and we’re in lockdown. I’ll have to wait. Instead I’ve found a patch of sunlight to work on my new ‘forest’ book.
This book is about the forest at night. It’ll be titled Forest or Night Forest and will be mostly made up of illustrations with minimal text. It’ll be similar to a zine, but I like to think it’ll be more than a zine – I’m printing it on good quality, 160gsm paper.
So far I’ve drawn three two-page spreads of nocturnal forest scenes. One is of a nightjar flying at the edge of a forest on an early summer evening:
Nightjars are such special birds, I have a bit of a thing about them.
The other two-page spread is of a family of badgers in a forest glade. The full moon has risen higher, it’s bold and bright in a dark, starlit sky:
I intend to make limited edition prints of these illustrations on white, linen paper. I’m hoping the printers I use are able to take on print jobs during this lockdown. Meanwhile, I’ll plan the other pages in the book. These will feature owls, deer, woodmice, moths and possibly bats.
I have a bit of a thing about forests. I guess I’m a nemophilist – from the Greek nemos, which means grove, and philos, which means affection. That also means I’m a dendrophile, a lover of trees. And then I’m also a bit of a nyctophile, someone who loves night and darkness. Interesting, but right now I love sunshine and am looking forward to the light and warmth of spring.
Note: A4 digital prints of both of these illustrations are now available in my Reflections shop and Etsy shop.
What comes first the tree or the book? The tree of course – there would be no books without trees. However, having just finished an altered book, Beneath the Old Tree, I was inspired to find a really large, old, real tree. So, I decided to pay another visit to Kingley Vale, just north-west of Chichester in West Sussex, which has an ancient yew forest. Some of the trees are thousands of years old. Each time I go there, I’m in awe of this wondrous, magical place.
In the forest it was hushed beneath the elephantine old yews. There were other people about – families – but their voices were muffled. Quiet and peaceful, the air was still, the forest floor was dappled by sunlight that streamed through the tangled spiralling branches.
Within this sanctuary are trees with enormous muscular girths and heavy limbs as smooth and hard as ivory; tusks descending to and disappearing into the dusty earth only to re-emerge nearby as offspring trees, creating a shambling, rhythmical cascade away from the main trunk. Each ancient yew stands within a fortress of these spidery, fluid limbs, each a powerful presence, deep, self-contained and stoic with a desire to reach out and touch the earth.
A bullfinch sounded in a hawthorn on the periphery of the grove, its sad note sung as though the bird was lost on the other side.
Some trees bear bark that is dry and peeling, others raw but smooth. As I ducked beneath each weighty limb, I felt the underside, polished by countless hands, rubbed to a shine by shoulders of both humans and deer.
Sitting within the hook of a limb, I felt safe and secure – anyone needing comfort should seek out a low tree to sit in.
Trunks fold into fissures and hollows, bulge with muscular growths. Some trees are whiskered by fresh, verdant shoots, others have openings like doorways or mouths frozen in silent song.
We came across a tree with its sides split, perhaps by lighning. Inside, the heartwood was deep arterial red. I picked up a square shard from the earth, a piece of the yew’s heart, to take home. Most of the trees bear wounds.
Some branches are algal green, elsewhere purplish pink, like the irridescent tip of a pheasant’s feather.
Little grows beneath a yew. They are both warm and inviting and brittle and repelling. A friend believes that here the yews talk to each other. She may be right.
After our amble in the groves, we emerged onto downland covered with chalkland flowers. Bees and butterflies busied around marjoram, birds foot trefoil and thyme-covered anthills in the bright sunshine. A roe deer leapt across the grassland and disappeared into the wooded hillside. Overhead a kite wheelled, it’s wings showing the gaps of its summer moult.
On returning home I wanted to create something in response to being in this forest. I decided to work in a looser, more carefree style and try out media I don’t usually use – chalk pastels and smudged penwork.
Below are some sketchbook drawings inspired by yews:
Perhaps it was fortunate that I missed the Hayward gallery exhibition Among the Trees because of the virus. I took this as an invitation to spend more time with real trees.
Back to my altered book. It’s of an old tree with a mass of roots within which hide a badger family. On deeper pages there is a squrrel, a fox and deer.
Last year a friend told me about The Sketchbook Project. This is a crowdfunded art library in Brooklyn of sketchbooks created by people from around the world. I love looking at other peoples’ sketchbooks, although I find making them myself quite a challenge. However, I was very interested in getting involved and decided to set myself the challenge.
To take part I had to pay a fee and was sent a small 5″ x 7″ sketchbook in a little string and washer envelope. I could do whatever I liked with the sketchbook as long as it didn’t end up being thicker than an inch or have loose bits that would fall off. I like forests – it’s possibly quite obvious if you’ve seen a lot of my art on this site, (at one time it was rivers, which I still feel very drawn to), so I decided to title my book, Forest and see what I could come up with.
I have pretty much finished the book now, so yesterday I ventured out to take some photos of it beside one of those giant beeches in Dead Beech Lane:
I’ve used acrylic paints, scrim – basically mixed media – pen and ink, watercolour pencil and photos. The book is a mixture of different styles, images and writing more than sketches.
I like the poem ‘Lost’ by David Wagoner, so I wrote it out and incorporated a papercut overlay of pen and ink trees. I also wanted to include a fold-out page. I drew a forest scene based on the tropical forest I encountered at Seima Biodiversity Conservation Area in Cambodia some years ago, with myself as a tiny figure. On the back I’ve added quotes from a piece of my creative writing about looking for slow lorises in the forest (you can read the piece, Night Eyes, over in my writing pages here).
I did cheat a bit and stick in little drawings I’ve done in the past. Sometimes the white page can be a bit threatening :)
I’ve included my piece of writing, If You Are Lost You May Be Taken, that I wrote about in a previous blog post and finished the book with a mixed media collage of a ‘seed woman’ in the leaflitter.
I need to register my book and then send it to the US. I’ve been told to wait a bit for the library to reopen after lockdown.
On the inside cover of the sketchbook, I attached a small black and white image of myself communing with a pine tree in a Sussex wood. I’d hestitate to pose in the same way again :) (I was inspired a few years ago by Nikki Simpson’s Wild Women of the Woods project. I’m not exactly wild, but, sometimes, I like to think of myself as ‘of the woods’ – or, in this case, ‘of the Forest‘ :)
I am still working on the film poem I mentioned in my last post. I think it’ll take me a while.
Still, one thing that has come out of my Sea Trout project is the creation of new concertina cards. I call them concertina cards because they’re long cards folded twice. The idea arose from my long sea trout picture (click on the images for bigger versions):
I wanted to create a card out of the design and thought it would be good to feature a picture on the reverse side. So I drew a shoal of trout:
Here is the finished Sea Trout card:
I decided to create a further two cards, both with a “trees” or “forest” theme. The first of these is In The Forest. One side of the card features a daytime forest scene with deer and a fox beneath the trees:
On the reverse is a night scene featuring badgers, deer, foxes, owls and hedgehogs:
It reminds me a bit of a tapestry :)
Here is the finished card:
My third card features a badger sett. One side you see a badger family out foraging at night:
The other side shows a cross-section of the badger sett with some slumbering badgers along with a rabbit burrow, tree roots and a burrowing mole:
Here is The Badger Sett card:
All cards are available from my Etsy shop and come with a little tag for a message and a square kraft envelope. :)
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.
“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.
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.
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.
My interest in trees, forests and geology continues. On Saturday, Kevin and I went to Pett Level beach, east along the Sussex coast from Brighton. We arranged our trip to coincide with a low tide because when the sea is out the wave-cut platform reveals the remnants of a prehistoric forest. A peaty layer of ancient tree trunks, roots and boles can be seen covered in seaweed and pock-marked by piddock holes.
We were surprised at how easy it was to see whole tree trunks. Some of these may have come from shipwrecks off the coast, but the spongy wood is likely to be from the sunken forest, which is about 6000 years old. Evidence of alder, birch, hazel, alder buckthorn, yew, ash and willow trees have been found along with brambles, sedges, meadow rue, bedstraws and marsh marigold. This mixed woodland flourished when the sea level was 60 metres lower than it is today.
It is strange walking over this ghost forest imagining the animals, large and small, that roamed among the trees and the people who possibly hunted there.
Our day was enriched by the sight and sounds of oystercatchers, cormorants, fulmars, curlews and a peregrine that sat on a cliff perch in the weak sunshine.
High up in the cliffs that overlook the area, we saw a cave now occupied by fulmars. but where archaeologists have found flint tools. They propose that it could have been a lookout used by Neolithic people for spotting game in the forest below. No doubt the cave was much more extensive in earlier times.
The cliffs are eroding fast, up to a metre a year. On our way back we watched as a trickle of stones fell down a section of cliff, where people had been walking a moment earlier. This was followed by a loud crash as a bush from the scrub above came down. I have never heard the earth sound so loud. Fortunately no one was nearby when it happened.
Further back in time the area was frequented by dinosaurs, their footprints have been found on the beach. We didn’t find much in the way of fossils or footprints, but Kevin found something else of interest and called me over. He wondered whether it was a piece of crab carapace. When I saw it I thought it must be a piece of skull as it had sutures, the wiggly joints between skull plates. We decided to take it home.
On Monday morning we contacted Archaeology SE to see if they could identify it. Their forensic archaeologist identified it as the back of a human skull and told us to contact the police as soon as possible! Three police officers came to collect it and took our details.
Perhaps it belonged to a sailor aboard one of the ships tragically wrecked along the Sussex or Kent coast. Such shipwrecks include RMS Alaunia in 1913, in which two crew members lost their lives. Hopefully we’ll find out a little more about it in a few weeks time.