A Critical Forest Art Practice

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Characteristic Scottish landscape, sometimes described as a wet desert: high moorland managed for shooting and commercial plantation of conifers. This is what makes Black Rannoch Woods, as remnant Caledonian Forest, so important. With permission of Collins and Goto Studio

Tim Collins and Reiko Goto’s project, The Forest is Moving, exploring, listening and responding to, imagining, learning from, touching, sleeping in, filming, photographing, walking in and with, the Black Rannoch Woods, is ongoing at the moment.  They have been posting to the Imagining Natural Scotland’s blog (where you can find blog posts from other projects as well).

1. A Critical Forest Art Practice. | Imagining Natural Scotland.

2. Critical Forest Practice: Onsite in the Black Wood. ¦ Imagining Natural Scotland.

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2 Responses to “A Critical Forest Art Practice”

  1. Cathy Fitzgerald Says:

    Such important work, thanks for posting this Chris!

    I remember meeting Shelley Sacks some years ago at the Beuys inspired Social Sculpture unit. She said over 90 art-led groups and individuals from across the world had contacted the University of Trees project that she had set up – not surprising I suppose with forests critical in supporting so many eco-socio aspects of life.

  2. A Critical Forest Art Practice | The CSPA Says:

    […] This post comes to you from EcoArtScotland […]

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