Archive for the ‘Methodologies’ Category

Valuing Nature: what do artists contribute?

November 12, 2018
Serpentine Lattice catalogue, courtesy of the artists

Image from Serpentine Lattice catalogue, courtesy of the artists

Artists have been valuing nature probably since we first marked the wall of a cave or whistled like a bird – artists have always rendered nature visible. Artists valuing nature have explored human ‘value’ (Monet’s Haystacks and Turner’s Rain, Steam and Speed both render human use of nature visible), but they have also articulated human meaning imposed on nature (Shakespeare’s King Lear thinking the storm is nature mirroring his mental state). ecoartists over the past 50+ years have focused not so much on the literally visible but on making visible the relational and systemic. Their motivation is often the destruction caused by our extraction of value from nature without regard to health or sustainability.

Most art, including the historical precedents mentioned and in particular ecoart, might be seen in juxtaposition with other forms of valuing nature such as ecosystem services. Dave Pritchard articulated the deeper history underlying the emergence of the ecosystem services in an email to the ecoartnework listserve on 9 April 2011. He wrote,

For a time, in the 1970s-80s, there was some of the kind of “reconsideration” you describe [referring to a previous post], with the “deep ecology” of Naess, Bateson, Berry et al. But if you analyse the evolution of the actual policy and advocacy discourse at 10-yearly intervals, for example from the 1972 Stockholm Conference to the 1982 World Conservation Strategy to the 1992 Rio Conference to the 2002 Johannesburg Summit (and then maybe in advance of the Rio+20 summit in 2012 look at the Aichi targets adopted last year), it has swung completely away from any ethics of “existence value” for the non-human component, to a forced justification (in adversarial arenas) in terms of “sustainable development”, “wise use”, “evidence-based conservation”, “ecosystem services” and (largely monetary) valuation of those services. The environmental movement (of which I am a part) congratulates itself on having found better ways of expressing the critical nature of ecosystems within broader mainstream audiences and processes, in this way. But this has all been done by becoming MORE anthropocentric and utilitarian; not less.

Dave Pritchard’s drawing out of one vector of the trajectory of valuing, away from the intrinsic and into the instrumentalised, provides a useful frame for understanding that what we see now as oppositional – arts and humanities approaches versus social and natural science-based methods of valuing nature. His marking of the moments in the intergovernmental conferences and his articulation of the key phrases is the beginning of a cultural history of environmental policy.

However, in the work of Helen Mayer Harrison (1927-2018) and Newton Harrison (b. 1932), known as ‘the Harrisons’, this split isn’t necessarily the case.

Professor Emeritus Anne Douglas and I have been writing about (and working with) the Harrisons, the pioneering post conceptual ecological artists, for some years now. Sadly, Helen Mayer Harrison died this year (aged 90), but we continue to work with Newton Harrison. You can find out more about that work by checking out The Barn website, and by searching this site http://ecoartscotland.net.

We are just in the process of finishing a new essay which focuses on the ways in which the work of the Harrisons might address calls for epistemologies other than the positivistic one which has increasingly dominated our understanding of the natural world. This builds on two other essays we have published recently on their practice and in particular their poetics.

The Harrisons’ work focuses on the lifeweb and in particular on points of inconsistency and contradiction saying,

We have come to believe that inconsistency and contradiction are generated by the processes of cognition, thinking and doing, and have the important role to play of stimulating and evoking creativity and improvisation, which are inherent in the processes of the mind that have led us to do this work.
Helen Mayer Harrison and Newton Harrison, ‘Public Culture and Sustainable Practices: Peninsula Europe from an ecodiversity perspective, posing questions to Complexity Scientists,’ (Structure and Dynamics: eJournal of Anthropological and Related Sciences: Vol. 2: No. 3, Article 3), p23

In our essay ‘Inconsistency and contradiction: lessons in improvisation in the work of Helen Mayer Harrison and Newton Harrison’ published in Elemental: An Art and Ecology Reader, we look particularly at the ways that the artists use moments of inconsistency and contradiction as points of intervention. We explore the way they engage imaginatively with metaphor – for them it is dysfunctional metaphors (such as calling places to live ‘developments’ rather than ‘settlements’) which underlie the inconsistencies and contradictions. The works take the form of policy proposals, manifest in poetic texts and images, installations and films, which offer alternative ways of imagining life where we put the health of the lifeweb first.

The second essay, ‘What poetry does best: the Harrisons’ poetics of being and acting in the world’ published in the Harrisons’ The Time of the Force Majeure, a survey of their collaboration over 50 years, focuses on their language, in particular dialogue, and their understanding of improvisation. We explore the way that the works open up the possibility for the audience to imagine living differently, as part of a healthy lifeweb.

The Harrisons’ overarching project, which they have pursued for something like 50 years, is to put us humans back into the ecosystem. This is an underlying refrain in all their work, for example in Serpentine Lattice (1993) they said,

THEN
A NEW REVERSAL OF GROUND COMES INTO BEING
WHERE HUMAN ACTIVITY BECOMES A FIGURE
WITHIN AN ECOLOGICAL FIELD
AS SIMULTANEOUSLY THE ECOLOGY CEASES T0 BE
AN EVER SHRINKING FIGURE
WITHIN THE FIELD OF HUMAN ACTIVITY
Harrison, Newton and Harrison, Helen Mayer, Serpentine Lattice, the Douglas M Cooley Memorial Gallery, Reed College, Portland, Oregon 1993

Within this the Harrisons have taken on issues of water, soil, forests and brownfield. They have worked in watersheds and bioregions as well at the scale of the European Peninsula and the Tibetan high ground. The climate crisis – which they define as having three aspects – sea level rise, heatwave and biodiversity loss/extinction, is the manifestation of our dysfunctional relationship with the lifeweb. In essence their message is the message of Deep Ecology.

Yet Serpentine Lattice, created at the invitation of Reed College in Portland, Oregon, in addressing the destruction of the Pacific Temperate Rainforest, includes a proposal for redirecting a proportion of Gross National Product to the restoration of the forest.

In Peninsula Europe (2001) they enumerate the amount of water that falls on the European peninsula annually (1,430 cubic kilometers per year and that’s just on the high ground). Based on this they propose a Water Tax to pay for the restoration of the soils and the reforesting of the land above 360 meters.

This might seem superficially similar to recent approaches which have moved from analysis of ecosystem services to natural capital accounting. These latter moves have resulted in statements such as the Great Barrier Reef is an asset worth $42 billion dollars to the Australian economy, or bees are worth £651 million annually to the UK economy.

Our essay addresses both how these figures and proposals operate as part the Harrisons’ poetics, contributing to the repositioning of human systems within the ecological systems. The Harrisons’ approach to valuing nature does not start with a financial given (eg the value of UK Agriculture, and then identify the importance of bees, quantify bees, and financialise bees). The Harrisons’ works start with an ecological reality, an intrinsic good, such as the Pacific Temperate Rainforest. Often this is an already damaged ecosystem. The art work makes visible the value of the whole ecosystem and offers quantification in order to propose new human systems (such as taxes) that begin to remedy the impacts of extraction.


Chris Fremantle will be presenting a case study on the Harrisons’ Greenhouse Britain: Losing Ground, Gaining Wisdom (2007-09) in the ‘Valuing the Arts Valuing Nature’ session at the Valuing Nature Conference 2018 this week.

Kerry Morrison #art4wetlands …the way I view mosquitoes

October 27, 2018

Reflecting on being part of the WetlandLife team and how interdisciplinary working has shifted the way I view mosquitos
Kerry Morrison
11.07.18

The interdisciplinary nature of WetlandLIFE
The openness and inclusiveness
Has broadened my understanding
And my views
Of wetlands
Of mosquitos

Information exchanged
Put out there
Into the group
Relating to the collective research
Offers insights that we can delve in to
Or not
As we choose

Peter posted: in praise of the midges pestering footballers in the world cup
Gay responded:
…best of all for me is link at the end of the article to a study on the flight behaviour in swarms, which is what my colleague, Lionel, and I are working on in mosquitoes.  It is an amazing study – so thank you for many reasons!
I hit the link and read the paper: Collective Behaviour without Collective Order in Wild Swarms of Midges [1]

Some time later
Out on Alkborough Flats
In July
At dusk
Helmut and I found one of the mosquito traps
Well hidden in the dank, yet humid, undergrowth
Well surrounded by flying mosquitos

Venturing in I witnessed what I now know to be male mosquitos
Flying in a swarm
Out to attract females
With this little knowledge,
gained from conversations with the team entomologists
and from reading the paper
I felt partly safe
Male mosquitos don’t bite
(though the females will likely be somewhere nearby)

Informed by me read of ‘Collective Behaviour without Collective Order in Wild Swarms of Midges’ (2014)
I watched the swarm
Intently
Paying attention to the individual’s movements
and
The swarm as a whole
Looking intently
I observed
More than a twilight swarm in a disordered phase
I saw a male mosquito gathering

Collective behavior became visible
As if in a choreographed dance
.
.
.
The small swarm
To start
Disorderly
Then
As two came into close proximity of one another
Millimeters apart
Their movements synchronized and mirrored
Two darted sideways in unison
Three spiraled upwards at an angle in unison
then together semi circled downwards
Two more spiraled upwards and outwards
then back into the swarm
When all came together
In close proximity
The whole swarm
Spiraled down
As one collective mass
As if a murmuration

Beautiful
Awe-inspiring
Experience
Walking into mosquitos
For the first time
Seeing
Male mosquitos Dance
No longer misunderstood as biting beasts
But seen as dancing males
Moving in murmurations
Waiting for females
to charm with their songs

My vision might not yet be clear
My understanding still murky
and not yet fully informed
Yet
What I see has shifted
And in shifting
My views have expanded

[1] Attanasi A, Cavagna A, Del Castello L, Giardina I, Melillo S, et al. (2014) Collective Behaviour without Collective Order in Wild Swarms of Midges. PLoS Comput Biol 10(7): e1003697. doi:10.1371/journal.pcbi. 1003697


Kerry Morrison is an artist, a Director of In-Situ, and has completed a Phd in Cultural Ecosystem Services.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.

Tim Acott and Dave Edwards #art4wetlands, a disciplinary dance

October 24, 2018
Woodland Wetland

Photo Courtesy of Frances Hawkes

As part of the Ramsar Culture Network/ecoartscotland #art4wetlands story Tim Acott (Principal Investigator for WetlandLIFE) and David Edwards (Forest Research) here unpack their thinking behind involving artists in the WetlandLIFE project (part of the Natural Environment Research Council‘s Valuing Nature Programme). WetlandLIFE is focused on managing mosquitoes and the socio-economic value of wetlands for wellbeing.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.

We’ll be posting pieces by the artists over the coming days.


Wetlands are ever-changing and dynamic, as water makes its presence felt through its association with a myriad of entities – plants, animals, humans, technology, legislation, economy and climate – all acting in diverse ways to co-create (mostly) watery places, both in reality and in our minds. For some, wetlands are bountiful lively precious places, to be celebrated and protected. For others, they are wastelands, disease ridden swamps that should be improved; ‘remove the water, build a dyke, drain the land’, might run the call, ‘we don’t want our landscape to be a mosquito infested swamp’ interjects another. From liminal locations in coasts and estuaries to the urban heartland of our cities and towns, places with too much water to be land, and too little water to be a lake, can be received with mixed emotions.

Photo courtesy of Tim Acott

Places are constituted through competing ideas and practices: the physical reality of the wetland is shaped by both the mechanical digger and the imagination. In the UK policy makers view the environment through the idea of ecosystem services. Here nature is reconfigured through the dominant perspectives of natural science, social science and economics to help decision makers ‘capture’ the value of the landscape. However, this approach can reinforce a utilitarian attitude towards nature that the arts can reframe or challenge, at times with unpredictable and potentially transformative effects.

With a particular focus on mosquitoes, WetlandLIFE (a three year interdisciplinary project funded by the UK Research Councils through the Valuing Nature Programme) explores how new knowledge about the values of wetlands can be used to inform their use and management. However, arriving at an understanding of wetland values is a fraught task. Competing epistemologies seek to provide authoritative accounts of value, but the competition is not on an even playing field. Scientific perspectives hold a dominant position, with even the qualitative social sciences, and especially the arts and humanities, having to argue hard for their case to be heard. Yet, in evoking science and economics as the privileged arbitrators of value – and of the frameworks through which values are understood – to what extent are other voices being closed out of the conversation? Is not one of the most insidious forms of power to control the rules by which debates, and hence decisions, are framed?

WetlandLIFE has sought to widen the lens through which we consider the value of wetlands and challenge the broader assumptions which shape and constrain land-use decisions. Listening to multiple voices is helping the project to engage with wetlands in a deep, critical and imaginative way. Two artists, Helmut Lemke, Kerry Morrison, and a fiction writer, Victoria Leslie, have been recruited to help the project team navigate the boundary of value elicitation and value creation. Working alongside local communities, economists, entomologists, human geographers, historians and environmental social scientists, they were invited to help shape the narrative around wetlands and mosquitoes. Within the project a position of epistemological equality is being adopted, whereby the contributions of all team members are being combined to co-create a place based narrative of wetland and mosquito values.

As the project progresses towards its final year it is becoming clear that artists are having a major contribution by helping to trace and create relational associations that underpin a tapestry of meanings and values. For instance, a walking poem by Helmut, capturing the feeling of being out on the marshes, creates an almost tangible sense of place, revealing something not normally expressed about relations between disparate entities such as wind, sheep, birds, mosquitoes, pylons, ships and other actors beyond the immediate wetland. Such a document can be a seed around which narratives are formed and coalesce. Another example is how Victoria is writing new stories about wetlands and helping the team to explore how narratology can develop reflections on discourses around science and arts. Is there science in art and art in science that could help shape what we are producing and how we judge outcomes? In a creative exchange of ideas, as the team members reflect on their individual roles in contributing to emergent wetland narratives, artists are spending time in science laboratories and scientists are picking up paintbrushes and pens to reflect on their practices.

Photo courtesy of Tim Acott

In conclusion, in WetlandLIFE the project team has sought to create an open and dynamic partnership between natural science, social science, economics, the arts and humanities. The result is an attempt to demonstrate how disciplinary boundaries can be overcome to develop a holistic interdisciplinary narrative of wetland values that does not give authority to one voice but critically engages with dominant narratives about the value of nature and helps celebrate the wonder that is our wetland habitat in all its diverse forms.


Tim Acott is Reader in Human Geography in the Department of History, Politics & Social Sciences at the University of Greenwich. His research is increasingly concerned with ways to understand the social and cultural value of ecosystems through concepts including sense of place, cultural ecosystem services and wellbeing, adopting arts and social science based approaches. He is the Director of the Greenwich Maritime Centre and is Principal Investigator on the WetlandLIFE project.

David Edwards is Programme Manager and Senior Social Scientist in the Social & Economic Research Group at Forest Research. David leads initiatives to understand and enhance interdisciplinary working, knowledge exchange and research impact across the environmental sector. He has a particular interest in the role of the arts and humanities in transformative learning and the co-production of knowledge.

Creative Sustainability

October 15, 2018

I don’t know how many people listened to the Moral Maze on Radio 4 on Wednesday evening (10th October)? In the week of the IPCC report saying we have 12 years before we go through the 1.5 degrees of global warming threshold, the programme brought together a debate on the moral implications.

The debate was framed in terms of the competing moral goods between future generations and developing countries, both of whom will disproportionately suffer the impacts of climate breakdown.

The first three witnesses broadly focused on economics and in particular the question ‘Is growth the problem or the solution?’ Can we grow and innovate our way out of the problem (Leo Barasi)? Or do we need to fly less, eat less meat and generally change our lifestyles to be more sustainable and less consuming (George Monbiot)? One of the issues underlying the discussion is the role of ‘progress’. Progress has generated global warming but it has also resulted in longer life spans, lower infant mortality, and more developed countries pay more attention to the environment.

The final speaker was Charlotte Du Caan from the Dark Mountain project to open up the cultural dimension. The panelists mostly agreed with the Dark Mountain manifesto, except the end of this sentence,

We do not believe that everything will be fine. We are not even sure, based on current definitions of progress and improvement, that we want it to be.

The panelist interpreted the Dark Mountain project as having a death wish, to be nihilist, rather than to be opening up a fundamental question of culture. Somehow the fundamental point got lost: ‘Do we want to continue with a culture that promotes individualism that results in endemic mental health problems?’ or ‘Do we want to live in a culture that promotes unlimited consumption of for example fashion, making fashion one of the most polluting and destructive industries?’ or ‘Do we want a culture that disconnects us from the rest of the living world?’

Actually the economic/progress argument is the wrong argument and the cultural argument was not fully grasped in the debate (although at least the cultural dimension was recognized as relevant).

So Creative Carbon Scotland has just launched its Library of Creative Sustainability. Creative Carbon Scotland is one of the organisations who are saying culture has a central role in addressing the environmental crisis in all its dimensions – climate breakdown, pollution, extinction…

The projects highlighted in the Library are all artists working with organisations long term on specific issues in specific contexts. To pick just one example, SLOW Clean UP involves artist Frances Whitehead, Chicago City Council and various University Science Departments working together on cleaning up petroleum pollution in the middle of communities in Chicago by creating gardens. Using plants which have specific capacities (hyperaccumulators) to suck up the pollution, the project cleaned up the test site, identified a significant number of new plants, as well as involving communities in their own environmental health. In the US whilst this approach is known and understood, unless the land has significant economic value, no-one bothers.

What is important is that this is not a binary debate on growth and progress, but rather cultural change towards a different set of values.

All the projects in the new Library demonstrate approaching challenges differently, creative innovations, and involving people in their own places produces new values that are more sustainable.

Have a look at the way artists are ’embedding’ themselves in organisations and contexts to work long term.

This project is supported by ecoartscotland and Gray’s School of Art, Robert Gordon University through an Interface Innovation Voucher.

Sir Peter Scott: the embodiment of art and conservation

July 11, 2018

As part of the #art4wetlands series the Wildfowl & Wetlands Trust (WWT) have very kindly provided us with the following images and story on their founder, artist and conservationist Sir Peter Scott. Sir Peter epitomises one of the many ways that the power of art can be brought to bear on the challenges of conservation. One of the WWT reserve managers mentioned that every time Sir Peter wanted to do work to improve a reserve he would simply, “create another painting to sell.”


scott feeding wildfowl

Image courtesy of Wildfowl & Wetlands Trust (WWT)

Sir Peter Scott (1909-1989) knew how to take action, and how to inspire others.  He was a visionary who understood that people and nature are part of the same intertwined ecosystem. He realised – ahead of his time – that our wealth, our health and our emotional wellbeing all depend on the natural world. He understood that showing people how amazing nature is, can ignite a passion to conserve it.

Scott was an accomplished artist, writer, world-class sportsman, Naval Commander and the son of one of the most famous explorers of the 20th Century.  Famously, his father’s last letter from Antarctica prophetically instructed his wife to “Make the boy interested in nature – it is so much better than sports.”  As fate would have it, he was brilliant at both.

Scott with snowgoose

Image courtesy of WWT

Added to this he was an extraordinary wildlife artist with a particular passion for wildfowl art.  He produced hundreds of original wildfowl artworks in his lifetime and his deep love of painting birds must surely have driven his passion for working to save wetlands and wildfowl around the world.

In 1945/6 he became determined to set up a Wildfowl Trust – but where?  At Slimbridge – he had a ‘eureka’ moment.  Here, on the banks of the River Severn in Gloucestershire he spotted two unbelievably rare Lesser White-Fronted Geese in a flock of White-Fronted Geese.  So, Slimbridge would become the home of the Severn Wildfowl Trust – later to become the Wildfowl and Wetlands Trust.

More than that, he began to address wider, global conservation issues.  A co-founder and first chairman of the World Wildlife Fund (1961), his work on international conservation issues continued over the coming decades.  He was instrumental in setting up the Ramsar Convention in 1971.  This international agreement works to protect wetlands of international importance and now includes over 2,300 sites covering 2 million square kilometres. In 1982 he established an international moratorium on whaling and later worked to secure agreements for the protection of Antarctica from international exploitation.  In 1973 he became the first person to be knighted for services to conservation.

scott with nenes - saved from extinction

Sir Peter Scott with Néné Geese. Image courtesy of WWT

Over the coming years he developed new conservation techniques and honed existing ideas; he saved the Hawaiian Goose (the Néné) from extinction; he established international protocols for conservation (i.e. the International Union for the Conservation of Nature (IUCN) Red List of Threatened Species) still used today to categorise the conservation status of all known species; he brokered national and international agreements for the conservation of wildlife; he championed research into the damage done to our wild places and how to address this; he tracked the migratory patterns of wetland birds; he resolved to work across borders to protect their flyways and – insightful as ever – he recognised the power of bringing wildlife into people’s homes through the evolving medium of television and his ‘Look’ series on the BBC.

It is hard to identify anyone before him who had such an impact on raising conservation issues with the general public, and on bringing governments together to address global issues.

Kate Foster: Engaging with peatland restoration – Embedded Art practices within Landscape Partnerships

May 12, 2018

scotland-peatland-map_carbon-class-a2477850

As artists, we (Kerry Morrison and Kate Foster) have discovered a common purpose of embedding ecological artistic practice and research within peat landscape restoration projects. This post invites readers to ‘watch this space’ for how we are, and will be, involved in restoration work on blanket peatland and raised bogs that will be carried out by three Landscape Partnerships that have been recently funded by the Heritage Lottery Landscape Partnership Fund.

The significance of peatlands in terms of wildlife, climate action and hydrology is increasingly recognised by government policy which is leading to artists’ opportunities, such as with the Peatland Partnership in the Flow Country. For anyone interested in the cultural values of peatland, there is much artwork to draw inspiration from, such as Sexy Peat ; ongoing work by postgraduate students of Art Space and Nature at Edinburgh College of Art; the respective work of Laura Harrington or Lionel Playford, both based at the University of Northumbria; and Wind Resistance by singer-songwriter Karine Polwart.
Within this wider context, our respective artistic aims include profiling existing community culture, skills and knowledge – the living heritage. We will be developing artwork during the stage of ecological restoration, contributing further ways to how peatlands can be culturally valued. We see this as an opportunity to reflect on art practice with others (artists and non-artists) who have similar interests, over a three-year period.

The Pendle Hill Landscape Partnership programme

As director and lead environment artist at In-Situ, Kerry had been working with the Forest of Bowland during the development stages of their Landscape Partnership Heritage Lottery bid for Pendle Hill. This included developing and managing a pilot arts programme which informed the final, and successful, bid. Working closely with Cathy Hopley (Development Officer at Forest of Bowland AONB) to embed art into the landscape restoration strand of the Pendle Hill four-year programme, In-Situ have become one of the partners and will lead an art strand called The Gatherings which includes a two-year artist residency during which Kerry will work alongside the team restoring the upland peatlands of Pendle Hill Summit.

The Gatherings programme integrates arts practice and research into a number of the Pendle Hill Landscape Partnership themes, including: Pendle Hill Summit, Archaeology, High Nature Value, Traditional Boundaries, Woodlands, and What’s a Hill Worth?

The Gatherings strand has been designed/curated as a coherent programme consisting of temporary interventions, events, residencies, films and public gatherings. The art projects, beginning in 2018, will evolve in partnership and collaboration, developing and responding to the project strands as they progress over the 4-year delivery period. The role of the artist will be multitudinous: to shed light on the landscape restoration programme, to outreach and engage communities including audiences that have been identified as the most infrequent visitors to the Pendle landscape, and to contribute to new knowledge. The creative processes, outputs and new knowledge gained will be shared in year 4 (2022) at a 3-day conference.

The image below is of a group of young people from Brierfield Action in the Community, celebrating, having achieved the steep climb to Pendle Hill Summit. Their day out was part of a series of workshops to test the Pendle Hill Engagement Kit, developed by In-Situ in partnership with The Forest of Bowland and artist Amy Pennington.

The Galloway Glens Landscape Partnership programme

“The Galloway Glens Landscape Partnership aims to connect people living and working in the area with its heritage and landscape in a drive to secure a prosperous future for the communities around the Water of Ken and River Dee, right from their source to the sea.”

source: http://www.gallowayglens.org/about/

Further details of the scope of the proposed programme can be seen here. Peatland Connections is one component, led by Dr. Emily Taylor of the Crichton Carbon Centre and to be jointly funded by the Scottish Government programme, Peatland Action. Peatland Connections aims to:

… highlight the significance of Galloway peatlands and, using a demonstrator site beside the Southern Upland Way, trial a new framework to be used to revert areas of forestry back to peatlands, highlighting the resulting water quality, biodiversity and carbon balance benefits. These capital works will be supported by a suite of public engagement/artistic activities highlighting the importance and relevance of peatlands. Source: http://www.gallowayglens.org/projects

Kate’s art practice is concerned with different kinds of land use, focussing on wetlands. Various projects prepared the way for making links to Peatland Connections. For example, in 2016 she co-ordinated an event themed Wetlands, Flow, and Questions of Scale, at the Stove in Dumfries.  The range of inspiring and thought provoking presentations revealed the depth of existing interest and also the possibilities for further connections.

The image above shows a group with a demonstration peatcore at a workshop on Kirkconnel Flow, led by Dr. Lauren Parry of the University of Glasgow.

Kate proposed Peat Culture as an element of the Peatland Connections in consultation with Emily Taylor. As lead artist, Kate intends to profile the biocultural heritage of Galloway Glens Peatlands by creating an anthology; by developing original artwork as artist-in-residence to the restoration; and by jointly creating material for an exhibition.
Recognising synergies in their practice and collaborative approach with landscape Partnerships, Kerry and Kate began to discuss the potential of connecting Galloway Glens and the Pendle Hill Partnerships to widen the scope, reach and impact of ecological art and peat restoration. Both Landscape Partnerships embraced the idea of connecting and partnering, and to also work with the Carbon Landscape Project (another Heritage Lottery Fund Landscape Partnership with a peatland focus), which is in the early stages of delivery.

The Carbon Landscape Project

The Carbon Landscape Project is a Landscape Partnership based around Salford and Warrington, and draws on the area’s importance in the cradle of the Industrial Revolution. A short informative video Taking a Round View of the Carbon Landscape can be seen here.

The Carbon Landscape Project is changing the way in which we approach landscapes and communities in Wigan, Salford and Warrington. Twenty-two interlinked projects will provide a forward-thinking and effective programme that will have lasting benefits for local communities and wildlife.

Source: http://www.lancswt.org.uk/carbon-landscape-project

The scheme is in its first year of their 5-year delivery phase, with work getting underway.

Peat Meets

People involved in developing peatland projects of the Galloway Glens Landscape Partnership, the Pendle Hill Landscape Partnership, and the Carbon Landscape Project travelled to a Great Peat Meet in New Galloway last November, in order to exchange information about their programmes. The proposed peatland restoration projects will offer varied ways of engaging communities. Once the projects are all underway, further exchange visits are planned.

The image above was taken during a site visit to Clatteringshaws Visitor Centre Galloway, allowing informal discussion during a walk over deep peatland. Glens Development Officer, McNabb Laurie, said:

“We were proud to welcome these other Landscape Partnerships to Galloway and to hear how the condition and use of peatland sites varies across the UK. It is great that a number of schemes are coming together to highlight the importance of peat on factors such as water quality, biodiversity, flood management and also the global significance as a carbon store. We can contribute to a national approach to these issues.” Source: http://www.gallowayglens.org/2017/11/

As artists, we attended and have both been proactive in making proposals and connections between the Landscape Partnerships. The aim is to profile the many and varied ways that peatlands are already valued culturally, as well as contribute new creative work. Plans include a seminar series, to create a network with people involved in similar projects elsewhere and to encourage reflection on interpretation and creative practice.

This article has been prepared by artists Kate Foster and Kerry Morrison in consultation with colleagues in their respective Landscape Partnerships projects.

Contacts for further information:
Kerry Morrisonkerry@in-situ.org.uk
Kate Fosterart@meansealevel.net
Pendle Hill Landscape Partnership:
Cathy Hopley: cathy.hopley@lancashire.gov.uk
Galloway Glens Landscape Partnership:
McNabb Laurie: mcnabb.laurie@dumgal.gov.uk


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