First NameLast NameEmailCountry of residenceNationalityTell us a little about your workA brief biographical statementWhat can the arts contribute to the environmental debate?...and finally, why have you applied for GNAP-UK?LinksPrevious GNAP experienceFile Upload #1File Upload #2File Upload #3

My painting comes from a balance between letting go and control. There are images that come out, some clearly an object, some more abstract, mainly from my subconcious, i feel. I rarely paint an object from an idea, it first starts, i see what's there and let it come. I feel my work very closely connected to the natural world.

I have exhibited with art below on the london underground over a number of years, and have had a few small scale exhibitions in my home town of armidale nsw. I am currently studying a bachelor of music in composition, i write poetry and paint- my website is

Art and music reaches deeper places in people and can bring things into the light previously unnoticed or ignored. Art goes past fact, logic and legislation in that it can connect people to the wider body in which they belong, invite them to feel, move them, inspire them to change their actions. It can awaken things inside us previously unknown of. For nature is the greatest artist there is.

I am searching for a place where i belong. Art, music and nature are my life loves and i want to find a place i can work with these to make a difference and connect with others. I want to work with kindred spirits, i want to use my great love for the natural world to help in some small way, because i feel so strongly about its protection. I felt a strong connection to london when i was there on a working holiday visa, i loved the uk, it brought out so much in me, i wish to come back for a purpose. I want to connect to something greater than myself, i need to feel that with others who understand this too.

DonaldBuglassbuglass_d@yahoo.co.nzNew ZealandNew Zealand

I'm a Multi-disciplinary Artist who employs varied skills from the arts and his previous occupations (mapping, survey-draughting, construction, forestry, landscaping and dry-stone walling to name a few). Majoring in painting in 1991, I now focus on sculpture, installation and land art.

I express my ideas in a wide variety of styles and media. An intuitive Artist, my work varies a lot in style and media but maintains a high level of vitality and originality.

I have participated in numerous Biennales, events, symposiums, festivals and exhibitions in Europe, Asia and Australasia. Most recently I was honoured to be part of GNAP France 2017.

Individually, I live my art, viewing the world as a palette and seeing art in every corner and cobweb.

1991 Dip FA, National Art School, University of Sydney. 1995 1st year BFA, Furniture Design, University of Tasmania

2017 Fundacja Land Art Festiwal, Poland, 2010, 2017,Yatoo Nature Art Biennale, Gongju, Korea 2011, 2015 2nd International Art Passage, Bad Schlema 2015, 2017 Højer international symposium, Denmark, 2015 Lez Arts en Adrets, Hautecour, France, 2014 Tufe’arte, AiNIN, Tufia, Gran Canaria, 2008,14 Guandu International Sculpture Festival, Taiwan, 2014 Arctic Arts, Saariselkä , Lapland, Finland, 2013 Forma Viva, Kostanjevica Na Krki,Slovenia, 2013 Oranki, environmental art -symposium, Finland, 2011, 2013 International Woodsculpting Symposium, Kemijärvi, Finland, 2011 5th International Sculpture symposium, Puszcza Zielonka,Pławno 2009 International Sculpture Symposium of Horice, 2008 International Art Camp, Lazar Castle. Lâzarea, Hargita, Romania, 2007 Dance of Life, Sproutbau collective project, Bremen, 2007

New Zealand:
2002-2017 Driftwood & Sand beach sculpture event, Hokitika, 2014 Sulphur Lake Sculpture Symposium Rotorua, 2010, 2012 Shapeshifter, Civic Gardens/The Dowse Gallery, Lower Hutt, 2011 Skin on Landscapes, Left Bank, Greymouth, 2011 Rongo residency, AboutFACE, Karamea, 2008/18 Te Kupenga International symposium, New Plymouth, 2004 Return to Sender, with Shar Young, Left Bank, ROAR, Greymouth,Wellington, 2003 Consume Conform Control, Carnegie Gallery, 2002 Belief, Salamander Gallery, Arts Centre, Christchurch, 2001 Drawn from Nature, Carnegie Building Hokitika

Art can be so many things and associate itself with any thinking, philosophical, scientific or political. It has the ability to lead thought and discussion, but like every aspect of human behaviour, it has the potential to distort and subvert. To be an artist is not to automatically be a saint.

It can be argued that Art has no place as an environmental saviour or peacemaker. The argument can also be made that the artistic value of an artwork is actually diminished by its principle thrust being bound in political or environmental statement. Of course there are no boundaries for artistic discourse and contemporary art will always walk in the uniform of the artists of that time.

Is it necessarily the artists to authorise the narrative and determination of art of their time or is it assigned retrospectively by history and/or media.

Personally, I dont feel the need to assert my concerns for the planet through my art. I am comfortable in my belief that by walking a peaceful path through the forest and sharing that space with nature though thoughtful and the non invasive art making, that together, nature and I can make art that will inspire a viewer to deeper insights.

I believe that Gnap is a great new step forward in environmental art and GNAP has a beat I really want to march to.

RoyStaabroystaab@gmail.comUnited States (US)United States (US)

I studied in art school to be a painter. It was a time to learn academic realistic painting and then abstraction was suggested as was experimentation and questioning existing art fashions. I discarded the brush and started to spray over leaves and organic materials and then over squares. I became fascinated by line and the movement of forms in major and minor structures. Water and paper surface became important and then immediacy and directness to create an image so I used plucked pigment on string. that lead to installation (19790. I moved from France to New York City and found the gallery system closed to my research. I went to nature and continued working in line but with natural materials and in water. The work was temporary and for me but to share it the work had to be photographed. Four years later I learned to bind it so it can last longer. Materials have to come from the site and I have to be culturally influenced from where I was. Geometry can be universal and does sensibilities. I have worked with reeds, grasses, saplings and stones. I have used techniques of weaving, laying, binding, drilling and pegging and walking. Some of my art is body performance art. I demand creativity and originality in art and that is what I practice.

Here are some of the things that I have recently done.

In 2017 I made a bamboo work that was drilled and pegged in the form of a grouping of rice paddies for the GUANDU INTERNATIONAL ARTS FESTIVAL, Taipei, Taiwan.

In 2016 I fabricated a five ray star out of wood and attached lights under it that was over the water -- for Gleam, Olbrich Botanical Gardens, Madison, Wisconsin.

I went to Art-Nature Symposium Gabrovtsi, Bulgaria and made a number of works with stones, sticks and weeds that were place or balanced in the river.

At the Villa Terrace Museum of Decorative Arts, Milwaukee, Wisconsin, I made a large woven reed work to fit the formal garden.

In 2015 participated in GNAP India where we had a short time at a site to use what is there and create things using sticks, stones and grasses.

I made a bamboo work in water that was drilled an pegged, with reflection became cubes for A Studio in the Woods, New Orleans.

In 2014 I made a work in the middle of the Bug River made with bundled reeds and grasses on saplings for the FIFTH Land Art Festival of Lublin, Poland.

We must be real, country and politics and religious practices can only change climate change and those issues. Art can only be a conduit of showing beauty with nature. Many piece of art in nature only carry a message with a title and that gives the idea to the people.

I follow the loaded words of sustainable, recycling in the practice of my art making but there is a lot of ignorance with the half educated and the unaware. As much as I hate words and titles that is the introduction to what people see. I thought that making something interesting and smart people would see it and then respect it and the nature around it. Perhaps with environmental education and examples some of the idea of art will trickle down to understanding and respect.

I work with nature and nature is temporary and transient; I like that idea. It is life and death, beauty and decay. There is magic in decay but not when it becomes blight.

A large visual statement can affect thinking. But the large is not the answer to working in nature but what fits, what s the right size and what material are used and how they are handled.

And where is the art situated, in an urban setting, in nature, in a park – these are platforms for presentation, but do they know what art is and how it should be made and featured. There has to be a wise organization and trust of the artist to create and the knowledge that nature can recover and also be in place and after no mark. The statement has been made.

The only answer is to create something interesting and original.

I want to make my art for the UK audience.

I never made art in that country.

But my travel must be paid.

I am not an emerging artist or a vanity artist.


My research in art is always connected with feelings. Not only emotions what kind ever, but feelings through ages that are basic human and have in generell influence on mankind and nature. Since there are humans they always changed natur, landscape at the places they came.
In GNAP Germany I made a videodocumentation especially with hands and nature. In GNAP Turkey one video is about the desire to overcome death and destruction by „repairing“ the leftovers, the shell of a turtle. A deep wish with no hope of ever reaching - it is nevertheless a real feeling of human beings.

Performance art since 1990, Natur residencies in China and Korea 2013 and 2015. Participation in forest art and „Vogelfrei“ in Germany (curator: Ute Ritschel) since over 15 years. Cross over stitchings is my work in fine arts with exhibitions since 2011 in several places. Last workshop and exhibition in Shenzhen, China in December 2017. Participation in GNAP Germany and Turkey in 2017
Please look at my website for further informations www.katharinasommer.de

It can open mind and heart for nature, recognizing the needs of protecting nature and get in contact to nature outside and inside. We human beings as part of nature (high developed mammals) often experience nature as something outside of ourself . We forget our being nature . I am interested in cultural myths about nature and humans. Here specially about the stories and fairytales about water and specially this river and specially english myths. I like your thought about meditating at the river ... it can open inner views of the site, the water etc. Pureness and cleaning process in real and symbolic way could be for instance themes to be searched on. Not only our visions of cleaning with water but cleaning the water through nature ... The interdependence of stones, earth, water, plants, animals and humans could be a main theme of my work with performance and other kind of technics.

I like the idea of GNAP and experienced it as a very good opportunity to be with art in nature, in a special way and in contact and exchange with other artists.
Personally I feel a strong attraction to water and it would give me time and space to experience more with it. And it is a special water, the quiet, the river , the cultivated or rough land around it. It is not the seaside (which I also love). I would like to research also the english myths of the place, of water etc to see if I would integrate them into my work, performance or others. Perhaps there are also old photos around ... coming from the myths, old, past to the here and now. Perhaps I always seek the moment in all times when there is a kind of short gap: time stands still.

LeliHochlelihoch@gmail.comSouth AfricaGermany

In my art I deal with the idea of Cosmos as a complete, orderly, harmonious system versus Chaos as the inherent unpredictability in the behavior of a complex system. I try to highlight this relationship both as an artistic endeavor and as a commentary on the disturbed interaction between Homo Sapiens and Planet Earth
I mainly create ephemeral site-specific works but also work on conceptual projects for longer periods. I employ the lightest possible footprint using materials found on site.
One of my longer projects focused on leaves, fresh or dried, the beauty and the versatility of them, how intensely they are connected to life rhythms, the variations in size, shape, colour and texture and the softness of them in temperate climates as opposed to the hardiness of leaves in semi-desert and arid climates.
Another one of my projects is to emphasize the tension that existed between the South African First People, the San (bushmen), and the Europeans, which resulted in the extinction of the San, their culture and language.
I use as source the original transcript of /xam by the 19th century linguist Lucy Lloyd (archives UCT) and rub pure earth and ashes on top, which I collected in the areas of South Africa where the San previously lived. For me it’s a very personal way of honouring their legacy and ‘bury’ their culture and language in their earth.

I was born in Germany into a family of artists, writers and musicians.
I studied Sociology, Psychology and Educational Sciences, and hold a MA in Educational Sciences.
Working in the outdoor tourism industry led to living an adventurous life in intimate connection with nature and, closing the circle of my roots, initiated me into working as a land or nature artist.
Since 2003 I live in Stanford, South Africa working as an artist, curator and yoga teacher.

Anthropocene is the keyword here, which has been discussed and defined from all possible sides including anthropogenic climate change, so I shan’t repeat the obvious.
Since 2007 I offer land art workshops here in South Africa. What I learned was how incredibly disconnected people are from nature. My workshops are called “land art workshops” however, a better name would be “re-connecting-human-beings-with-nature-through-touch-workshops”. Every time I find it astonishing how intense participants experience a reconnection with nature through touching (the senses in general!) and reorganizing what they find around them. There is then an immediate understanding that whatever homo sapiens touches in nature is irreversibly changed forever. Any intervention of humans in nature changes/destroys what it touches – nature.
Which of course brings up the next question: Does nature still exist? The general answer of scientist/artists and other intellectual folks is: No.
I am in the privileged position to curate a project on a private nature reserve in the semi-desert Tankwa Karoo in South Africa. “Tankwa Artscape”, a place for artists to create installations in an environment where there are still parts, which have been untouched by humans. Of course we will place the installations in those parts that have been previously touched! I mention it because I find it astounding that those truly natural places still exist and that one can raise awareness on these treasures through creating art around them. (Istvan Eross, Eung Woo Ri, in case you are reading this and are interested in contributing, please let me know and I send info).

I attended GNAP Germany and Hungary in 2017 and for the first time ever I felt seen and acknowledged in my art as I create predominantly ephemeral nature art informed directly by the site itself and created with what is there and nothing else.
This whole explanation of land art starting as a de-commodification of art never satisfied me (and was never true anyhow) and as much as I like dry-walling à la Goldsworthy I always rather wanted to rake the leaves or sand inside the walls and watch the wind changing the patterns. And as much as I like Nils Udo’s subtle play with colours in nature (oranges, raspberry syrup on snow) I rather look what colours I find around me and which colours make sense in a specific place. (Please do not misunderstand this as criticism of two artists I admire!)
Observing and particularly listening to Eung-Woo Ri both in Hungary and Germany and also observing Ko Hyunhie and Soonim Kim in Germany felt like such a confirmation of what I was and am trying to achieve artistically that I almost cried. Finally I found the place where I belong, I was home.
So if GNAP UK 2018 will be about ephemeral nature art I definitely would love to be there!
More info on my work here www.lelihoch.com

AndyChristianandy@andychristian.co.ukUnited Kingdom (UK)United Kingdom (UK)

I work in conventional media as a visual artist drawing on paper and also as a writer. Since the 1970’s l have worked in the landscape producing work out in the open air. The work is then brought back and worked on in the studio or in my office. Sometimes l write outside and sometimes l paint and draw there. I do not try to portray exactly what is in front of me but l am more interested in conveying the mood, the weather, the state of the river, the season etc. Because l largely sit quietly l am often visited by animals, curious and unafraid because of my stillness. Otters, weasels, stoats, various kinds of deer, squirrels, mice , snakes, a huge variety of birds, insects, snails and voles all appear and go on their ways. If you stay in the same place for long enough ‘everything’ goes by. The work is often done in notebooks, writing and drawing together or travel notebooks. I guess they are a bit like diaries. They are ephemeral in that l have never exhibited them nor was that ever my intention.They merely say this is my world and it behaves this way.

Goldsmiths’ College 1972-76
Painting in Cumbria 1976-87
Exhibited LYC Museum and Art Gallery 1978 and 1983; one person shows
1980-87 teaching Cumbria College of Art and Design
1987-96 Director, Devon Guild of Craftsmen
1994 one man exhibition at Dartington ‘Forty Works’.
1996-2008 Managing Director, Dartington Cider press Centre
2008 to present, writing, painting and working as an arts advisor.

It can bring people very close to understanding the imperative nature of our cooperation with nature. We can learn to live within our means and not to take more than we need to live modestly.

I enjoy sharing what l do. I am writing more about the times l have spent close to ‘nature’ and the experiences that l have valued. If l can enthuse anyone else to join me in any way then that is always a delight. On such occasions l find l learn as much as l give out.

Alastair Nobleanoble1954@gmail.comUnited States (US)United Kingdom (UK)

My practice is greatly informed by poetry and literature that addresses the ever-changing terrains of land and sea. As a result I transpose excerpts from texts into drawings and structures within the landscape. My work has manifested itself in a series of environmental mapping projects under the heading Mapping Arcadia.

Selected environmental project highlights:

"Alphabet", a land art installation inspired by the poetry of Inge Christensen reflects on themes related to the natural environment. The poetic text is engraved into a bench, while the second line forms the words of a spiral of willow words which read: Grenene findes, vinden der Lofter dem findes, og grenenes eneste tegning ( branches exist, wind lifting them exists, and the lone drawing made by the branches) The Gas Museum, Hobro Denmark. Image #1

At Marsh-Billings-Rockefeller National Historic Park, Vermont USA , I sited “waymarker” sculptures. These were incised logs with quotes from writers, each letter embedded with growing moss. The poetic phrases were directional but to activate the viewer’s relationship with the environment, such as “Off the Earth’s long contour the river–veins” by S. Heaney. Image #2

“Mapping Arcadia: Isle Martin and Topography of Place"; I planted 200 rowan trees on a plot 35 square meters; their placement traced out the topographical contours of this small island in NW Scotland. This continues to live as a growing sculpture of rowan trees in the shape of the island. Grants from The Gulbenkian Foundation and Scottish Natural Heritage supported the project. Image #3

The arts are powerful mechanism that can provide a forum to reveal environmental issues in a poetic way without being didactic.
For centuries poetry, literature and the visual arts have celebrated the land, sea and the sky.
In particular environmental art draws attention to features of the landscape, ecological issues and places unknown.
Art can conjure up stories and mythologies of the past that memorialize the environmental value of particular sites to the community.

I have applied to GNAP-UK to generate an approach to place, real or fantastical from which to create a poetic response to the landscape by mapping the magical terrain of Dartlington. I am looking forward to the opportunity offered by this institution to enter into a ongoing dialogue with other participates regarding sustainable materials and other environmental issues. In the past, these kinds of encounters have led to long term friendships and enrich my working methods.

KathyBrucekathybruce10@gmail.comUnited States (US)United States (US)

My projects result from a direct response to the natural environment and from the process of utilizing materials found in the surrounding landscape; therefore the opportunity to apply my process to distinctly different geographic areas is central to my creative process. For this reason, I am most interested in attending the Global Nomadic Art Project at the Dartlington estate which will enable me to explore the natural environment in the surrounding landscape and consequently, to develop a site-specific response to it. The opportunity to spend quiet time researching and observing the flora and fauna and natural resources of the region and to spend my leisure time within a community of like-minded ecologists and researchers will enhance the depth and richness of my work.

My practice is a response to the natural environment that reflects on particular sites in the context of poetry, literature and mythology. The selection of natural organic materials I utilize corresponds to the climate, eco-system, plant and animal life in the environment that calls to mind an association between women and nature.

My working process is based on extensive research in preparation for each project through site visits, photographic documentation, and drawing. Each structure emerges from a response to the site and is built to accommodate the particular environment. Construction and installation takes place in situ using low impact hand tools and wrapping methods to attach the structures to live plant material or to add the material directly to the sculpture.


Kingsbrae Gardens, St. Andrews, Canada 2017
Wildflower Sculpture Park, South Mountain Conservancy & Essex County Parks Department, N.J. USA 2017
Land-Shape, Land Art Northern Denmark 2016
The Guandu Nature Park, Taiwan 2015
The Marble House Project, Dorset, Vermont 2015
The Leonard Covello Center, NYC USA 2015
Cheng-Long International Environmental Art Project, Taiwan 2104
La Napoule Foundation, Mandelieu, France 2014
PS 126 Manhattan Academy of Technology, NYC 2014
Centro Cultural Peruano-Norteamericano Puno Peru 2012
World Earth Day US Embassy, Colegio Juan Velasco, Pachacamac, Peru 2012
Carnegie Hall Park, Lewisburg, WV USA 2012
The McColl Center for Visual Art, Charlotte, NC USA 2011
Stone Quarry Hill Art Park, Cazenovia, NY USA 2010
I-Park Foundation, East Haddam, CT USA 2012,2010,2009
Stone Quarry Hill Art Park Cazenovia, NY USA 2009
Visual Arts Sculpture Garden, New Jersey City University, NJ USA 2008
The Nature Conservancy/Andy Warhol Preserve, Montauk. Long Island NY USA 2008
Green Sustainable Public Art installation, The Commons Ithaca, NY USA 2008
The LAND/An Artsite, Albuquerque, NM USA 2007

Inviting the public to engage with environmental installations calls attention to the necessity to respect and preserve a green and sustainable global environment. I sincerely believe that through the universal language of art, people and communities can be brought together in thought and action by incorporating environmental values into their everyday experiences.

I have been a member of the Korean Nature Artists’ Association-YATOO for several years and have had my work represented in the 2015 pre-GNAB and also featured in the Water Video exhibition at the 2016 GNAB. Additionally, as a member of ANIN I have followed CCANW (its artists, projects and environmental agenda) with great interest since its recent inception.

I have not had the opportunity to interact with any of the YATOO or CCANW members up till now, therefore I see this as a way to connect with them by joining the GNAP Ephemeral River Project while producing my own work in response to the Dartlington landscape--a geography very different from any that I have worked in thus far.


Art and Nature, Art and Science .These two are my ideas of artistic activities.

With regard to art and nature, entering nature, abandoning prejudice, taking advantage of the specificity of the place, using light, wind, sound, smoke, stone, branch and the like as a material, Avoid using artificial processing and machinery as much as possible, and search for intervention points of art and nature. By the elements of nature with inspiration of nature , It will be created the artwork that balances between nature and art.

Art and science are different areas, but it is a concept of a wide range. You can expect to widen the inspiration of creation through collaboration with science. For example, in the history art research activities such as Plato, Pythagoras, Goethe, Leonardo da Vinci are involved in science. The common foundation of art and science is the creativity of human beings, and pursuing new discoveries.

Through these two ideas, we will work to create artistic works, move people's mind and bring great impression.

I am an independent curator and visual artist. I am an instructor in the Contemporary Art department at China Guangzhou Academy of Fine Arts University. I have curated a contemporary art exhibition between China and Japan every year since 2012, fostering relationships between the two countries. I have participated in art residency projects in countries around the world, including United Saates,Hungary, Romania, Bulgaria, India, Korea, China and Japan. My artwork explores the intersections between art and nature and art and science. I hold a master's degree fromJapan Saitama University, and is a graduate of China Guangzhou Academy of Fine Arts University, and Tokyo Academy of Fine Arts University.

Art can not transform the environment like building a city, nor can it change its ecology like a building dam. It is neither possible nor necessary for art to make any changes to the climate change of nature.
Art is an intervention in nature and society. All along, artists are very sensitive to social and natural observation capabilities, exceeding the capabilities of the average person.
use the way of artistic expression raised a keen question to various social phenomena and the natural environment. Remind people to be close to nature, contact with nature, observe the society, and take practical actions to protect nature, protect the ecological balance and change some unreasonable phenomena in society. Mainly through the text, video, photos, sounds, acts and other means to render.
So, how art to intervene in nature and society? Let us remember childhood memories. We do not spend much time at home because there are no ready-made plastic or electronic toys and computer games at that time. We will run to the outdoors with the children of our neighbors and make great toys of earth, sand, stones and branches. We also build secret houses in the bamboo groves, build tunnels in the earth and build castle with stones. Like Robinson, even if take you to a deserted deserted desert island, even if there is only stone and soil, use the local materials that aroud with you, to experience, to practice.
Art is a human intervention in nature environment and ecology. This way of intervention is presented in the form of art.

After graduating from college, I have been to London for a short period of study abroad. I am impressed with beautiful hills, clear rivers, lush forests, birds singing and the beautiful landscape like oil painting. I have been looking for a chance to return to that fairy tale world.

Nature is the stage of creation, and there is boundless possibilities in both space and material. So far I participated in the international program 2017 GNAP in Eastern Europe, and residecy projects in the United States (i-Park), India, China, Japan, Hungary, Romania, Bulgaria and other countries. Through these activities, I got a lot of experience and ideas, and I would like to further improve my thinking and creation of nature and art on the basis of these experiences. Presenting in the form of natural scenes, installations, texts, visuals, photographs and acts, the author creates more works in the vast nature based on the understanding of the natural, historical, cultural and customs of each country. To enrich the research results to expand the new world.

I would be very honored, if I could participate in GNAP in the UK . This precious experrience will stay forever.

 I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/xiaoli-tsukuba-2015-01.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/DSC_8453.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/xiaoli06.jpg
JoMortimerjo.mortimer25@hotmail.co.ukUnited Kingdom (UK)United Kingdom (UK)

Paint/draw mostly in acrylic inks.
Also specialise in artworks involving the general public, 'People Participation' artworks, 18 so far, 4 at Saatchi Gallery, London and 4 at Craft Centre, Dartington.
I am initiator of #artbombing, I create artworks on beach pebbles, leave them on beaches for people to find, also create miniature artworks on mount board,leave them in cities for people to find, people tweet me if they find one.
My husband is a published poet, and I have done several projects linking poetry and art with both him and other performance poets.
The project I would like to do for the 'Ephemeral River: Global Nomadic Art Project' would involve aspects of many of the above concepts. I want to take leaves, twigs & branches from the surroundings. Create artworks on these using acrylic inks and have my husband write micropoems ( please see his application) on them, float them down the river - some of them would be found by the general public thus sharing art with people and engaging them in the experience.
Also during the working period, want to create a People Participation artwork involving everyone on the project and also anyone else in the Dartington surrounds. This would involve individuals printing with inks a coloured rectangle and then using an artist pen to draw (or write) onto the shape printed by another person ( as per some of the participation works I have done at the Saatchi) on a particular theme linked to the project.

Studied Plymouth College of Art & Design. BSc & BEd hons degrees.
2014: artist in residence Knightshayes N.Trust. 2000 Trees Festival resident artist. Exhibition Boston Teaparty, Exeter. Tiverton town xmas card ( 2014 - 2017)
2015: chosen artist Exeter Pound. Exhibition A La Ronde, Exmouth. Devon Open Studios 2015. Resident artist The Studio, Dartington Craft Centre. People Participation artworks Dartington & Tiverton.
2016: “Fault Line” Exhibition Tour ( poetry & art) - 5 venues April - Jan 2017. Taunton Live People Participation Artwork. Devon Open Studios 2016.
“Bee” artwork chosen by Friends of the Earth & Artgallery for their exhibition in London.
Winner of Ilfracombe ‘Steampunk’ art exhibition. "All Aboard" art trail, Tiverton Museum. x2 Exhibitions in Taunton, Somerset of local works.
Guest artist, Saatchi Gallery, London - x2 People Participation artworks.
2017: Organiser & participant - "Trios 2017" exhibition (5 photographers, 6 poets, 6 artists) Guest artist Saatchi Gallery, London.
GWR Railway posters.
Artist, 'Spacex / Juneau project.
People Participation works Dartington, Tiverton, Dartmoor Folk Festival, Taunton & Saatchi London.
Guest speaker - Halberton WI, Withleigh WI. Devon Open Studios 2017.
2018: GWR commissions train stations works. Tiverton Museum artist in residence. x2 book illustrations. Tiverton Art Society, Critique.

I have been involved in combining the arts and science for most of my life. I studied a degree in Biology, and yet also studied Art.
I have had careers in both disciplines and have found that they are totally complimentary.
The arts ( in their widest sense, and as an artist I am particularly linked to poetry via my husband) can engage a much wider audience and capture the minds of people who may not otherwise engage with science, and vice versa. This organically spawns a greater understanding and empathy with environment, ecology and the issues of climate change. It plants the seeds of caring and concern with a deeper appreciation of the beauty of the natural world.

My development as an artist feels like a journey, one that my husband as a poet is also following. We both believe that our work is complimentary and it has been growing in depth and quality.
One of my most important drives is to engage with the general public and to give opportunities for them to participate in art ( hence the development of my People Participation artworks). Encouraging everyone to appreciate and more importantly get joy from doing some form of art is very important to me.
GNAP-UK would enable me to undertake a project that would further develop my being able to create artistic interaction with people, especially those who would not normally think to do so.
Leaving artworks on pebbles on beaches and card in cities has been a wonderful thing to do. My husband has also left micropoems on pebbles on beaches to open up poetry to a wider audience. We feel we are sowing seeds.
Artworks on leaves, twigs & branches which float away on the water to possibly find a home or prompt a response from people ( along with micropoems to do the same) would be a marvellous next step in the work we have been doing.
Dartington is a very special place for me, and has been since the 1980's. Recently I have become increasingly involved having been resident artist at the Craft centre there. My husband and I have also regularly spent time in early spring at the hotel as a form of artistic retreat, it is a beautiful and inspirational place.
The nature of the GNAP-UK concept and its work is also very inspirational.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/artbomb-examples.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/PP-examples.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2017.jpg

Born in Neyshabur, Iran, 1984
Faculty Member, Samen Institute of Higher Education, Neyshabur, Iran.
2013: MA - Art Research, Art and Architecture Faculty, Islamic Azad University, Central Branch, Tehran, Iran.
2008: BA - Graphics, Dr. Shariati University, Tehran, Iran.

Asiyeh Mohamadian was born on 1984. She has received an MA in Art Research from Art and Architecture Faculty of Tehran Islamic Azad University. She is a Faculty Member of Samen University in Neyshabur. She is a member of yatooi site. Asiyeh has begun with working environmental art since 2008, so Most of her Works are new media, especially environmental art. She has dealt with believing, considering and discovering the Nature, and sometimes destroying them intentionally. There are indication of dynamism and flowing of life in her works, cause of instability and temporarily in her artworks. In addition to forms in Nature and using Natural elements, sometimes ideas and concepts has been more important than aesthetic of works. She has participated in so many Environmental Art festivals and exhibitions both at home and internationally.

2017- Executive Secretary of the Recycling Art Symposium in Neyshabur Residency
2016- Participated in international "Eco avant-garde" exhibition, Hungary Kunsthalle museum
2016- Participated in international "Rite of Passage" exhibition, Oakland
2015- Participated in international "Living Space" exhibition, Transylvanian Art Center, Romania
2015- Participated in international "between Heaven & Earth" exhibition, South Korea
2015- Holding individual exhibition "Environmental art" in Neyshabur art university gallery
2014- Participated in Iran and South Korea exhibition, Academy of the Arts, Saba/Tehran
2013- Executive of environmental art exhibition in Iranian Artists Forum/Tehran
2012- Holding individual exhibition "New art" in Khayyam's tomb, Neyshabur
2012- Participated in group exhibition of "Recycle Art "in Imam Ali Art Museum
2011- Member of research committee in the first environmental art festival in Tehran
2011- Participated in the first group exhibition of environmental art, Iranian Artists Forum/Tehran
2010- Visiting artist in the first environmental art festival, Kerman

Art can make people think about environmental events and crisis and by informing people it can prevent environmental crisis in which all people in the world are involved. Although it is true that these problems such as global warming are due to various factors, I personally believe that we humans have played a negative role in this event. Most people act terribly in destroying the environment and the place where they live and this is harmful for both. Environmental categories causes that people experience the nature differently. Education and awareness by artists and creating Environmental art in and respond can be a guide to pay more attention to the Environment and presenting it.

I am interesting in taking part in Gnap UK because I am able to create artistic works in a different geographical area. In addition, I can communicate with foreign artists and considering the fact that my thesis is about How to give meaning to Environmental art works with cultural semiology, attention to culture and creating art with various elements and materials in and region attracts me greatly. I would be happy to be able to familiarize artists with my art and my views towards the Environment.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/DSC_0732.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/DSC_0888.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_2420.jpg
christinebasilbasilchrissy@yahoo.co.ukUnited Kingdom (UK)United Kingdom (UK)

My surroundings inform my work.I try to be surrounded by the beauty of nature, all element are constantly remodeled by the fugitive light as it is filtered through the atmosphere, all things interact, a tree takes the form of the wind direction a flower reaches and turns to the sun, these are the places where humans perceive grace. This is what moves me.

I am at the start of my art career

As more of the natural world is destroyed under a heap of petrochemical effluent and we lose what is held, by most people as, most sweet about this planet , we can visualize the world immediately preceding total environmental collapse. This is a world without bird song, without the shimmering light of summer and the buzzing of insects. Its is no longer a world where youth gazes is wonder at the clouds drifting by infused with the excitement for their future. It's a dark world full of despair and pessimism. As an artist I celebrate what may be the last glimpses of our fantastic planet as it has been for millions of years. This type of art is, I believe, more important now than at any other time in history.

As a primarily plein air artist I would relish the opportunity to work outside in this beautiful environment with among other artists who share my concerns and sensibilities.

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StrijdomVan Der Merweinfo@strijdom.comSouth AfricaSouth Africa

As a land artist he generally uses the materials as found on a chosen site. These sculptural forms take shape in relation to the landscape. It is a process of working with the natural environment/world by using what is found on site and then shaping these elements into geometrical forms until it gradually integrates with the natural environment again. Depending on the purpose of the exhibition or the commission the artist will also use materials that is brought in to the landscape in order the make a statement about our relationship with the land, in many of these works the installation is not permanent but only functional for the duration of a certain event.

1. Global Nomadic Art Project (GNAB) 2015-2016. South Korea
2. Co-Organiser of the Global Nomadic Art Project South Africa
3. Co-Curator with Clive Adams, Istvan Eross of The Exhibition of 30 Nature Artists in the World 2015. South Korea
4 Participating speaker at the International Nature Art Seminar. South Korea
5 Founding member of Site Specific South Africa with Anni Snyman and Heather Greig-
6. land Art installation at The Smithsonian institute Washington DC. USA
7. Recipient of the Jackson Pollock-Krasner Foundation Grant
8. Medal of Honor from the South African Academy of Arts and Science.
9. Nominated Finalist for the International Award for Public Art (IAPA) The IAPA was established to increase visibility for public art internationally and is administered by the Institute for Public Art (based in Hong Kong) in collaboration with Forecast Public Art (USA) and Shanghai University (China).
10. Nominated for the Daimler Chrysler award for sculpture in Public Spaces 2008
11. Member of the curatorial panel for World Design Capital Cape Town 2014.
12. Exhibitions and commissions on invitation were done in South Korea, Turkey, Belgium, France, Sweden, Lithuania, Japan, USA, Australia, Germany, Kenya, England the Netherlands, USA, Italy, Finland, Malta, Belgium and Norway.

Through out history art and artist have always be the frontrunners in making people aware of the beauty, justice, un-justice, discrimination and the well being of life in general. Through the arts they have raise there voices in a subtle but urgent manner.
From Picasso's 'Guernica' to John Lennon's 'Imagine'. The Unite Nations have already organised Climate change exhibitions that travel the world. Researchers can write books and news paper articles as much as the want BUT the visual impact of a image that depicts climate change or global warming will much much longer stay in the mind of the viewer. We have become a visual learning generation. Visual artist and other artists are the main voices to bring across these messages.

As a artist working in nature i have always been drawn to the silent and spiritual places of meditation. Nature is the one place where you can find the inner beauty of humanity again the beauty of being one with nature the beauty of realising we are nature. i have been the co-organiser of the GNAP in South Africa, and experience how artist have reacted to new and unknown landscapes. My application to GNAP UK is to experience how i will react creatively to a new and unknown landscape and material. How nature will guide me to think, do, and be creative. To be in conversation with other like minded artist and to share the knowledge and creative spirit that will be brought to GNAP UK 2018.fac

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The interaction between humans and the connection human beings with nature have always been the focuses of my works. Simplicity, calmness along with observing the excited surroundings with kindness and humor are the key components of my style. My works have always reflected the constant conversation with the immediate surroundings, never put up objection to other elements and humans within the same environment. On the contrary, they oftentimes become part of the works and their spontaneous behaviors from time to time bring inspiration and good surprises to the works. After my touching the nature art first time in Korea with Yatoo, this field have been inspiring my and her art works deeply.

My installation works have been part of many contemporary art exhibits in Mainland China, Hong Kong, Taiwan etc. My media work has entered the Washington Project for the Arts 2011 Experimental Media Series. I have also been invited to join the The Global Nomadic Art Project-Turkey2017,Korea I 2014 and II 2015, the Nishinomia Funasaka Biennale 2012 in Japan and Kemijarvi Wood Sculpting Symposium 2011 in Finland.
After studying in the States, I returned to Shenzhen and immersed myself in the public art field. I have participated and completed many large-scale public art projects commissioned by government, and studied public art system.
I current focus is on the Shenzhen local area. I am working with local curators, artists and professionals in various fields, to explore the potential of public art’s development in the area. We are running an art space, Handshake 302, in the Baishizhou urban village for inviting people from various backgrounds to enjoy arts and communication.

The“environment” does not need to be “protected” by human beings, but rather we need to understand our dependence on the earth because we can only survive in very limited conditions; we are at risk, not the planet. The balance is easily broken and human beings might not adapt to this new situation. I think what art can do in our time is to reveal that the "environment" problem is not simply the job of the government and particular organizations, but is also about learning how to live differently because we are the fragile ones in need of protection.

Cooperating with experts from other fields and learning from people is one of the true pleasures in my art. I have collaborated with anthropologists, subway engineers and botanists on public art projects, as well as worked to make sensative installations that invite participation without causing harm. I am looking forward to learning more about water through onsite collaboration with other artists and experts. I believe that through this collaboration we will learn from the water what kinds of human beings we need to become. This is especially important because our bodies are 80% water.

 I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/810-Kaiqin-01-1-Sasali.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/自然艺术-2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/公共艺术-3.jpg
Dr MaiadaAboudsous_mjrdam@yahoo.comUnited Kingdom (UK)Israel

I am not even a body – I am a voice. The loud voice of the bell I once placed between my legs, many lives ago, during my first performance ever, at Haifa University. The voice of a phallus controlled by the movement of my gentle woman’s limbs. In spite of what tradition dictates, I survive. My vagina is no weaker than a phallus. I am the uncomfortable, disturbing ringing that you cannot hide from or ignore. You can lock a woman in a room, you can place a citizen under arrest, you can trap a body behind bars; but sound is unstoppable, freely carried by the air. No matter how hard life was, or might become, this was the only definition I would ever accept: a voice.

I chose performance as my means of challenging the patriarchy through the language of the body, by exploring gender and sexuality embedded in the female body, and the absent female sexual body that my culture has labeled as evil. I wanted and still want to inscribe my body in order to speak, using this art as a stage across which I could express my frustration and anger, and as a platform for my rebellion against the traditional conceptions of the image of ‘woman’ in the Arab world.

Maiada Aboud's work deals with ways that social and religious structures interconnect and influence the individual. Using endurance art, Maiada's interest in social and religious issues draws on a unique and personal perspective. Born in Palestine (Christian Arab Israeli), graduated from Haifa University, and received her education in the UK: where she completed her Masters at Coventry University, and her PhD at Sheffield Hallam University.

Her study attempts to connect the social cultural analysis to the individual’s experience by way of using performance and relating it to culture and social life. The intention is to investigate cultural identity using endurance art with the objectives to establish if these performances are linked to collective identities.

my work in highly connected to nature and the outdoors. its usually inviting and accommodating to people to be in the installation during the performance itself.

I have applied for GNAP UK because its an opportunity to broaden my contacts and exhibit with wider spectrum of viewers who will be able to see my work and take part in the debate about culture, nature , politics and religion in an unconventional method.

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Sarawut Chutiwongpetiutopia1998@gmail.comThailandThailand

I would like to analyse "Strategies and Aesthetic Practice" in the form of fostering an artistic exploration, the immersive artistic experience and working across multi-disciplinary expression as well as the construction and deconstruction of identity and icons from Dartington Geology context will be an integral part of the academic discourse within the framework “Past, Present and Future” and the tension “The Fight Against Climate Change” in the era of global governance focusing on their most recent and debated domain, I would like to integrate a broad overview of an emerging area of interdisciplinary research that reframes contemporary environmental challenges using approaches from philosophy, literature, language, history, science, anthropology, cultural studies and the arts.

Sarawut Chutiwongpeti has contributed to the development of the media arts through his artistic and research practices at noted international institutions in Austria, Brazil,Canada, China, Croatia, Denmark, Egypt, Finland, France, Germany, Hong Kong,Hungary, Italy, Japan, Malaysia, Nepal, Norway, Russia, Singapore, Slovakia, Slovenia, South Korea, Spain, Sri Lanka, Sweden, Switzerland, Taiwan, Ukraine, United Kingdom and United States of America. Born in 1970, he graduated in 1996 from the Department of Fine and Applied Arts, Chulalongkorn University and Master of Arts in Fine Arts with Major Art in Public Spheres (MAPS), Lucerne University of Applied Sciences and Arts, Switzerland in 2016. He works as a full time contemporary artist since from 1999.

My goal is to investigate the expressive possibilities of conceptual visual language
and to explore the political potential of self-preservation strategies as part of both
Contemporary Global Structure, Environment and the Technological Civilization in which we live
today. I am especially interested in finding out how contemporary art can enhance
the distribution of information and foster a profound universality in the human nature
and cross-cultural artistic and critical collaboration. The meaning of the very
possibility to enrich contemporary art may also come into question. In my inquiry, I
am guided by the following set of questions: Are sensations-reactions to
contemporary art still significant today? In what way and how can contemporary art
theory and practice address and help solve today’s global problems? And finally,
Can contemporary conceptual art disclose the corrupted social values in mega
polices and create a bridge between the present and the future generations?.

I will undertake genuine 'real-life' research, an opportunity to discover new source material and developed my project.

To participant with “GNAP-UK” would not be only enable me to realize my wishes but also learn from and see work of the talented interdisciplinary and international scholars and specialists in the auxiliary producers.

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Mark and Rebecca Fordtcd3sign@yahoo.co.ukUnited Kingdom (UK)United Kingdom (UK)

Mark and Rebecca’s woven artworks directly engage with the environment as ephemeral sculptures based on seeds, plant forms and ambiguous shapes, exploring possibility and potential. They both have a passionate interest in the archaeology, geography and mystery of the natural world and draw on ancient traditions and techniques of willow craft and woodland management. The local coppice community is extremely important to them. Their Sculptures are made from coppiced willow, sweet chestnut and hazel. These woven sculptures undulate and flow in purely organic forms. Strong yet intricate, the rods bend and twist in a myriad of patterns that cast web-like shadows against the ground. There is a feeling of enclosure and safeness within these constructed spaces, yet they are light and airy, the sky can still be seen beyond. The pods and seed forms have a universal quality, the swirls could at any time be entangled trees, or the veins that course through our bodies. This approach essentially reminds us all of our innate connection to the natural world. Enjoying the physical demands of manipulating the material, their work reflects a renewed interest in returning to a slower pace of life, to the art of making something that takes time and effort. The Sculptures final forms take time to evolve, the nature of the material dictating in part, the direction and shape. As the willow criss-crosses and interweaves, it creates fluid lines, drawings on a grand scale, a flowing story that stimulates and exhilarates the senses.

Mark has been exhibiting within the UK and Europe since 1992; starting art school as a painter, three years later graduating weaving with found and grown natural materials. In 2001 he studied green architecture and sustainable design at Twickenham College London which led to working on straw bale buildings, green roof sheds and waterways restoration projects. As a kayak instructor Mark has paddled the river Dart Loop many times, and now teaches coracle building for those who desire to build a small boat in a day and take to the water.
Rebecca, an English and creative writing graduate and qualified secondary school teacher, married Mark in 2004 and formed their artistic partnership, Two Circles Design. Their partnership creates woven environments for both public and private sectors. These surreal installations and ambiguous sculptures encompass a wide range of traditional materials, skills and practices.
They have work at Burgh House, Hampstead, London, Farleys Farm House, (the home of the surrealists) in East Sussex, Humuspark Italy, Land Art Park2 Kozlowka in Poland and created sculpture projects with Slindon College, Oakwood School and University College London Archaeology department. They have been invited to attend a land art festival in Lithuania in August 2018.

Environmental art can empower and transform the way we view the world and questions our role within it. For example In 2017 we curated a sculpture project involving 400 students aged 10 - 13 years in Romsey, Hampshire, UK, in collaboration with Southampton University Microscopy unit which explored the microbial world and the extent of plastic pollution. The intention of the installation was threefold; to engage students creatively, work in collaboration with the science departments and to empower young people as a force for change. It was an opportunity for questions, raising awareness and creating a space in which the young people could explore possible solutions. The project took place over six months and involved workshops, assemblies and small group visits to the microscopy unit. We also did a day mandala workshop where families could bring there own natural materials and created a giant piece in the Romsey Abbey grounds.
When we visit schools as part of our practice, we are able to inspire and inform students about the use of willow as opposed to plastics, also we use permaculture and it's also about habitat. What we can provide the students is an engaging way to talk about habitat, the local ecology and the environment.

Our motivation comes from a commitment to engage with the world and developing, empowering and engaging people in an enquiry as to what is possible. We live in the South Downs National Park, UK and are aware of the tensions that occur when demands of urban living collide and conflict with wildlife habitats. It is our commitment as artists to create a generative dialogue between these opposing demands.
In our practice we have created projects in association with environmental authorities accountable for our local river, the river Arun.

GNAP is an extraordinary opportunity for us to develop and challenge our practice as artists inside the Global Nomadic Art Project philosophy and create artworks along side other artists that provokes questions about human activity and the value of our wild spaces.
Whilst traversing this complicated labyrinth of issues, our challenge will be to connect the experiential relationship between others to others. In moving from sculpture to sculpture, new routes although temporary will be created connecting new places to be, new thoughts possible.

As organisers of The Arundel Gallery Trail (an arts festival for over 200 artists held annually) we would like to curate an international environmental art event here in National Park where we live by 2025.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Time-Passing-2017-Kozlowka-Poland.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Hygroscence-2016-Humuspark-Italy.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/River-pod-project-2014-River-Arun-Arundel-Festival-UK.jpg
BasiaIrlandbasia@unm.eduUnited States (US)United States (US)

Rivers are a constant reminder that life is a progression from this to that, that present is quickly past, and making the most of now is of paramount importance.
Bernard Barber

Irland takes the journey herself, swimming upstream against the currents of a society not yet convinced that our comforts are worth sacrificing for our resources.
Lucy Lippard

For forty years my art has focused exclusively on international water issues, especially rivers, waterborne diseases, and water scarcity. I work with scholars from diverse disciplines building rainwater harvesting systems; connecting communities and fostering dialogue along the entire length of rivers; filming and producing water documentaries; and creating waterborne disease projects around the world, in Egypt, Ethiopia, Canada, India, and Nepal. “Ice Receding/Books Reseeding” is a global series of hand-carved ice books embedded with native riparian seeds that are launched into rivers with local community members to address issues of stream health. I enjoy collaborating with groups of diverse people of all ages to physically get them participating in river projects, and to invest time in learning, celebrating, and revering their local riparian zones.

Fulbright Scholar, Basia Irland, is an author, poet, sculptor, installation artist, and activist who creates international water projects, featured in two books, “Water Library” (University of New Mexico Press, 2007) and “Reading the River: The Ecological Activist Art of Basia Irland” (Museum De Domijnen, 2017). Irland is Professor Emerita, University of New Mexico, where she founded the Art and Ecology Program. She writes a blog for National Geographic about global rivers written in the first person from the perspective of the water. Irland lectures and exhibits extensively and was the only artist invited to participate in the Foundation for the Future’s International World Water Crisis Forum in Seattle, Washington, 2010. In November 2015 – February 2016, she had a major retrospective exhibition, “Reading the River,” at the Museum De Domijnen, The Netherlands. Essays about her work have been included in over 35 publications. Relevant to this application, her art appeared in the 2016 Geumgang Nature Art Biennale catalogue, “Breathing Art.” Her extensive website is found at basiairland.com.


All voices should be read as the river’s mutterings.
Alice Oswald, Dart

I am applying because I LOVE the River Dart and would deeply welcome the opportunity to work with her again.
There are two main ideas I would like to pursue while there, but am always open to the serendipidy of whatever comes up within the group who will be at Dartington.
ICE RECEDING/ BOOKS RESEEDING emphasizes the necessity of collective effort, scientific knowledge, and poetic intervention to deal with the complex issues of climate disruption and watershed restoration through the release of seed-laden ephemeral ice sculptures into rivers. Riparian plants help sequester carbon, mitigate floods and drought, pollinate other plants, disperse seeds, hold the banks in place, create soil regeneration and preservation, act as filters for pollutants and debris, supply leaf-litter, promote aesthetic pleasure, and provide shelter.
I work with stream ecologists, river restoration biologists, and botanists to ascertain the best seeds for each specific river zone. I would like to collaborate with local botanists and stream ecologists to ascertain the best seeds for riparian restoration along the banks of the Dart. These will then be embedded into hand-carved ice books to form a seed text. In a celebration with the community, the books will be released into the river.
Secondly, I write blogs for National Geographic about global rivers, written in the first person from the perspective of the water, and would like to research, explore, and write about the River Dart
In my first book, Water Library (2007) there are several pages devoted to the Dart, where I created projects when I was team-teaching an ecology class at Dartington in 2005. People who worked for the Dart Catchment Project, sponsored by the Devon Wildlife Trust, agreed to gather water samples from the twenty-eight-mile length of the river as part of a small “Gathering of Waters” project. One can follow the path of this bucolic river by the names of the towns -- Dartmoor, Dartmeet (where the east and west branches meet), Dartington, Dartmouth. Dart is old Devonian for oak, and I crafted a boat paddle from dead oak branches that was used in the waters of Dartmouth to help steer a hand-built coracle from which we emptied all the collected water samples into the mouth of the river.
Two of my favorite memories of the Dart are walking along the shores with Susan Derges, author of Woman Thinking River, as we discussed her photograms of water. And the next week hearing Alice Oswald reading aloud from her book-length poem, Dart as she kept cadence by tapping her foot, with the phrases pouring from her rhythmically.
I am so very glad that all of you who are organizing this amazing gathering are focusing on water and its importance in our lives. I also like that the word ephemeral is in the title, because it is something that I write about often in relation to the ice books.

 I have participated in a previous GNAP   
Patrick Tagoe-Turkson lontobaart@gmail.comGhanaGhana

Patrick Tagoe-Turkson’s work focuses on the essence of nature beyond its physical and sensory appeal. He has a distinctive aesthetic which encompasses a disposition of excitement and alludes to time-honoured art practices that link current approaches to making and belief systems. He works through every mood within the moment whilst accessing several historical traditional, linguistic resources to address contemporary ecological concerns. Patrick incorporate a method of working through repetition and subtle balance, a type of comprehensive pattern-making which builds immersive, serial, but not rigid idea sites. He cleverly plays with the tension between the mundane and the beautiful as well as the interplay between the being, nature and context.

Born 1978
Nature/Mixed Media Artist
Graduated from Kwame Nkrumah University of Science and Technology, Kumasi Ghana.
Founder of Lontoba Art Studio and Aesthete Ghana, Takoradi, Ghana.
Patrick is an environmental and mixed media artist realizing art intervention projects in nature such as , “Awaiting Series”, Black Poison, Nearby Market”, “Internal Room”, “Atiitee”, “Tale within Crossing”, Memory Repairs”, “Intrinsic”, “Like the Child”, “Stone Stimuli”, “Emotional Seasons”, “Holy Grounds”, “Too Much Eyes Open is Eyes Closed”, etc.
His projects are in direct relation to the changing contemporary spaces and ecology. Realization in collaboration with artists, communities, students and the general public as participants, his project takes various forms of expression: drawing, painting, sculpture, mixed media, assemblage, photography, video and performance in nature. He has had exhibitions in Ghana, Nigeria, South Korea, France, Germany, Italy, USA, Romania, Hungary and had participated in GNAP, South Africa 2016 and France 2017
Tagoe-Turkson is a senior lecturer and head of Department of Industrial Painting and Design, Takoradi Technical University, Takoradi, Ghana.

Many people shy away from visiting art galleries. For art to make the right impact in today’s world, it should be brought directly to the people because it belongs to the whole society. Nature art works may deal with complex ecological and societal issues which the ordinary man on the street may need to question or investigate for answers. It is about time that the debate on art and ecology moves from the gallery spaces to the local communities so that it could have the right impact directly on people and society.
Art organizations and institutions should focus more on ecological and environmental programmes and activities. Apart from the educational impact, these programmes are a source of pride for residents (participants and non-participants alike) in their community, increasing their sense of connection to nature and people.
Artists organizing activities for communities and children should be focused on the use of sustainable art materials taped directly from the immediate environment. This will help communicate the culture of belonging and persuade people to care for nature. Art projects which carry stories about how certain societies related with nature in time past has the deepest impact on the human psyche and have encoded information and spiritual influence over present societies or groups and how they relate to their environment.

On a more basic level, the focus of GNAP-UK project (River Systems) fall directly in line with my current interest so far as nature art is concern. I have been for the past years working on several nature art projects and performances Ghana which concern water ecologies and pollutants such as plastic wastes. I would thus be very glad if I am given the opportunity to explore new ideas in the UK or cross fertilize concepts that concern water ecology in both countries.
Secondly, I believe having this chance to work in a new communal context in the UK with new peers and mentors from all over the world will create an environment where I can make considerable progress in my concepts on in a short amount of time. As a two time participant of GNAP (South Africa-2016 and France-2017) I have receives some benefits of GNAP on my development as a nature artist and I can attest to its impact on other nature artists who have participated in previous GNAPs as well. I am thus in anticipation of having the full benefit of GNAP-UK, since the emphasis also reflects the direction of my current nature projects.
Again, the mix of artists with divergent approaches to working with nature during GNAPs really benefits participants. Participants inspire one another and have access to mentor-like interactions. As an artist teacher, this is such a beautiful continuum which I am yearning to be part in GNAP-UK in other to reap its full benefits so I could impart back home and share my experience with my students and colleague practicing artists and art educators.
Finally, as an artist, I always strive for an environment that celebrates creative people and process, that values experimentation and the exploration of new ideas from nature, and I recognize the role of GNAP-UK in in achieving this vision. Through participation in GNAP, you can be in Ghana and still have the chance to be involved in several nature artists and art projects across the globe. There is a lot to learn about nature and the culture of other ecologies of the world, but GNAP have proven to help many disadvantaged artists who may not have had the opportunity to have such experiences in their home countries in immeasurable ways because of their economy and political systems. I am motivated for the fact that GNAP-UK as part of its objectives, is going to offer me the creative daring, inspiration and support to reflects on new thoughts and create in an unfamiliar environment at time when the outcomes are especially indeterminate.

 I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/TURKSON-1.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/TURKSON-2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/TURKSON-3.jpg
LarsSchmidtnaturalcircus@gmail.com Germany

Lars Schmidt is a multidisciplinary artist and a builder of bridges at the margins of art and ecological thinking.
He immersed himself deeply into the realm of the body-mind and its natural environment by studying and exploring such fields as ecology and indigenous cultures, psychology and somatics, artforms like acting, dance and improvisation, as well as eastern philosophies.
He has lived and worked on organic farms for several years and knows the life of mountain shepherds as well as the bustling of metropoles like New York, Paris, Buenos Aires or Berlin.
He has been working internationally as actor for film, television and theater; as director and visual artist, before focussing on post modern dance forms, the approach of contemplative arts, and wildlife conservation/restoration projects.
He also holds a Diploma of Applied Permaculture Design.
Lars works as artist, as teacher and facilitator.
He is a practitioner of Zazen since many years and is currently roaming the Norwegian mountains.

'I have followed a path of learning from whatever or whoever inspired me.
And surely I have come across one or the other master on the way - in one or the other form.
My fields of inquiry ranged from different art forms, to agricultural and contemplative practices.
Also living in and immersing myself into various cultural and social contexts, as well as urban, rural and nomadic settings, I consider very precious and informing.'

My approach to art in general might be called a sort of poetic or spiritual approach.
If you feel the desire to look for a purpose in art, I would say that one purpose may be to quiet the mind and thus reveal a sort of ungraspable and indefinable essence that is always here, yet hidden by a world of names and forms.
In other words: artistic expression may point out our common origin.

And in a slightly more scientific approach:
Say that we describe ecology as the science of the correlations between organisms and their seemingly non-living environment, through which life evolves continually.
Thus, a purpose of art could be to provide access to the sensation of a deep connection with life and its processes, the sensation of integration.

The artistic process offers tools of communication, exchange and self-experience and is thus a tool of education.
Art, ecology and education can be seen as manifestations and expressions of life and natural processes themselves.
Through conscious linking of these areas we have the possibility to realize that.
I guess that herein lies a potential for innovation, for a better quality of life and for intuitive environment protection.

I find it wonderful, if not necessary that these spaces are being created.
Also the idea of the ephemeral resonates profoundly.
I have been at Dartington Estate years ago.
At another time I did a workshop with Martin Crawford at the Agroforestry Trust and remember stepping over the fence, visiting the Sequoias.
The specialness and preciousness of the Estate is obvious.
It surely would be a great pleasure to meet those sequoias again, alongside a few others from the contemporary arts and the natural world.
In any case I wish you all the best!

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/sukiya_larsschmidt.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/whitehorse_larsschmidt.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/iceroad_larsschmidt.jpg
Deborah Westmancoatdeborah@westmancoat.comUnited Kingdom (UK)United Kingdom (UK)

For the past six years I have been engaged in a project researching the four stages of classical metaphysical alchemy - known as nigredo, albedo, citrinitas and rubedo – in relation to the natural environment; considering how each stage might help us to understand landscape and our place within it. Paintings begin in the quiet places where these stages become apparent and are made as a direct result of first hand experience within the landscape.

Stage One: Nigredo/'blackening': Informed by local flooding, past works focused on a visual understanding of the dark, formless first state of alchemy, as experienced through the element of water. As part of the making process, panels were repeatedly immersed in black writing ink and local flood waters. Each time the previous story was washed away and a new story ‘written’ upon the surface. These durational works were an attempt to understand the nature of beginnings, of how the movement of water can alter the ‘known’ over time, and how our psyche is affected by the temporary loss of the familiar in our environment.

Stage Two: Albedo/'whitening': Recent paintings referenced the transformational action of lunar light and introduced the emergence of structure, pattern and order. Collected samples of streamwater, icicles, hoar frost and hailstorms became catalysts for works, and organic materials collected from each site, particularly oak galls, often contributed to pigments used in the work. Each image seeks to subtly reference the inherent mystery and charge of water found in quiet places.

I am based in Taunton, Somerset and currently undertaking an MA in Fine Art with Bath Spa University (due to complete in September 2018), aiming to commence PhD study thereafter.

I have taken part in over 100 exhibitions throughout the UK and internationally and was selected for Bloomberg New Contemporaries in 2014.

Recent arts residencies include:

2017 Ancient Scent: Ireland – working with the art techniques and writing of British female Surrealist, Ithell Colquhoun. Nine days were spent travelling to significant sites in the Irish landscape gathering research and materials. The project will culminate in an exhibition and publication.

2016 Ancient Scent: Cornwall – year long residency based in Lamorna, West Cornwall, working with the art techniques and writing of British female Surrealist, Ithell Colquhoun, culminating in an event and exhibition of works in collaboration with Peter Owen Publishings.

2015 Water-Meadow-Wood – lead artist for several local 'water' based projects on a year long residency based at Yeovil Country Park, Somerset, funded by SAW and the Arts Council, culminating in several workshops and an exhibition of works.

I have been a Royal West of England Academy Artist Network member since 2015. A full CV can be found on my website at www.westmancoat.com.

I believe the arts can make a meaningful and sustained contribution to research and conversation around the environment, ecology and climate change because practical creativity can encompass ways of ‘seeing’, ‘feeling’ and ‘knowing’ that other professions sometimes lack. These gentle ways of gaining knowledge, combined with time spent in consideration and reflection, can allow us to see the bigger picture and make wiser and more informed choices. As artists we have the opportunity to ‘re-present’ the everyday – to make clear moments of ephemeral beauty and power experienced in the landscape as fleeting moments of wonder. I have read many times that communities only truly value and fight for their environment when they connect and engage with it on a heart level – when people can see beyond the short term gains of money and commodity. Artists can help us to witness the extraordinary and remind us, as individuals and as communities, that ‘out there’ can change us all ‘in here’, leading to richer and deeper experiences within our personal landscapes and a greater holistic understanding of the natural world and how we can support, rather than distort, it.

I’ve been reflecting on this for the last couple of days. Although I have been working with the element of water in my practice for several years, I have yet to investigate making work in an ephemeral or time-based way. I think this is because artworks often tended to be for a specific exhibition or sale, leading to worry about ‘getting them right’ and closing down opportunities for experimentation and play. There is clearly a tyranny to this thinking that halts any ‘what if?” moments that might occur as part of the making process. The fact that we will leave no trace of ourselves or our work at the end of the project is both rightly respectful of place and also oddly freeing. I’m excited by where this freedom might take me and also the group as a whole. I suspect it will allow us to experiment with approaches that we might not usually go for and lead to some unexpected outcomes.

I’m also particularly interested in experiencing how creating space for silent meditation/reflection at the end of the day will impact on the work and thinking around one’s art practice generally. I have a sense that it may bring our temporary family of artists closer together and allow us to form deeper connections with each other’s making practice and with the land we are working within. This feels like it could be precious time – time away from our loved ones and our usual occupations to breathe deeply, connect with the natural world and reflect with clarity on our approach to our making and our role in the community as a whole. As I write this I realise that I am hungry for such an experience.

Lastly, and perhaps most importantly, I am keen to contribute to such an important project – one which benefits and enriches on so many levels - and hope to be able to give more than I take in the process.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/SolarHorses.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Ocellus.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/PerigeeSyzygyOfTheEarthMoonSunSystem.jpg


My work comes together through intuition and opens doors to the collective memory. They are images that the observer recognizes, consciously or subconsciously, where in one is invited to give the work their own meaning. The work is often ‘animal-based’. We recognize much of ourselves in animals, we see our own behavior mirrored in them. In my performances, I bring these images to life through literal embodiment. My creations execute actions we all know: washing, knitting, digging, walking and spinning wool.
I create my objects from natural, often animal-based materials such as hair, leather, and fur, which carry their own story within. Through detailed craftsmanship I develop a deeper connection with the material. In a meticulous creative process, I remove from the material its original function and give it a new meaning, with several different layers.
What I would like to show is not entertainment, but 'stillness'.
The work is created through a slow and deliberate process, in which rest and quiet play a central role. In this atmosphere my performances and sculptures are at their best. Space is created to reflect, to stand still, and from there, to look closely. My sculptures may look true to nature, the acts mundane; the spectator will not always experience this as logic. They are accessible, but raise questions at the same time.

I work (sculptures and performances) and live in The Nederlands, Amsterdam and graduated in 2009 a 2 year performance master called DasArts. After her graduation at the Art Academy in 1997 on Sculpture I did an internship in Belgium with the artist Jan Fabre. She has had shows in, Germany, France, Slovenia, Belgium, Ireland, Scotland, Switzerland, South Korea and USA. In 2014 and 2015 she was a participant at residencies in Norway, and in USA: Skowhegan 2007, I-Park 2011/2013, Sculpture Space 2015 and Art Omi 2016. She makes a living with teaching at the sculpture departments all over the The Netherlands aside and working at several departments at the National Opera and Ballet of Amsterdam.

I've always been interested in recycling natural materials and have been very environmentally aware. I think that through the arts the audience can be confronted in a not especially lectural, but educational and playful way to experience how beautiful materials are, even after they've been used. Especially the natural materials give away there origin in a more clear way than produced ones. In my work I use the daily materials that we trow away and form them into animals or objects that we are familiar with. The joy of being outside with all it's nature and not taking that beauty and for granted anymore is very important. Awareness of ecology and climate is a must for everybodies being and a big concern to the human race.

I recieved the link from a friend who knew I was at the Yatoo residency. And I enjoyed it a lot. My work was a big surprise for the South Koreans and they did not know what to think of it. I performed as a frog that was digging with a shuffle a hole and disapeared up-site down in it. Afterwards I heard it was a huge succes, but at that time they just did not know what to think. The nature, the walks every morning, the collaborating moments and the ephemeral playful encounters where a pure liberty for me. I see it as a great opportunity to leave the city. I've hitchhiked through England in the '90 and that area around Darthmore was very fascinating. Usually my work takes a long time to create and now this is an opportunity to challenge myself and just go for it and explore. Residencies are important to meet international soulmates from all around the world. Engage globally about the theme and discuss our visions.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2016-Albino.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2017-Molare.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2017-Tutu.jpg

My art is connected to everyday activities of society and what nature brings. I feel alive or full of life when I see; nature, how people carry themselves within the environment, as I identify the ugly and beauty side of creations creativity. Since I was introduced to aesthete Ghana Nature art fellowship to realize I was already into it unaware. That has now given me the opportunity to come out boldly as a nature artist. My interest in my Nature art works springs from the creativity within the creations of the creator, the gradual degradation and revolution of things occupying the environment. There are more dimensions to things we see daily and presume normal in only one aspect, it takes a more conscious creative sense to bring out the other forms and that is what my work seek to portray. My works make impact by examining the way an environment is naturally created to look and the way it looks now, as well as the cause or effect between the way it looks to occupant and the way it looks to me as an artist to address issues or harms.

I use human objects as the common denominators of our personal environment. Altering them is a way of questioning the attitudes, characters and future doom which is forming that environment and behavior within it. “Virgin Breaker Nature art project in Ghana” Portrays the acts of humans which have polluted and destroyed the untouchable natural beauty of the coast. The work highlights various environmental hazards cause by open toileting along the coast, damping of plastic waste materials, sand winning and more on water bodies. The artist sees all those activities as a break of virginity of the coast. The nature art project was to warn people to stop breaking the virginity of our virgin natural sites. “Comfort Zone” work produce in Atakpame a village in Togo, addresses damage of a beautiful stream filled with rocks. The occupants of the site have toileted and putting rubbish around when passing by the site. I had to work by immersing myself on the site by sleeping in the middle of the stream on a big rock hence the name “Comfort Zone”. This was to let occupants know that the nature site should give comfort instead of displeasure which is cause by their wrong attitude.

Art provides an important part of our cultural atmosphere we breathe and the environment we live. The conversations, critical and creative thinking of works of art or the artists and curators provides a unique and innovative way to engage with both environmental challenges and the opportunities that arises from climate change through exhibitions, workshops, seminars and many more. Art works especially the nature art done and capture through performance and photography may portray the nature of human unconsciousness, at times the destruction of a nature site may be a place people visit frequently yet the work of an artist will create awareness and actions that will help defeat the destruction and help sustain the beauty of the nature site.
People get to capture and sustain information through videos than still pictures, a collaboration force of all the arts discipline; cartoonist, filmmakers, Photographers, actors, musicians and artist can work together and come strongly to highlight the issues around environment, ecology and climate change. Works can be used to teach people on how to create with the environment instead of always consuming it for their needs without any sustaining plan. Works can be done to encourage human empathy by bringing heartfelt conversations with human element that will address environmental issues.

I come from the central part of Ghana and lives in the capital town of western region which are all around the coast and golf with water bodies. About a year I have been attending nature art fellowships locally and working to deal with nature issues such as nature art and plastic waste, nature art performance on bad human activities endangering the water bodies, interaction and sharing with the local communities on the effects of plastic waste and the danger of their unconscious attitudes towards nature that can destroy lives.
Considering the focus of GNAP UK which is on river systems, I deem it as a great opportunity to apply and work again around water body especially out of my locality or country. It will also give me the privilege to meet different artist, researchers and quest that I can learn and tab from their experience, knowledge and how they do their work and interact with nature to solve environmental issues.
I have come to realize that in order to have a global impact on the works I do as nature artist which are mostly ephemeral, there is the need for me to build more networks and contacts so to help me spread and share the ideas or works which I do in my locality and country especially considering the understanding of art from the part of the world am from. Sometimes the attitudes of the locality towards me when I work do demoralize me because they don’t fully understand the substance of art or the works of arts in generality. The practice of nature art which is a new contemporary form is of great challenge for them to understand even to the elite. Some people saw me as a madman or insane which I was working with waste plastic material to educate them so seeing the works of other artist or contacts becomes a strong source of inspiration to motivate me to keep working.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/PA134181.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/PA134199.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/P1060001.jpg
RichardShillingrichardshillinglandartist@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I am an environmental artist. My speciality is in fragile, short lasting ephemeral nature art creations using only what I find in the environment around where the sculpture is made. Many of my creations have a unique style and seek to draw out the beauty and vibrancy in nature though the use of natural light and colour. I am interested in forging a strong connection with nature and seek to experience and work with nature's abundance and variety by exploring as many different materials and environments I can and understand more deeply the transient nature of our existence and the cycles inherent in the world all around us.

I create intuitively by using the experience of nature connection to still the mind and open up a channel to my creative energy. By doing this it is possible to reveal subtle nuances in the environment that are hidden from less open senses and these factors eventually come out in the work that I make. Each sculpture becomes a unique collaboration between me, my experience, my connection with nature and what Mother Nature allows me to do with the materials themselves. The materials cannot be forced to conform to preconceived ideas but instead the artist must learn to flow with elements and use her hand to guide what is ultimately made. This is what fascinates me and what drives my art.

As well as my own ephemeral nature art I also regularly create larger transient and semi-permanent works on commission and for festivals in the UK and internationally, always with the focus on nature's nuances. I regularly teach courses to teachers and artists about the art, its philosophy, intuitive and mindful creation techniques at my residency and am invited to do so all over the country. Plus I seek to bring the rich benefits of nature connection and creating with nature's materials to as wide an audience as I can through my two organisations LandArtforKids.com and LandArtforHealth.com. I work with my partner Julia Brooklyn who is also an environmental artist on all these projects, we come as a package. In addition I regulary perform and show my art at schools, various residencies, festivals and much more.

E.g. in the last year I lead a Land Art Festival in Lebanon, created a large installation for the Lakes Alive festival, had long residencies at the Summer of Imagination Festival at Doddington Hall and Boundary Way in Wolverhampton and taught at too many places to mention and will be appearing at the LEAF festival in Texas, USA in March.

Much of the malaise of the modern world, of depression and anxiety and mental health issues and the need to work long hours to earn money to spend on more and more technology is the result of disconnection from the tenets of what makes a healthy human being. Those things are connection to a community and connection to the natural world. Absence of one or both of these things results in destructive behaviours, addiction, unhappiness and in the minds of many people, especially when bombarded by so called 'wisdom' coming to us via social media and via marketing where we are convinced that the next gadget or item to shop for is something that is required in order to live a fulfilled life.

This results in a toxic mix of discontent which in many people's minds is resolved through every increasing rampant cosumerism and a devastating impact on the natural world. But this is a trap and an ever increasing vicious cycle: the more we seek to resolve our disconnection from ourselves and our planet in this way the more we become disconnected and embed the problem.

There is a dire and urgent need to reverse this trend and restore everyone's connection with our planet and with themselves and to live in balance and harmony with what we have and not what we think we need. Only through developing and nurturing our respect for our planet and everything we share it with can we reverse the near inevitable sleep walk to our obvlivion. Whilst we seek solace in our gadgets, our energy consumption and disrespect for what we have we will sink deeper into an irreversible disaster.

Nature art has the power to reconnect people with themselves and nature and to foster states where we are present in the moment.

It has not been long in our recent technological development that we have become disconnected from our essence. Before the invention of the lightbulb and industry we would all spend quality time connecting with nature, expressing our creative natures and taking an active part in our communities and as a result lived in more healthy and egalitarian societies. A mindful existence where we were living in the present moment and not being obsessed with the future and past meant a life where balance and respect for the world around us was a natural consequence. Separation from the consequences of our exploitation of our natural resources has sent us down the wrong path.

Nature art is a way to reconnect people back to nature and to themselves, either through direct practice or through inspiration via the work we make and share. That connection instills in us that we are part of nature and not separate from it and we feel the drive to live in harmony and balance with our world when we realise everything is interconnected and realise the impact of our actions on the world. We need to feel our place and connection with the world and to know what are the consequences of our actions in order to restore that balance.

In 2017 I lead a Land Art Festival and competition between five universtites in Lebanon. Our mission was to start an environmental movement in the Middle East the life of which does not exist now. Without writing a very long essay I can sum it up by saying it was a very profound experience for us all where many people were deeply affected by what we did and what they discovered for themselves and through the national coverage of our event we hoped to sow some seeds in young artists and architects from the universities in the region to carry the baton towards a more enlightened and caring world. That is the potential of our artform to influence environmentalism around the world. The impact may be small at times and at the start but as they say from acorns grow oak trees.

We are applying to GMAP as I share the ethos and philosophy behind what you do and it is what I live my life for and seek to share with whoever I can.

I would greatly value the opportunity to meet with likeminded people and artists, to help us all work towards our goals both personally and for the planet and to learn from whoever I can as well as provide inspiration to others if I can.

This artform is very important to me, it is my life and my passion and I feel I must join you if I can! And if possible for my partner and fellow environmental artist Julia Brooklyn to join with you all this summer.

Thank you for listening.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/NWMAFW.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/LLR.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Melted-Ice-imprint.jpg
MargaretLeJeunemargaretlejeune@gmail.comUnited States (US)United States (US)

In my newest series, Growing Light, I draw from both the biological sciences and humanities to explore fundamental ideas within ecology. Using photographic processes that harness the power of bioluminescent organisms, I create haunting ghost images that are technically innovative and provoke a larger dialogue about climate change, the interconnections between humanity and the vast oceanic environment, and our own personal relationship with the natural world.

Over the past four years, I have created imagery that examines issues of ephemerality and transience. This body of work includes abstract images of the bristlecone pine; the oldest living plant on the planet, its rings log climatic data. The work also encompasses large-scale macrophotography of human hair; each strand’s pigmentation, kinks, and breaks not only record and store our personal history, but its chemical composition also serves as a repository for environmental contaminants that we have encountered. My images of these natural archives allow us to contemplate the passage and meaning of time while confronting evidence of deleterious, enduring human interventions in the environment. With Growing Light, I once again explore these concepts by capturing the intermittent and fleeting glow of bioluminescent algae and bacteria. As a marriage of conceptual photography and scientific exploration, these images capture the beauty of this unique light source, exploring the quiet evidence of energy and decomposition in nature along with the human threats to even microscopic life.

Margaret LeJeune is an image-maker, curator, and educator from Rochester, New York. LeJeune holds a Masters in Fine Arts in Visual Studies from Visual Studies Workshop and a Bachelor in Science in Studio Art from Nazareth College of Rochester. Working predominately with photographic-based mediums, LeJeune explores issues of gender, representation, and the environment. Her work has been widely exhibited at museums and galleries across the country including The Griffin Museum of Photography, ARC Gallery, The Center for Fine Art Photography, Newspace Gallery, WomanMade Gallery, Workspace Gallery, Morean Arts Center, Fort Worth Art Center, Peoria Riverfront Museum, and the Candler Field Museum. Her work has also been featured on Slate.com, Actuphoto.com, and the Journal on Images and Culture. LeJeune currently serves as associate professor of photography at Bradley University in Peoria, IL.

Through this marriage of the humanities, visual arts, and the natural sciences, I hope to encourage a meaningful discourse about photographic processes, beauty, and the interconnectedness of nature. Visual and performing arts provide a necessary and accessible portal for diverse populations into environmental concerns. Interaction with art can open world-views and promote empathy for others - the foundation to understanding environmental, social, and economic sustainability. A powerful work of art may provoke a pause from the viewer - one in which that person contemplates their place in the world, their actions as a consumer, and their ability to make a positive impact on the world.

I am interested in a place-based, water-focused experience that encourages collaborative works. This is a wonderful opportunity to be inspired by other artists who are engaged with environmental issues. GNAP-UK creates an opportunity for artists to focus and dedicate time to considering how ephemerality and transience can be powerful metaphors for current ecological concerns. These ideas are inherent to my current artistic production. I am also excited by the potential to work in a new country and be inspired by a diverse group of artists.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Watershed-Triptych_1320.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Sustain_Grid.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/LeJeune_2.jpg

My artwork focuses on the relationship between art and nature and how both terms are culturally constructed. This has led me to use both natural materials (such as hundreds of thousands of broken twigs in hibernaculum, 1993) and fabricated “fake” versions of nature (such as the commercially printed leaves, hand-sewn into installation environments in canopy, 2006-07). I combined labour-intensive techniques of hand-making along with new digital technologies of 3D printing in creatures in translation (2006 – 2012) to consider what art, craft and “making” mean in the 21st-century. My current studio research addresses the 2000 km river that flows through my city: the South Saskatchewan River connects the Rocky Mountains and the ocean at Hudson Bay, draining the central plains of three large provinces in central Canada. I have lived near this river for 25 years and walk over it each day to work; I have a heart-connection to its waters and its swift-flowing path (the meaning of its original Indigenous name, kisiskāciwani-sīpiy). I wanted to better understand the river from environmental perspectives so began to connect art with science to create a collaborative exhibit designed with community input in 2016: Delta Days. Increasingly, I seek to integrate my studio research with collaborative processes of making and learning. This has led me to design studio courses that address sustainability in use of materials (student class and exhibition, Art*Cycled, in 2016) and concept (Becoming Water: Art and Science in Conversation, team-taught course and exhibition with scientists in 2017).

My art practice consists of mixed-media materials and forms that explore embodied ways of knowing. I am interested in ritual and gesture and the ways in which art arises from these and become cultural performances. My materials and processes derive from a range of conceptual concerns including questioning the dualities of nature/culture and matter/spirit. I have a thirty-year studio art practice with exhibitions of my work across Canada and internationally (United States and Australia); I have participated in residencies in Quebec (Boreal Art/Nature), Wyoming and California. More recently, I have been involved in collaborative, public art projects (billboards in Saskatoon, We are the River, 2017) and the traveling exhibit, Delta Days, shown in nine venues including five rural Indigenous centres in Saskatchewan, Alberta and Northwest Territories. I have presented public lectures about my studio work and these collaborative, and teaching-related projects at galleries and conferences in Canada and internationally. Since 1990, I have taught studio art at the University of Saskatchewan; in 2017, I was awarded the Teaching Excellence Award in Fine Arts. I have a M.F.A. in Sculpture/Interdisciplinary Art (York), a M.A. (with Distinction) in Religion and Culture (Wilfrid Laurier) and a B.A. in English Literature (Goshen College, Indiana).

The arts, and creative processes in general, can contribute new insights to the environmental debate. Art has the unique capacity to link ideas and images that may be paradoxical or contradictory. Through experimentation and risk-taking, new forms of art arise that are unexpected and that combine conscious and less conscious knowledges. I have had a long interest in the idea of “intuition” which artists often refer to; recent research in neuroscience and cognitive psychology attempt to understand intuition as part of the brain’s complex, synaptic systems that connect disparate perceptual experiences. In the best art, our own brain processes interact with elements of chance from the outside world which shape the conscious effort and skill of the artist. This can be experienced as a push-pull conversation with the materials and processes of art – as if these physical properties have a “voice” that wants to be heard and that want to inform the human tendency towards control. In this way, art provides an immediate experience of engaged dialogue with the materials of the environment, both animate and inanimate, shifting how we relate to the non-human world. Beyond this role of art as physical materials and processes, art and the environment can also connect conceptually. Artists have explored this in many ways over the years, from historical, Romantic representations of land/scape to more recent land-based art, inside and outside of galleries, both permanent and ephemeral. My own work has turned towards collaborative engagement with non-artists and communities in recent years, as has that of many contemporary artists. There is increased urgency to address pressing issues such as environmental degradation and climate change with a deeper consideration of how our choices of materials, methods of working and dispersing our art impact the environment, and contribute to social and ecological sustainability.

I am applying to GNAP-UK’s “Ephemeral River” project as I am intrigued by the conceptual framework for this interdisciplinary, river-based residency. My own art research is currently informed by river-research – specifically the South Saskatchewan River which I live beside in the middle of the vast plains of Canada. I have deliberately sought out and worked with scientists and social scientists to better understand the environmental and social issues related to this river. They have made an invaluable contribution to the direction of my art practice, including the challenge of working more collaboratively and with local partners and Indigenous communities. I noticed that the GNAP residency has a similar interdisciplinary focus, with the launch of a new Art+Science three-year program, and this connecting of art with science is of great interest to me in my current project and I would like to learn more by attending this residency! I also love the word “ephemeral” in the title as it seems to prioritize creative processes over products and allow for spontaneity and elements of chance to inform working processes while also respecting local materials and the environment by “leaving no trace.” The “ephemeral river” reminds us that the river itself is in a constant state of change as the water flowing through my city and the Dartington estate is never the same water twice. I have learned from a science colleague that some of the water isotopes in the South Saskatchewan river can be dated to hundreds of years ago – from ground-water seepage or glacial melt; imaginatively, this is remarkable to consider as it connects me to a historical time in my country that pre-dates the arrival of Europeans. This water enters my body – I drink it as it comes through the pipes into my house from the city’s water treatment plant. The river, and water, have the capacity to remind us of our intimate interconnectedness, both in the present as well as to the past and the future. This physical aspect of water is universal as we all depend on it for survival, although it is sadly threatened in many parts of the world; in Canada and England, most of us are privileged to have safe and free access to quality water. Finally, I am interested to compare the experience of working alongside the River Dart which surrounds the residency with the river I live beside in Canada. Are the environmental and social issues related to both rivers similar or different? What issues inform the life of a smaller river in a more populated area of England in contrast to the large river I live near in a less-populace part in Canada? How might a sense of intimacy with each river develop and be articulated through art? I am excited about the possibility of learning from and working with others in a thematic river residency.

I have sent two pdf files of current work by email to the above address; they are 2 - 3 MB each but I was unable to send them uploaded to this website.
This file of current work is a film I co-produced; please follow this link: http://artsandscience.usask.ca/news/articles/1340/_Becoming_Water_Art_and_Science_in_Conversation_available_fo

I have not participated in a previous GNAP   
MichaelFairfaxmichaelfairfaxstudio@gmail.comUnited Kingdom (UK)United Kingdom (UK)

My work responds to site in so many ways, over 35 years of experience I have work in harmony with the land, be that creating artworks with natural materials, creating camera obscuras, to see the landscape in a different way, creating sound pieces with the trees, branches and roots of either live for fallen trees. I like to take in the nature of a place a decide which is the best way to respond to that site, get a feeling of its energy, the fall of light, the wind, the geological topography, any historical remnants of use, architectural references. Most of my work uses natural materials, I look for the growth patterns, the infections, the shape, the colour, the nature of the material, its strength and its weaknesses, its ability to transmit sound, its pliability, whether it is growing and alive or dying or dead, the natural pruning of trees by wind, rain and disease, the shape and form of growth. to apply this to water and river, the erosion of pathways of drying out through heat, the seasonal and environmental change.

I have worked throughout the UK, and abroad in USA, Finland, Germany, Russia for the past 37 years. I have worked in the UK with Common Ground on Projects, The Woodland Trust, I was lead artist for 6 years on the Neroche project on the Blackdown Hills in Somerset. I have been a resident artist on environmental Projects at I-Park in Connecticut for 3 years, Taken part in Environmental Festivals in Koli, Finland and Darmstadt, Germany. I have created hundreds of public art and environmental pieces over the 37 years.

Seeing how badly the governments are doing with the environmental debates, it needs the like of environmentalists, artists and others to do the exploring the science, the creation of art that reflection or use environmental issues. It might be too much to expect artists to have a huge say in the debate but quite often it is the little drip of projects thoughts, creations that have an impact. Of course there have been and are artists whose work and position in the art world mean they get more attention, but a lot of the projects I have been involved with affect people with our relationship with nature and the environment, the discussions with a visiting public and publications can have an effect as well.

I am applying to the GNAP-UK because it will give me the opportunity to work with water, a medium I have little experience of the flow of a river, the detritus of the river, the use nature makes of the water and the river, the flow the rising and falling, what lies beneath the water,(I have an underwater video camera), the sounds (I have a hydrophone). I don't know what I will do but I would love the opportunity to explore, I also love residencies and the dialogue and sharing of ideas and thoughts of an artist group, this also brings new and creative processes to the fore. I was also visiting lecturer in the 1980's to Dartington and it would be excellent to renew my acquaintance with it.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/The-torn-root-that-sings-again.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/analogue-harp.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Fidddlesticks.jpg
JarekLustychlustych@gmail.comPolandPalestinian Territory

I follow my own way, adding experience upon an experience letting each work to shape the next. My main inspiration are inconsistencies in social behaviors / conviction and attitude toward nature. With my works I try to build relationship between an art and an environment, to blur the boundaries . Hence, art describing site / society is simultaneously described by them. Each time, the form and medium of the project results from the topic and, together with used materials, remains in relation to the place. By adding my texts to a multitude of other visual texts, I enrich palimpsest structure of reality. Enhancing existing chaos, I intend to shake spectators out of the rut of everyday thinking and direct theit atention to the hidden sense of events and ambiguity of the word. My works depriving art of its cultural context protection try to redefine its perception. This change of perspective allows spectator to rediscover / assign new meanings to specific places and engage in dialogue with others, hightening their identification with the space. Art featuring unique ability to state hidden issues, makes invisible visible, creating this way a new platform for understanding.

Jarek Lustych is Polish visual artist (b.1961). He received his MFA degree from Warsaw Academy of Fine Arts; and since then he has been working as a freelance artist. Initially, the main area of his artistic focus was relief printing. Exploring its possibilities and limitations, he has created a series of works that have been shown in Poland and abroad and also in competition presentations. His solo exhibition showed various stages of these experiences – in the changing technical solutions, formats, and in the methods of imaging. After his fifteen-year career in the confined space of printmaking following his basic training printmaking, Lustych decided it was time for some change and enriched his practice with an extra dimension in an attempt to redefine the perception area of art . Since then, he has participated in several international site-specific symposiums and artist-in-residency programmes (Poland, France, Belgium, Germany, Spain, Japan) making sculptures, installations and organizing street actions / interventions. Twice he received the Polish ministerial scholarships, but so far the most creative were his stays in Majorca funded by the Joan Miró & Pilar Juncosa Foundation & VillaWaldberta AiR.

A big part of the environmental ecological problems is the result of an unprecedented separation of society from nature. Living in artificially created shopping mall environment, air-conditioned offices / means of transport we stopped noticing the vast majority of the world around us in its enormous diversity. My project demonstrating the imperceptible aspect of one of the basic elements wants to restore interest in the rivers - the lifeblood of nature by enriching the spectacle.

Currently, my attention is drawn to the more “natural” aspects of our environment. By employing the working principle of the aeolian harp - an instrument known since antiquity and enjoying a renaissance in the era of Romanticism (protoposthumanism) - I evoke the voice representing the hidden, creative/destructive power of the mass of flowing water. In this way I enable the audience to attune to the river’s melody and step out of the sphere of everyday experience: to go beyond the surface. This sensation is so unlike the familiar “splash” of the water, that the listener feels transported to a new dimension and achieves a deeper contact with the element, now better understanding its nature. The sound achieved in this way can be heard only from the distance of a few meters, but it is loud enough so that it’s entire timbre can be appreciated. The vibrations of the strings are visible, and the resulting sound waves are audible. A swift-flowing mountain stream sounds differently than a slow lowland river, and the changes in tonality are affected also by the seasonal changes and weather. All these sounds, which are in fact vibrations, constitute an important element of the environment and continuously shape the development of the human brain, which is more sensitive to them than one may initially assume. 1 Possibility to eplore Dart river system will push further my investigations.
1 “The brain is really a wet, sloppy drum machine,” Horowitz says. “It’s desperately seeking rhythms.” Not only rhythm, but patterns in pitch too, that have a mathematical regularity that captures the brain’s attention. http://www.npr.org/sections/health-shots/2015/09/10/436342537/how-sound-shaped-the-evolution-of-your-brain


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/lustych01.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/lustych02.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/lustych03.pdf

Nature is a pure place for my artistic inspiration. It is also the place for finding myself. This is for the human who finds meaning in nature, who comes from nature, and who will return to it again. All challenges of human life, all concerns and plights of modern life, can be forgotten in nature for a quiet moment. Traveling, exploring nature, moving beyond the stressful city life, human and natural, are some of the themes that I seek to explore in my work. Performance, fiber installation, site specific projects, film and photography are the varied ways I use to express this deep searching.

Atefeh Khas is an Iranian artist who was born in 1985. She received her MA in Art Research from Alzahra University 2014 and BFA in Painting from Shahed University in Tehran in 2010. She has been participated in more than thirty Environmental Art Festivals in Iran since 2005. Her works has been exhibited internationally such as: “Focus Iran: Contemporary Photography and Video in Los Angeles”, “Kathmandu International Art Festival in Nepal” and more:Canada,United State,Belgium, Romania,South Korea,France,Greece,Bulgaria,Hungry,Tunisia and Poland. She was selected for the Environmental Art Residency Program in South Korea in 2012 .Her works published on the: cover magazine of “The Middle East in London” University of London (SOAS) in 2015, the Yatoo-i Environmental Art Calendar 2015, e-book- Water Views: Caring and Daring 2015. She had two workshops about environmental art: Tehran University, Faculty of Art in 2014 and Knack Galley in Tehran in 2017. She was selected for the Almaken 2nd International Contemporary Art Festival in Tunisia in 2016. She was invited to participate in Global Nomadic Art Project in Iran, Germany, France and Turkey in 2016 and 2017. She was the art director in Rooberoo Mansion in Tehran from December 2016 to January 2018.

I started my work in nature not just for making a connection between human and nature! I just started there to ran away from city and all the problems that i had there. I did not have any free space to to talk about my life and my experience without any censorship. As an young artist that lives in Iran, nature has another meaning for me, a place to talk and to work and to create an art work with freedom. Nature was a place for me with the meaning of freedom. So, it was the reason that as an artist from Iran, I started to work in nature. Little by little, I found my self in nature as part of it. It gave me many things to think more about human life and what we did with our planet. It gave me a new window to another world to think different. Now, I focused more on environmental problems in my art works after that i found my freedom in nature. Now, I think freedom and having a pure and clean environment are related together.

I really like the idea of GNAP and I know Yatoo group when they came to Iran in 2011. We are in north of Iran and worked there. They affected me and my artistic life so much. If, now I am believe in my artworks, it refers to that time and the opportunity of having residency in 2012 in South Korea. On the other hand, the place and the theme of the river in wonderful idea. Because, in Iran we have many problems with lack of water and in fact we are in drought. I have some works about water and my upcoming exhibition is also about water. Then, I really keen to know more artists from different corners of the world. The GNAP of UK would be the best place to talk more, to know more and to collaborate more. It is a time to understand about the idea of nature from different nations. For me, it's very important to investigate about nature and understand how western countries manage the water systems and how in future it can come to middle east.


I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Reflection-of-Lake-2009-Urmia-Iran.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/GNAP-Germany-Atefehkha-ForestArtPath-Her-Hands-24Aug.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/GNAP-Iran-atefehkhas-steps-mangrove-jungle-2016.jpg
annie rapstoffannrap@googlemail.comUnited Kingdom (UK)United Kingdom (UK)

As a cross-disciplinary artist, coach, writer and therapist, I work with performance, photography, film and experimental writing. My main interest is responding to the environment around us; to place and working with the processes which emerge over time. My work explores the complexities of place, locality, social roles and structures through engagement and intervention. I am interested in the collision and interplay between humans and the environment and in addition have been influenced by my background in human communication. My process has often interactive and collaborative and I have worked with urban planners, botanists and other artists, the public and musicians.

Examples of my work include travelling from The Thames with a bottle of river water around my neck, transferring this water to The Rhine then returning with the Rhine water. Both rivers were at one time linked with the Thames being a tributary of The Rhine. The work a water dialogue between Bonn and Oxford, through the action of collecting, transfer and mutual exchange of water.

In the last two years my work has become more introspective as I have been coping with a pain related condition. This has led me to have to learn to be even more in touch more with my body, using quieter contemplative approaches. Its important for me to immerse myself in a location and landscape, being open to what emerges. I see my internal and introspective process as being as important as communication with others around me and the location/place/space/setting.

I have worked in Germany, Poland, Germany, Israel and locations around the UK. I have taken part in a number of residencies such as Braziers in Oxfordshire, and more recently in the Gower Peninsula in Wales. I have been working on a collaborative project with artist and film maker Vicky Vergou, which has included journeys to rivers, streams, lakes and the sea, as we research the idea of Continuum, exploring cycles of water from beneath the earth, through its journey to the sea.

My work includes diverse projects and research including the art/ geography of watercress grown in chalk bed streams, urban wild flowers growing in unexpected places such as between cracks in pavements, the tides in Kent and an ongoing collaboration with artists Cally Trench and Philip Lee into zebra crossings, inviting the public to participate in walks in various locations laying down a portable Zebra Crossing and inviting the public to walk across, relishing that moment of human interaction between paedestrian and driver.

Its important in my work to be doing, experiencing and immersing, in order to feel closer to the elemental nature of earth and in this way the work has the potential to develop and unfold.

Art can agitate for change and awareness, it offers an activist response – gentle, subtle, or in your face. It’s a bridge to participation, where voices often unheard can speak UP, whether through collaboration between the public, other artists or links across disciplines.

Art can be an immediate and raw response to everyday life, such as how we manage rubbish on our local footpaths or a debate on water pollution in the world. Art can break through and cross barriers, offering ways of reimagining a future which does not have to work within the dry political straight jacket that we often face. By immersing oneself in place one can get to know communities and the act of exchange and encounter with others can offer the possibility of new narratives which have not been heard before.

I see my own performace based practice as an active and meaningful contribution to the environment through its direct action in terms of presence visiblity, and taking risks. In the moment of responding and deeply listening to the land the invisible can become more visible, my belief in treading the land lightly, is my attempt to connect with the raw poetry and sanctity of the land. Art that is transient and leaves no trace beyond the here and now moment, offers the possibility that we do not have to scar, destroy or own the land we walk on. Whether agitating for action on the loss of bees or the pollution of rivers, art can be central to the debate on the environment, in my opinion whether we call what we do art is not important, it can be whatever we choose it to be. It offers a channel for exploring each others histories, rituals and responses, it offers a lens on the past and the future.

The residency offers a space for research, discussion and the development of ideas around land and water. The notion of a nomadic arts group infers that whatever we do will be built in the here and now and will not leave a footprint on the land, this ties in with my interest in the transient and ephemeral. This is particularly important in terms of performance and land based site specific responses, which cannot be repeated, as every place and response is different. The idea of coming without preformed ideas and concepts will offer time for work and ideas to emerge.

Working with the River Dart is an invitation to continue an interest in performative ritual related to collecting and returning water and exploring the immersive environment of water courses. The idea of what emerges from the depth or what is unknown to us is an area of enquiry I would like to pursue, but I would come to the residency with a open heart and mind. "As the saying goes be like a child as if you are beholding something for the first time"

I see this as an opportunity to observe others processes and ideas and find inspiration around others. Working for a sustained period, offers uninterrupted time and the chance to break through habits and comfortable ways of working. There is nothing like stepping outside ones own environment to discover new ways of working and responding. I want to have time outside the restrictions and demands of making a living and my day to day responsibilities, stretching myself and contributing to a group experience.

I am open to working without needing to take ownership of work I see as mine. Being part of an emerging process within a group of artists and researchers is like our environment. When we attempt to take control and ownership we create untold damage. I therefore see being out of control as working with awareness and respect for the environment.

I am interested to see if my usual embodied, interactive, contemplative and poetic responses to the environment could be challenged and am open to the possibility of the unknown emerging. I have a fundamental commitment and need to work with the land and hope I can offer something to the group as well as learn from others.

Since being diagnosed with a pain based illness I have learnt to pace myself, this has taught me take time and " just sitting" with the land and water to see what emerges. I would come with an open mind and with a wish to delve into the unfamiliar and unknown. I hope new collaborations and networks might arise from the residency which could continue environmental concerns. I hope we may inspire others such as the public, to get involved and to recognise their contribution to this debate.

Finally, the residency will provide an incubational environment and a precursor to the liquidscapes conference, therefore offering stimulation and ideas to take forward to the conference.

I am not clear if my images are attached therefore I will also send them to the above email with my name and details

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/windfall-slovakia.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/we-hold-each-other-up.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/watercressbedsaction-2014.jpg
VeronikaSelingerovav.selingerova@gmail.comSlovakiaCzech Republic

Myself, as an artist I react to the stimuli that is around me at any certain place or time; to the situations and emotions that I feel at that very moment. That is why my ceramic work does not have a certain uniformity that I can be recognised for. I work with materials and patterns of that culture where I find myself. Such as I have done, in the United States, Slovakia or Turkey, I approach each place with an open mind to find the similarities and the differences, and through my art pieces I try to show my own transformation which in turn is a reaction to this new place and the culture it holds. For instance, in my recent collections (East West) I was focused on influence between Western and Eastern culture. I was dealing with processing of traditional Turkish elements emerging in Turkey’s cultural and historical background and their transformation into European conditions. I worked with the idea of reflection the political – social and religious situation and the role of women in Turkey. The material used also conceptually contributes to the shift from the traditional position into the current and contemporary.
I lates works I find a sence in creating not lasting pieces. I still find the clay, mud, earth very much atractiv to work with. So you can see two of my works on the pictures.

I was born in 1980 in Czech Republic. Since 2007 I live and work in Bratislava, Slovakia.
I studied Academy of Fine Arts and Design in Bratislava and also was an exchange student at Univeristy of Houston, Texas and University in Izmir, Turkey. During my doctoral studies I recieved a research stipendium suported by turkish goverment and so, I spent couple of months on research in Istanbul.

Mine main field of interest is clay, ceramic and porcelain. I exhibited my work in museum and galeries and other places mainly in Czech and Slovak republic, but also in France, Denmark, Latvia, Austria, Germany, Hungary, Croatia, Tureky, Argentina, Texas, Korea.
I am also coofounder and organizer of an interenational symposium Phenomenon Gemer which focuses on land art in small scale in a ceramic deposits in south Slovakia.

unswer is included below...

I have an experience in a GNAP 2017 in Germany. I would out about the project in Korea while I was working on a exhibition in Suncheon. I applied for a Germany GNAP and now I would like to apply for yours.
I found the idea very atractive and very much it did fit into my opinion what I would like to do and how I would to express to the world.
As an ceramic artist I was dealing with the pressure to produce a mass, a quantity of work, ceramic pieces. I really felt that this is not what I want to do and so my pieses are original and my collections are unique. Lately even this point of existance of my work is something what I think about.. I think about the quantity of man made work all around the world and about me if I want to join it and create more of something what fills the world even more. To work with earth and mud and clay, to work with fire and sun, wind and rain in so meaningfull for me. To put the strenth into something what will last only a moment and will become again a part of the nature with out a haming it. It fills me with a feeling of liberty, thrue meaning and freedom of expession...
I like the theme in UK GNAP . The themes focuses on wather and so it brings new motivation and new motion into my work. It is very spiritual and emphemeral..
1. I worked in Corea and the theme was "finding the paradise", 2016
2. this is a picture from a short video. The hiden touch is a touch on myself hiden in a clay stone.Germany 2017
3. the mother, archetype of an mother, germany 2017

 I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/touch-of-the-Earth.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/hidden-touch.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/the-Mother-01.jpg

The themes of my work reveal that I am sensitive to and inspired by the environment in which I live. The lack of respect human show toward the environment and the ecological impacts of such behavior is a common motivation behind my art. I find there can be a positive result when a community collaborates in a project of this kind and provides richness in experience beyond the personal.
From 1987 to 1990 I was a tutor at the Faculty of Fine Arts in Tehran University. From 1988 to 1992 I also taught drawing and art history at the Faculty of Fine Arts at Tehran University, Alzahra University and Faculty of Art at the Islamic Azad University at a graduate level. I am currently teaching at the Faculty of Art in Shahed University of Tehran.
I have been invited as a guest lecturer to different universities, organizations and art centers; during my visits I have given talks and workshops on a variety of relevant art issues such as Environmental and Interactive arts

I have a;so organized many major environmental art festivals in my native country Iran, and have helped to supervised young environmental artists around the globe.

I was born in 1963, in Iran (Sangsar). I began his art activities in 1979s. My early works at school were cartoon drawings and caricatures.
In 1983 I entered the Faculty of Fine Arts in Tehran University, studying for a Bachelor Degree in the field of Painting (BA). I completed his studies in1988. In 1991 I began studies at Mphil/ Ph.D. level at the University of Central England (UCE). My research focused on "The Impact of Mysticism on Art". I completed my studies in 1995 and was awarded a Ph.D. degree.
After my PhD study I focused on environmental art. I usually drops his carved fish into rivers and prints my cylinder on sand.
I invited for the 50th Biennale of Venice and presented my RiverArt project. Then I was invited to many countries for promoting my environmental art.
My environmental projects have been performed and exhibited in many countries such as; Italy, Germany, USA, UK, Spain, France, China, Netherlands, Russia, Uzbekistan, Tajikistan, Bangladesh, Finland, Lebanon, Syria, Azerbaijan, Denmark, United Arab Emirates, Qatar, Kuwait, Turkey, Serbia, South Africa, Hungary, Slovakia, Austria, Cypress, Georgia, Malaysia, Tanzania, Zanzibar, Kenya, India, Brazil, Argentina, Paraguay, Ecuador, Portugal, Morocco, Tunisia, Greece….and my homeland Iran.

I am trying to understand my surroundings and open a new window to see a new world. I would like to establish a link between art, ecological education and the order of the universe. The themes expressed in my work reveal my sensitivity to and inspiration from the environment in which I live. The lack of respect human’s show towards the environment and the ecological impact that results from such behavior often that guides my art. Natural and social environments are not just a source of inspiration for my art. These environments also form the platform my works are presented from.
Art is not only an individual action, but rather it can be a dialogue of past peoples with us, our dialogue with people in the present time, and also with people in the future. We take something from one group and pass it on to others. I find there can be a positive result when a community collaborates in a project of this kind. It provides a wealth of experience that goes
beyond the personal.

From 1991 to 1996 I live and studied in UK. I have feeling. The country is one of the spot that I intellectually growth and learned many thing. It changes the stream of my life.
By the way I always enjoy being in a group and share my experience.


I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/01_Ahmad_Nadalian_New_life_Hungary_2011.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/02_Ahmad_Nadalian_In_Paradise_Italy_stiappa_-2006.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/03_Ahmad_Nadalian_order_of_Nature_Cape_Aghulus_South_Africa_2008.jpg
AlwynMarriagea.marriage@surrey.ac.kUnited Kingdom (UK)United Kingdom (UK)

My academic degrees , which reflect my life-long love of the arts and the environment are as follows:
BA Hons in Philosophy at University College London
PhD in Aesthetics at the University of Surrey
MSc in Environmental Architecture and Advanced Energy Studies

Lectured in Philosophy of Art at the University of Surrey and at West Surrey College of Art and Design
Lectured in Art History at the University of Surrey
Environmental consultant and lecturer
Chief Executive of two international NGOs: Feed the Minds and United Society for Christian Literature
Managing Editor of Oversteps Books Ltd

I have been Chair of a number of organisations, including 'Art and Sacred Spaces'
I have been a trustee of Guildford Environmental Forum
I lecture and preach widely, lead retreats and dance days.

My poetry and articles are published widely in magazines, anthologies and on-line.

My books:
Two theology books:
Life-giving Spirit - Responding to the feminine in God (SPCK)
The People of God - A royal priesthood (Darton, Longman, Todd)
New Christian Poetry (Collins)
Bible best (FTM)
Beautiful Man (Outposts)
Touching earth (Oversteps)
festo: Celebrating winter and Christmas (Oversteps)
Notes from a camper van (Bellhouse)
In the image - portraits of mediaeval women (Indigo Dreams)
Rapeseed (Stairwell)

Most of my ten published books are poetry, but they also include two non-fiction works and one novel. I'm widely published in magazines, anthologies and on-line, and give readings all over the world. As well as poetry, dance is important to me, and a few years ago I collaborated with Ballet Rambert at Dartington, leading to a performance of my poetry and their dance. I'm Managing Editor of the poetry publishing house, Oversteps Books, based in Devon. In line with my life-long commitment to ecology, in 2001-2 I undertook further study in environmental issues, which led to an MSc in Environmental Architecture and Advanced Energy Studies; and I have lectured extensively on these issues and worked as an environmental consultant. I've been in contact with CCANW for many years, and gave a poetry reading for them when they were based in Haldon Forest. My poetry is wide-ranging, but often includes spiritual or ecological themes. My PhD in Aesthetics, focussed on Contemplation in Aesthetic Awareness, and as well as lecturing on spiritual and aesthetic subjects, I've also conducted retreats and led dance days. I was Poet in Residence at Winchester Arts Festival, with my poetry exhibited all round Winchester Cathedral.

A writer, and any other artist, is required to speak truth in the world with passion & focus, in the most beautiful and imaginative way possible. Unfortunately, in the rush of modern life and politics, the environment sometimes suffers from neglect, because it's value does not lie in monetary wealth. The writer or artist can work to bring both the problems, and also imaginative solutions, to the forefront of people's awareness.

I would like the opportunity to spend time with other artists, writing in the peace of Dartington. I would hope to work with artists in other disciplines and to explore more deeply the connection between spirituality and the environment.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Dart-passage.dochttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Stanley-Spencers-Christ-in-the-wilderness.dochttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Across-the-mountain.doc
JeanBaynhamjean_baynham@hotmail.co.ukUnited Kingdom (UK)United Kingdom (UK)

I take everyday materials and reorganise them into objects never seen before.
My inspiration comes from my investigations into nature, science, and mathematics.
My starting point on any new project is to seek patterns. To understand why they occur and then use the process to make my own patterns. The intention is to provoke in the viewers a curiosity, leading to their own investigations.
After several successful collaborations, I wish to firmly establish myself as an artist who works across the borders of art, science and the environment. Working in collaboration with scientific, environmental and research centres to make new work. To create a platform for audience engagement, to not only reach a greater understanding but to establish a confidence in challenging the accepted ideas of the mainstream.

Since graduating from Central St Martins in 2014 with an MA in Art and Science, I have made new work, exhibited across the country and have been involved in a collaboration with the University of Bath and Department of Mathematical Innovation. I have worked in collaboration with the National Pollen Centre and taken part in residencies at the Universities of Middlesbrough and Worcester.
I have taken part in the Bridges Organisation exhibition. A joint venture of Art and Mathematics held in Texas, USA and been selected for exhibitions in Middlesbrough, Bath and Brighton.
My most recent employment was a maternity cover position working as arts education officer at Nature in Art, Gloucestershire. A museum dedicated to art and nature.
On a personal development note over the last 3 years I have been on a journey of awakening to consciousness and my place within it. This has led me to shamanism, plant medicine, physics and metaphysics. In particular, I am studying the work of Tom Campbell, author of My Big TOE, physicist and consciousness explorer. I have attended several of his conferences and looking forward to his immersive experience event in March 2018.

Please see: www.jeanbaynham.com for details of my work.

I have never thought of myself as an artist who is involved in the environmental debate. However, I now realise that of course I am. We all are involved we just need to be made aware. Art and creativity is a great way to do it. My concern has been with nature, patterns, and mathematics. As my research has deepened I have realised how everything is connected and none of us can afford to ignore the issues around the environment and how we treat our planet. Art has the ability to introduce ideas without lecturing or preaching. Art can show, highlight, raise awareness and look from different perspectives. Art can explore in ways others may not be able to. Encouraging people to make their own conclusions and take action. Art can engage with the subjects in a positive forward-thinking way. Change one person’s opinion or behavior and this can have an important ripple and awareness raising effect

I am excited to have found out about GNAP-UK as I am currently in the process of consultations with Worcester University and the River Science Research Group based there. The proposal is for me to work as an artist in residence at the centre where I can work alongside the researchers. The Group monitors and assesses river systems. Their research examines the nature and extent of impact on the rivers and riverbanks ecosystems, including those caused by change of flow and water quality. They also specialise in environmental monitoring and assessment of river systems. My work involves looking for patterns and the starting point for the project would be to identify patterns in the water. Look at the science behind them and their causes and effects and then to capture and record these patterns in various ways. One idea is to use the ancient art of marbling using natural pigments to record the patterns and build a portfolio of visuals to exhibit. There is also the possibility of me working with the Worcester based Canal and River Trust. These projects along with The Ephemeral River Project would combine beautifully, each one feeding into the other. With 2018 looking like the year of water!

Another reason for my interest in this project is over the last few years my work and research has led me on a deeper path of discovery about the environment and nature and how we must reconnect with the land to protect and save it from further damage. In particular, I have been studying the work of Stephen Harrod Buhner. He talks about biophilia – bonding with the earth. If we are going to raise awareness then this is where we need to start and projects like yours are a great way to achieve this.

Finally, working as an artist can be a lonely business. This project would give me the opportunity to meet and work with other artists from around the world. Giving me a valuable chance to exchange and learn new ideas around art and the environmental debate. Enabling me to take these ideas forward for new projects.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Data-Stack-Print-.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Self-Organising-Cubes-.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Data-Stack-Installation5.jpg
LeonaJonesleonaj@btopenworld.comUnited Kingdom (UK)United Kingdom (UK)

...crawling through cracks searching out fire flickflickflickering writing for performance performance of writing language embedded in/prised/out from bodyspacetime texts alive sounds live i text my Written to u formed from flowing (because of u and others) becomes part of your thinks your inks your sits your reads your stories i u unique unified writing performing thoughts and ideas SHOUTDANCE TWISTWRITE SHADOWSCULPT imagine


For the past decade my prime occupation has been the making and presenting of creative work. Originally based in literature, I evolved into more performative textworks, and developed this further into socially engaged, collaborative, site-responsive projects (performances and installations) using language and sound in their widest definitions.

My practice adopts the symbiotic creative work/theory approach, where initial muddle and confusion are considered as important to acknowledge as carefully articulated conclusions - all part of process where interrogations predominate. Keats’ Negative Capabilities are lived with for each time being, until feedback loops develop whereby theoretical concerns are instantiated in and through practice, ie the idea is always the focus, theory helps deepen and widen it.

My varied background brings critical rigour with an appetite for pushing boundaries further in order to create and disseminate thought-provoking outcomes. I’m in a small but growing, emergent field where writing and sound are considered interdisciplinary concepts.

Recent successfully presented collaborative performative works include installations centred on the hand-crafting of a Baroque cello, a performance based on Coleridge’s ‘Ancient Mariner’, and I’m currently following a micro-hydro scheme construction in South Wales.

I’m currently a Research Student (October 2017) at Bath Spa University, South West England, within the departments of Performance, Music and Art&Design. My Practice-as-Research studies challenging visual-centric culture focus around a celebration of the hidden, the underheard, the disregarded, the nevernoticed. Si(sound)lences / still(move)nesses and the subtleties of power present in any act of thinking and making will be explored through site-responsiveness, listening, and in multisensory performance. Previously ( 2011/12) I undertook a Performance Writing MA, a unique interdisciplinary programme developed at Dartington College to interrogate language within our current socio-politico-cultural times of flux.

Using field recordings, text and spatiality I seek to highlight physicality, location and context, considering them as central to the inter-relationships between maker/word/world. Collaboration is a foundation of my practice enabling, at its most successful, intuitive and dynamic work which is deeply satisfying to participants and ‘witnessers’. Believing in the inclusivity of the arts means I continually seek to question definitions, highlighting and crossing unnoticed boundaries.

Several of my projects have been supported by Arts Councils England and Wales, and Wales Arts International. My current early-stage collaborative project on micro-hydro will result in an audio/visual installation, aiming to engage witnessers with ecological issues.

‘Hope’, wrote Emily Dickinson, ‘is the thing with feathers That perches in the soul’(1) When the greyscale of news and current affairs forcefeeds too much doom, I remember her words. More come from Matthew Goulish:

..snail philosophy – to embody, enact, and exemplify an alternative ethic of coexistence, and to do so at our own pace.(2)

They are part of my antidotes to the bleak ‘we are reaching a point of no return with regards to XXX’ type of pronouncement. I believe these quotes exemplify the type of contribution the arts can make to environmental debate – thought-provoking, imaginative, grounded and lived in an individual’s or group’s ethos – reminders that we can all contribute something to living in a way that limits damage both to our planet and our beings, leaving something inspiring for the future.

Arts are life. Sciences are life. Both are founded on curiosity and a search for meaning. Great steps forward are made when a way of thinking emerges that shakes the standard methods. Koestler (3) understood the power of enquiring minds to seek and find . Uniquely, though, the arts have potential to reach out to all sections of society, using a variety of ‘languages’, tapping deep emotional resonances. Communication allows crossing of boundaries, taking us out of personal limited conceptions of time, place, self and, if we allow it, start us on journeys across new ideascapes. The arts don’t change lives overnight – they produce ‘liveability’. Slowly. Gloriously. With hope.

(1) Dickinson, Emily, poet, 1830-1886, USA
(2) Goulish, Matthew, Newsletter December 2016, ‘Every House Has a Door’ experimental theatre company, USA,
(3) Koestler, Arthur, 1975 ‘The Act of Creation’ London:Picador Pan

This call-out is one of the most exciting I’ve seen, sited as it is within so many of my interest areas eg, most of my practice’s outcomes are ephemeral and react to the potential of space. Also:
familiar >< unfamiliar inside me >< unknown to me connected >< disconnected My MA was part of the liberal arts education programme from Dartington College, briefly based as outreach in Arnolfini, Bristol before disappearing. It opened up myriad possibilities of performative processes to me, through its examination of location, interactions, embodiment, imagination and context. Dartington runs deep through the veins of all those I’ve met who studied there. But I’ve never been there. To experience this unique place as part of this transdiciplinary global project would be a major opportunity. Stillness and silence, as I’ve already begun exploring in my work, are profoundly linked to sound and movement. However, rather than mere ‘spaces’ to be filled silences and stillnesses can be considered liminal spaces that allow concentrated listening with possibilities for repose and ‘floating’ - bringing new perspectives. They are not emptinesses between, but physical (sometimes) psychological [certainly] spaces in their own right, opening and growing with interaction. When the interactor retreats the space returns to quiet latent inaction again, remaining porous for the next interaction. Sited around River, both metaphorical and literal, this GNAP-UK opportunity involves a profound connection with inner and outer life. Perception is about making, not receiving, meaning. Listening contributes to a fully-functioning society. To be part of a transdisciplinary group, a far-reaching exchange of dialogue and understandings, is another aspect that excites me greatly. The art/science dichotomy can be understood as a political division, one that explodes once examined. Arts and sciences together can offer immersive experiences enabling 'witnessers' to deepen their own understandings, their own potentialities – an experiential knowing – as written about in Antonio Damasio’s neuroscience and Pauline Oliveros’ Deep Listening. Nothing physical is carried away, but everyone takes something. Environment, for me, is something wider than the common use of the word, an understanding that’s grown since joining Greenpeace and the Soil Association in the 1980s. Environment is internal as well as external, human constructions as well as natural. Environment reaches back into Past and extends into Future, deep into the earth’s crust, out to the infinite edges of our universe. It’s linked with ethics and social justice, emotions and spirituality. Thinking and change are difficult to achieve when inner and outer worlds are noisy, oppressive, and are limited conceptually. River is a powerful metaphor of systems, movement, separation and confluence. Water is fundamental to life. Limited access to fresh water is a world crisis waiting in the wings. We need to be considering it now. If I am chosen to be part of this project, I will eagerly embrace its potentials and allow whatevers to develop and become. I know this opportunity will engender growth both for myself and my practice, outcomes I can distribute further through my future work.

in audible: The Baroque Cello Project www.baroquecelloproject.com
Ancient Mariner: Not an Opera www.leonajones.co.uk/ancient-mariner-not-an-opera.html
Borders On www.leonajones.co.uk/borders-on.html

I have not participated in a previous GNAP   
RobTurnerre-turner@live.comUnited Kingdom (UK)United Kingdom (UK)

Maps have been at the core of my practice for many years, and recently I have specialized in making community or user generated maps, these maps have been made with residents, pupils and members of the public. Maps are very versatile and are able to show the past, the present and even future aspirations. I believe maps do tell stories, they record events and show diverse cultural, social, geographic and economic landscapes. They represent knowledge, they are a recording device, they reveal ideas, dreams and show action and endeavours. These are the reasons I’m interested in maps.

The ethos behind my work is to harness community perspectives and mobilise community creativity, by overcoming the gulf between folk and fine art. I aim to invite communities into being participants, often becoming part of a regeneration story, or to strengthen collective identities. My approach is to focus on engaging local people and organisations creating socially democratic artworks which have meaning and local relevance by exploring stories and ideas through workshops and local events. At the core of my practice is the belief that artists can have an important role as chroniclers of change. Whether that change is about the use of land, values towards history and heritage or attitudes on current and ecological affairs. The recording, comparing and re-configuring of events and stories are the work of artists and this is often best done by working with people who are not artistically trained in the context of a commission such as this.

I have worked as an artist in the public realm for 30 years, engaging directly with the changing relationship between art and society through the creation over 120 public art and community arts projects. I can look back over my career at projects in all four countries making up the UK and I am able to say I have worked with very varied communities to deliver projects which remain graffiti free and are cherished by the people who helped make them.
I work with communities from concept, through design to implementation. Examples of my work can be found in residential developments, public parks and gardens, town squares, heritage sites, shopping plazas, nature reserves and public buildings. I have designed artworks to be fabricated by industrial processes but would describe myself primarily as a maker with extensive experience in delivering large scale, high value public art projects with specialist master craftsman skills in making and installing mosaics.

My achievements have been recognized with both regional and national awards for collaborative works with architects and local authorities. But I was particularly delighted to be awarded Blogger of the year 2010 by A-N publications, for my dog walking diary ‘A Walk with Cosmo’

‘I do think that art can change society. I don’t think it’s one artwork that does it, I think it’s the collective effort of artists and institutions together’.
Bojana Janković performance artist and writer.

I think this statement is exactly how it is! Art does change opinions, it does instil values and can translate experiences. Many small influences and small changes add up to something bigger. Art opens everything up to such a wider spectrum of people by using a range of different media; writing, movement, film, drawing, music, performance and installations to name just a few vehicles. In time these outcomes will become a repository of a society's collective memory. This is achieved by creating a broad base to the pyramid. The arts have the ability to influence Scientists, Politians, Activists and the world of education to change perceptions about mankind’s relationship to nature. Personally, I am unclear if this is a place called post postmodernism a continuation or a reversal of modernism, but undoubtedly there lays a new era or epoch ahead where the arts are playing a significant role in shaping new attitudes and values towards plants, animals, people and the future of the environment generally speaking.

I am very interested in this opportunity and keen to apply as it provides the chance to expand and develop a growing area of my practice, whilst at the same time adds to the building blocks of awareness and contributes to collective memory about environmental concerns I described earlier.

Ephemeral Rivers or Springs flow for very short periods of time after very heavy rainfall or melting snow. For the rest of the time river remains dry. Such rivers are generally found in other parts of the world and it is easy to see that as a metaphor which underpins this project. A quick overwhelming burst of knowledge, creativity and information arriving in from all parts of the world. Different viewpoints, different ideas and even alternative cultural understanding about the natural world and water generally. This collective knowledge overflowing for a very short period of time. The River Dart metaphorically overflowing temporarily with international waters bringing new life, new approaches and new knowledge which might alter the cultural landscape in a surge of power to enable new understandings.

I would like to create a detailed pictorial map of the section of this section of the River Dart which wraps around the Darlington Estate. I would like to create this drawing/map helped by the wealth of information about rivers as geographical features, chemistry, physics, biology, wild life, natural history as well as the local knowledge available, all this potential concentrated in one place for one specific period of time. The opportunity to harness this knowledge and make a detailed pictorial map of the River Dart will never be available again. A co-authored piece of work, with contributions from many people of many disciplines, including the amazing opportunity to include information from swimmers who will have physically experienced being in the river would be a key and very unusual contributors of information to the drawing/map. Perhaps the scope of this drawing/map does extend to encompass the longer River Dart or possibly several maps or sections are produced, I am unclear at this point. I would hope that the following Liquidscapes gathering would be able to refer to this map of the River Dart to illustrate the enjoyment, knowledge and navigation of this River in a way not presented before.
These are the reasons I have applied for this residency.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/The-Radfall.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Map-of-Watchfield-School.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Canterbury-Peoples-Map.jpg
Kate Stevenskatekiki66@icloud.comUnited Kingdom (UK)United Kingdom (UK)

I am a horticulturist who runs environmental arts projects with schools and the local community.
I have a special interest of working with living willow.

I have worked mostly in the Nottinghamshire and Lincolnshire area designing and planting gardens and Living willow structures.
I have worked with schools on long term projects where gardens have been created and nurtured by each year group eg Japanese meditation garden, bog garden, orchard, ww11 veg garden with shelter, woodland pulmonaria collection garden, ponds, wildlife areas.
I have won awards from both the RHS and Total environmental award s for my work.
I love the engagement of working with children especially and other artists.

BY stimulating people's senses and linking today's global issues. We open their hearts and minds to connect with and make a personal pledge to change.
Just one small habit can make a difference and spread like a ripple in a pool.
Obviously press coverage helps.
But what interests me is what makes someone engage and pledge morally to change.

I need a new project/ adventure. I put into google art and the natural world and you came up.
I have worked with living willow for 20years a plant grown along every river bank in the UK.
I feel a special spiritual bond with Dartington as I lived near by as a teenager and visited very regularly.
I last visited on my 50 th birthday last year whilst travelling back from an adventure in Northern Spain for 6 weeks.
It feels like fate to find this project and I want to be part of it in some way.

 I have not participated in a previous GNAP   

A lover of nature Dimitrov chooses to work large-scale outdoor sculptures made from robust
natural materials. He displays an enormous talent in handling his materials, especially wood and
stone to make large sized works.
Conceptually his work revolves around the interaction of man with the natural elements. He is
intrigued by the quality of strength that the stone possess. Through his large sized works he very
often urges the viewer to feel the magnanimity of nature.
Dimitrov is very often interested in inviting the viewer to interact with his sculptures: either
by sitting within, clambering over, or wandering through and inside. Most of his works involve the
heaviness of his materials with the movement. Usually his works display a rugged and rustic
unfinished style, yet exhibiting a very sensitive quality. Dimitrov draws inspiration from the
surrounding landscape and uses indigenous natural materials whenever possible. He often studies
the place and the landscape around the site and likes to connect the location with his work.
Many a times he makes ephemeral work without adding any outside elements, or disturbing
nature to create his work. He has made many such works where the process becomes as
important as the work itself.

Dimitrov is a graduated from the High school of Art in the town of Kazanlak,
and has M.A. in Veliko Tarnovo – St.st. Cyril and Methodii University in Bulgaria.
He is a member of the Union of the Bulgarian Artists Association. In 1999 he establish the DUPPINI Art
Group Association. Since 2011 like chairman on Duppini Association (no governmental
organization) organized an International symposium of arts in the nature Art-Nature Gabrovtsi 2012 -
2016, and Mini festival for contemporary arts “The old post or the contemporary means of
communication”, and the project “Master, journeyman and apprentice” of the program “Debuts” of
the National fund “Culture”, “Duppini LIKE” project in Old Post Office in Veliko Tarnovo 2012 - 2013,
and regularly leads workshops in nature and sculpture for a number of arts educational charities. He
is director of GLOBAL NOMADIC ART PROJECT EUROPE, Bulgaria 2017. Duppini Art Group is one of the
organizer together with Korean Association YATOO of GLOBAL NOMADIC ART PROJECT.

My opinion as an author and my concept of art in general is that it must be closely related to nature. That is why the art group that I manage is mainly concerned with events related to nature, and since 2012 we have been conducting an artistic art - a nature symposium in which we invite authors who work with natural materials. So, the village in which we conduct this event - Gabrovci is an ecologically clean area and it is very important for us to keep it.

I apply because I like to work with nature, I have rich experience and am one of the founders of this movement. I took part in the first edition in Korea in 2014, just after the 2013 conference, which is the basis of this movement. I participated in the project in India 2015, and 2017 I was a Director for Bulgaria, and also, I was participant in Izmir, Turkey2018
So for me will be great pleasure to be part in GNAP UK 2018


I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/process-Birdland-GNAP-Turkey.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/process-II.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/GMAP-Korea-2014-Jeju-spiral-and-spyrit-small.jpg

My artistic roots are in ceramics, land art and conceptual art. I also have an interest in phenomenology, psychoanalysis and language. I get inspired by the fact that there are so many different ways to percieve reality, fantasy and art - and believe that it is possible to make art that includes mind, body and intellect. We know this when we are born.

I have been exhibiting and doing public work mainly in the Nordic countries, on full time since my MFA in 2008. Full cv on my website: www.ebbabohlin.se - where the works I included further down are also shortly described in English. Works have been commisioned by Public Art Agency Sweden, Stockholm Art Agency, along with various citys and private investors. Participated in exhibitions at Bonniers Konsthall, Artipelag, Culture House, Thielska Gallery (Stockholm), Kiasma, Sinne (Helsinki), Entrée, Akershus (Norway) and so on. I recieved working grants from among others the swedish arts grants committee.

Working site-specific it is maybe inevitable to include these pressing aspects - and yes, not least since I have been working a lot with public art, I sincerely believe that art can make a difference in peoples lives.

My friend and collegue Ulrika Sparre recommended me to apply, since my artistic roots are in landart and minimalism. (She has participated in previous GNAPs). I really long to do some ephemeral work having had the opportunity to make many permanent public works - and to exchange thoughts in a context that is not the habitual.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/solvisare.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/vindros.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Portfolio-2.pdf
MartinStaniforthmorth@morth.co.ukUnited Kingdom (UK)United Kingdom (UK)

I am a versatile sculptor / artist / facilitator and I like to work in a collaborative manner, embracing input from different communities on topics that connect contemporary human existence with the natural world. I like working with diverse groups and distilling complex narrative into iconic statements. At the beginning of a creative project, I am excited by the unknown possibilities as individuals, groups and research add together. In the development phase, I use different techniques and materials that suit the commission. I have no one style. Last year I used plaster, stone, clay, resin, print-making (collagraphs, monoprinting and screen-printing), acrylic, wood and metal in artworks.

My creative practice focuses on emergence, regeneration and natural progression. There is no such thing as ‘status quo’. We live in a dynamic system with old forms dying and new forms evolving. We see this in the natural world. Whenever one thing ceases to be, something else emerges, evolves and expands to fill the space.

I love the way that nature takes root in the tiniest places and creates something new, be that a delicate fungus living on a rotten branch or an insect bedding down in a receding river bank. Yet even these new life forms will pass and be replaced by something else. I often wonder about all the spirits of animals, plants and insects that must have passed through a small patch of land over the centuries, and the traces that these passings may have left.

I love facilitating to co-create outputs, often running workshops with schools, businesses and community groups. I have run an open-air workshop with refugee children (using nature as a source of inspiration and grounding), facilitated at Southbank’s ‘Being A Man’ festival and devised Creative Wellness Workshops with charities on the theme of 'Hope & Renewal'. This theme was inspired by reaction to a major fire. Consequently, I obtained a tonne of burnt timber from that fire to create an organic sculpture that travelled around Devon (Exeter Cathedral, Powderham Castle, Teignmouth Lighthouse).

The sculpture provokes much emotion. Some find it relevant to what is going on for them personally, others see it reflecting issues in the wider world. Having captured public reactions, I am working on a new project, ‘Resurgo’, that includes community workshops, a bronze sculpture and a Contemporary Dance Festival on the theme of renewal.

Currently I am working on a project in the Peak District, exploring how the landscape and communities have inter-influenced over the centuries. Also, I am working with a community, in a graveyard in Bath, to create a temporary structure that will be broken down by nature / the elements.

Global warming is happening. Blah blah blah. The seas are rising. Blah blah blah. Species extinction is at an all-time high. Blah blah blah.

We are used to hearing these headlines but it can be hard to relate our individual lives to issues on a global scale. So we tune out. And carry on with our old habits. Collectively, this does have a huge impact on the planet.

I believe that a key role for the arts is to make difficult / challenging / complex topics accessible so that we, as individuals, can relate to the issues. It can be too easy to be overwhelmed by the scale of the forces affecting the planet, leading us to live in wilful blindness. Arts interventions can bring these topics down to our level and give us a way in.

In my opinion, the worst thing I could produce as an artist is ‘wallpaper’ i.e. something that people briefly acknowledge as they walk by. For me, a piece of art has to beg a conversation, has to provoke, has to get people thinking and engaging in a different way. Art can be an awareness-raiser, a challenger and a facilitator of change.

Art has a wide range of techniques to employ. In particular, emotional dissonance can be powerful, provoking surprising feelings to encourage re-evaluation and, eventually, some sort of behaviour change.
I felt this when working on my ‘Hope & Renewal’ sculpture. It was unsettling to use materials created by destruction yet also wonderful to construct for the future with something that would have been thrown away. And I was touched as to how many people were visibly moved by the theme of renewal. Many were inspired with hope and saw the project as a catalyst for personal growth.

This is a perfect opportunity for me to contribute to a creative group project that is firmly rooted in the natural world. At the same time, it will help me to develop my practice as an artist, to learn from others and to get more appreciation for the challenges and opportunities in developing creative projects on the environmental theme. I am intrigued as to how I and others, from different backgrounds and experiences, will respond to the Dartington River and Estate. Creativity is more interesting when co-created.

I love being open to process and working in the moment. (The three sculptures in the images submitted for this application emerged / evolved in the process. They were not ‘design and build’ projects.) So, I think that I have a lot to offer to The Ephemeral River group:

- I find the natural world a wonderful source of grounding and inspiration. From walking in all weathers, to using found objects for transitory sculptures, to open air sketching, the majesty of the natural world underpins it all.

- I enjoy playing with both the ‘blue sky thinking’ brainstorming stage and the practical ‘let’s get this thing done’ stage. I guess this is my communications and engineering backgrounds expressing themselves.

- I appreciate being a participant, rolling up my sleeves, challenging and sharing. I also love facilitating groups to give everyone a voice, to summarise what seems to be going on and to support the group in working towards a common goal.

- I sing in a community choir and a choral society and love performing and encouraging others to have a go.

If I was to think about starting points, then I would like to explore these topics as part of The Ephemeral River:

- Permanence - mankind may try to make his mark last forever, but nature is a more potent mark-maker. How does the Dartington Estate notice and balance the demands and energies of humans and the natural environment? How does the River Dart change its shape / mark-making over time?

- Vulnerability - how can we take strength from showing our weakness as a species? (See Brené Brown's TED talk.) A river is both a forceful flow and a collection of frail, easily-displaced parts. What can the river teach us about how to live with the planet?

- Finite resources - as the population continues to rise, in tandem with more consumption of the earth’s finite resources, how do we build a deeper appreciation for those finite resources? What parallels are there between the journey of our species and the journey of the River Dart?

The key attraction of this brief is the opportunity to experiment on many levels (through silence, conversation, mark-making, landscape immersion, performance, etc) with a diverse group of individuals who are keen to share, learn and create together on the theme of the natural world and our relationship to it.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Hope-Renewal-in-Teignmouth-historic-burnt-timbers-4-meters-CC-Aerial-Solutions.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Chaetonotus-Jesmonite-acrylic-concrete-2-metres.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/After-Doris-post-storm-twigs-seed-heads-paper-clay-20cm.jpg
ErynneEwart-Phippsewartphippserynne@gmail.comSouth AfricaSouth Africa

My creative process is developed by observing a site’s natural offerings, and manipulating them into a sculpted form, deliberately distinctive from the physical surroundings. These intentional manipulations reflect man’s palpable presence within the environment, yet once commemorated via photograph or film, can be easily forgotten within nature’s ever-changing processes.

Non-permanence is vital to the overall notion I wish to create, and the impact permanence has within an interactive and adaptive environment. All creation has duration, my work is to emphasise transience, the fleeting and ultimately the relationship between permanence and impermanence.
Every potential site has an ecosystem unique to its environment and surroundings and historical milieu. My intentions are to generate an awareness of said components and comment on the interconnectivity of all inhabitants.

There is a great emphasis of the ephemeral materials used within the sculpted forms, as the works aim to contribute as an inhabitant enrichment rather than invasive footprint.

My experience is that long after the artwork has been reclaimed by the site, the memory of the artwork’s presence persists and informs my interaction with the landscape. It demands neither visual literacy nor education in order to be moved by the experience of a great land art piece. It is immediate, and enhances one’s own sense of being in the world.

Land art for me reminds us of the temporal nature of mankind’s shared existence. After all the nature of life is not permanence but flux.

I have attained a Baccalaureus Technologiae qualification in Fine and Applied Arts from Tshwane University of Technology.
I have most recently participated as a featured artist in the International Land Art Symposium hosted in West Bankura, India in February 2017. I have been a featured artist at the Site-Specific International NOMAD Land Art Biennale in 2016.
I have been a featured artist within Site-Specific Africa Geoglyph project’s collaborative efforts in creating South Africa’s first environmentally conscious geoglyph and community enrichment programs within Karoo and Loxton regions.
I have been an artist at the International Plettenberg Bay Land Art Biennale (2013) and local annual arts festival, Clover Aardklop in Potchefstroom Southern Africa in 2013.
I have participated in twelve exhibitions and have been published in five local newspapers and international magazines including the Weekend Cape Argus, Country Life Magazine, Landscape SA Magazine and Cool Capital Guerrilla Art catalogues.
I am the youngest founding member of the non profit organization Site-specific Africa.
I am currently a lecturer at the Design School Southern Africa and Vega specialising in the education of Fine Arts, Visual Literacy as well as Design Thinking.

The Arts have always delved into, and bent the experience of disruption. Art has endured the service of overtly political and social campaigns throughout time, and its contributions, within the environmental debate of the present, bare no less accreditation.

A dialogue predominantly dominated within a political and economic context, can stand to benefit from the Arts natural instigation toward change. The arts have the role to play of influencer in both perception and behaviour because it resonates within a cultural context, invoking communally motivated action. This serves as ground floor for a collective paradigm shift of environmental, educational and social cohesion.

This is evidenced within various projects where artists and communities have worked together attributing towards preservation and conservation efforts, such as The Snake Eagle Thinking Path located in Matjiesfontein is the first permanent geoglyph made in South Africa. It is in honour of the breeding pair of Black Crested Snake Eagles resident in the area. In hopes that the geoglyph will attract global attention via Google Earth to the precarious semi-arid biome of the Karoo, encouraging tourists to visit the town of Matjiesfontein and walk the path. In this way the arts can be valued in its contribution to the environmental debate, as a collaborated course of action with viewer, creator and benefactor.

When the public is presented with the theory of sustainability, there is invariably a terrain of political etiquette required to navigate rather than understand and react upon. Rather than relaying a message, the arts create meaning within said message and a cultural surge carries the message within a generation.

The art’s contribution in creating awareness of the environmental debate can be viewed as an endeavour of the re-integration of humanity’s lost relationships between nature and culture.

I have applied for GNAP-UK 2018 as I share great interest in the central focus and thematic subject matter of water. “Water” as a discussion is a globally loaded topic.

Humanity is urgently developing a consciousness toward self preservation devoid of class, race, and logistics. The concept of conservation efforts as solely reserved for other species, has shifted to that of our own survival.

Water is a vital element to all living life form’s survival. The topic of water scarcity and conservation specifically became a bewildering personal truth for me as a South African by witnessing the drastic crises and threatening depletion of water in Cape Town, the entire city may completely run out of water in the near future in a matter of months.

Having realized this conservation shift, local residents and national authorities face responsibilities embedded in the realm of politics. Questions of protection, usage, development, conservation and management as well as sustainability are all equitable priorities that need addressing.
From a historic perspective man’s exploitation of natural resources, such as that of water, has been the norm. Those in power have had dominion over the land and its cultivation.

As water scarcity infiltrates the business markets, mismanagement and inferior infrastructure of resources ignite conflict with local citizens and government authorities. Dialogues surrounding water ownership and distribution result in discords.

With the largest local environmental debate being linked to one of the exploratory themes of GNAP-UK; “water, the environment and politics”, the opportunity to connect South Africa’s present environmental concern to a future global context is my intention.

The discussions surrounding South African national governments’ negligent treatment of the Western Cape water crisis explores South African politics, not global warming. However when discussed in an international space, the opportunity for conversation surrounding the responsibilities of water within society as a whole can be activated.

Contextualising these responsibilities within an artistic platform yields an exchange of perspectives and cultural behaviours. A heritage of African cultural storytelling and folklore complements the narrative artwork I would like to contribute to GNAP-UK.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Erynne-Ewart-Phipps-Gumball.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Erynne-Ewart-Phipps-Hands-and-Feet-of-Time.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Erynne-Ewart-Phipps-Ritual.pdf
DonalFogartydonalreply@gmail.comColombiaUnited Kingdom (UK)

As a tutor in English for Academic Purposes, I teach scientists and academics how to navigate their particular discipline’s genre and thus articulate their complex ideas with clarity. This work has convinced me that as an artist there is a role for the writer to act as a conduit between the lay and the learned discourse communities.

As an educator I identify with the ancient and, in some cultures, contemporary conceptualisation of the teacher as storyteller or messenger. And I believe an affinity with that concept is the stimulus of my recent explorations, where I have developed my craft beyond my previous practice of producing prose for others and into the realms of performance poetry (see attached: ‘21st Century Teacher’s Lament’ and ‘There’s No Such Thing as Harvard Referencing’).

Whilst my work is often of an irreverent and joyful nature, my early career at Schlumberger as a Marine Seismic Geophysicist founds my artistic endeavours with an underpinning of science and critical thinking. And I think that this thinking was behind my recent play, The Ghost of Leave Remain (a Dickensian take on the Brexit debacle), where I played with the themes of confirmation bias and the impossibility of binary choices.

As my Irish blood longs
for rains, rivers and loughs
I send my words downstream in search of the sea
in the hope that there they may change humanity

Donal Fogarty is a semi-aquatic, former windsurfing instructor and current writer of poetry, prose and plays.

Rarely of static abode he teaches English at the University of San Gil, Colombia and the University of Nottingham where he is also a postgraduate student.

His account of his short sojourn living and working on the University Park Campus is due to be published on the Nottingham: UNESCO City of Literature Blog in February 2018

His poetry has been performed at Exeter College, Oxford where in August 2017 he also MC’ed the closing night ceremony of the Oxford English Language Teachers’ Summer Seminar Series.

His first stage play (I Hope It’s Good) won a regional award and was performed at Hall for Cornwall, Truro in May 2010. Other writing and editing credits include the second series of SourceFM’s Carrick Roads (a radio soap-opera set in, on and around Falmouth Harbour).

In 2012 he was a Vodafone Foundation World of Difference Awardee, working on proof of concept for the socio-environmental initiative Sea Change Cornwall; whose rainwater attenuation and harvesting project sought to reduce poverty, combat climate change and tackle the blight of sewage on Cornish beaches.

The evangelical rhetoric around the climate change debate is not winning the hearts and minds of the public.

If we’re to arrest and reverse the environmental degradation of the Anthropocene era we need a more creative communication strategy.

Within the paradigm of decreasing attention spans in a world that is increasingly digital and visual, words become more important rather than less important. Communication in a space impoverished of word count requires a special kind of writer, a scientartist. A scientartist differs from a sensationalist. A sensationalist writer debases himself and his audience by sexing up science in an effort to create weapons of mass distraction, when in fact what humanity needs is to pay attention.

The scientartist is embroiled in a ceaseless search for acuity – that concise and perfect permutation of words with the power to change the world.
It’s a ceaseless search because acuity is a function of our ever changing sociolects, geo-politics and socio-environmental challenges. It could be argued that acuity visits you, you do not search for it. Therefore, if you long for acuity you must immerse yourself in a landscape that promotes a visit from such a fleeting friend.

Unexpected guests often make the most interesting and inspiring companions – their unpredictability interrupts our quotidian existence and holds our attention. Similarly, if acuity happens to be abroad in the watery world of Dartington it is impossible to predict which solutions she may inspire in the artists who stand quietly in hope of apprehending her.

As a scientartist afflicted by an interest in everything, I am constantly aware of more opportunities than I could possibly apply myself to. So I ruthlessly select only those calls that have an evidence based prospect of bearing fruit. The following two highly relevant precedents, where I spent time in inspiring natural environments with other artists, lead me to strongly suspect that participating in GNAP-UK will enable me to make a contribution to my field as an artist, educator and father.

1. Nottingham’s Leafy Campus: Despite an intensive work load of teaching and marking, time away from home and the distractions of family led to one of the most productive periods of my artistic career. The opportunity to walk, stand, sit and contemplate in the landscaped gardens and natural downland of the park campus – aided and abetted by a Van der Waal’s like creative force that gravitated me toward and attracted to me a peer group of likeminded teacher artists who inspired me to push and explore my artistic boundaries (“well, we’re teachers, that’s what we do” said one), is an opportunity that I long to encounter again.

This description of the Nottingham environment is akin to what, I know from past experience, will await me at Dartington.

2. Some years ago I was involved with the Cornwall School for Social Entrepreneurs. Our week long residential was my first experience of Dartington. As an eager 3rd Sector volunteer and manager I was surprised to find myself feeling increasingly removed from the mechanics of not-for-profit business structures, funding models and service level agreements. There is something about the Dartington Estate; it seems to possess a creative antumbra that only reveals itself to those who have strayed from their vocational paths. It took me sometime to reconcile the inappropriate feelings of guilt that I’d left a residential on social enterprise not with a ground-breaking business plan for a CIC but with the kernel of an idea for a novel. That kernel has become my current work in progress: “Lumpy & Capey vs The Echowater” an eco-fable for children and adults.

As a late career scientist and an early career artist I am torn between a desire to have my words recognised in a literary journal and the need to let them fly free. I know from past experience that GNAP-at Dartington will inspire me to share, capture and release my bonniest of bons mots.

In summary, should I be successful in this application I intend to inhale, immerse and submerge myself not only in Dartington’s natural environment but also within the ecosystem of the my fellow participants and facilitators until I grasp, however fleetingly, that slippery trout we call acuity.

Post Data: I am about to submit this completed form and when I have done so I intend to dust off my copy of Deakin’s Waterlog and hope, this time, to embrace it as an active agent rather than a spectator – such has been the power of reflection that this application has necessitated.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Performance-Poetry.docxhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/The-Envelope-Memoir.docxhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Bad-Parking-Creative-non-fiction.docx
UrsulaTrocheursulatroche@yahoo.co.ukUnited Kingdom (UK)Germany

I engage in forms and art-forms, mainly as a psychogeographer, and often/usually make marks in writing, performance, photography, which I view as media to speak and dialogue. Primary/primal foci are landscapes, urban til rural, sea and land, and in it, and into it, us, our social structure, culture, multi-cultures, our global-ness – here I aim at weaving decolonial possibilities. This leads to tracing fractures too, boundaries and margins in our human infrastructure, and voice/articulation/communication.
Looking always for belongings and harmony, I ‘go back to nature’: I trace shadows and light, dusk and dawn, and us, amongst those rhythms. This is where the subconscious lies too, and so I extend ‘psyche-analysis’ into the environment.
Edges are explored from ‘over the edge’: i.e. as a foreigner-in-residence (which is to say a foreigner who has been ‘on British location’ for the longest part of my life) where, in a variety of ways ‘the near has become far and the far has become near’ (echoing Solnit somewhat).
‘Elsewhere’ evokes multiple meanings, time-and space-reversal, and therefore constitutes the backdrop to my passion for revealing layers and stories in a vast variety of localities. In this sense, I work like a geologist too, and an archaeologist.

Lines and dots are interesting forms for me. Influences are, amongst others: A line made by walking (Long) and The Thin Black Line (Himid) who converge upon a line, with different concerns, both of which are central for me.

I have started out, in 1998, as a performance poet, which was a response to my studies at the University of London in African Studies, Politics and Intercultural Therapy. Performances at Notting Hill Visual Arts Festival, South London Jazz Festival, South London Human Rights Festival, Colour of London Festival, conferences, etc.
Poetry/prose published in “Curiosities from the River Brent”, “GGU anthology”, some newsletters, and by the Fountainhead Festival (with Black Berlin Film Festival).
Particulations particulations.blogspot.com (A psychogeography of where I grew up), Wandering Words www.wanderingwords.org.uk about the Hoo peninsula, Kent)
Beyond Borders (2006) web site of the British Council: www.transculturalwriting.com

In my form- and shape-making work, also as a life model, I have worked with Spirited Bodies, at the annual WOW Festival and at smaller events.

Poetry prize from Rethinking Cities, been shortlisted for the Northumberland Writers Award, and been runner-up for the Sappho Letchworth Award.


“Train Lines”: writing- and performance piece attracted the attention of the Drawing to Perform festival.

“Humbria”: work around the Hull- and Humber rivers with psychogeography colleague Dr. Simon Bradley.

Severn River and the English/Welsh border with “Here Here” Shrewsbury.

“Mine and Yours” project about a psychogeography of comparative mining heritage in Britain and Germany.

In 2009 I participated in a booklet about the river Brent (in north-west London, with "the meaning of the river"), a project which highlighted for me the contribution of the arts to the environment debate. I had been familiar with the arts for social change in general, and consider the works of Parker, Gormley, Jencks, Beuys, Long, as well as Brecht and Boal in theatre as reference points.
The arts work on more than one dimension – they convey ideas, views, generate debate, participation, and are therefore ideally placed to raise awareness. The arts present a variety of ways in which to make issues accessible and participatory. The academic text in itself is restricted in attracting readers, and the campaigning level can be limited in attracting wider debate. The arts can take elements from both, and thereby be both mediator and umbrella in what it represents. There are many dimensions, which the arts encompass: highlighting beauty, stimulating the imagination, and including spiritual/shamanic aspects of nature’s effect on us. Another function of art is to highlight beauty, which again broadens the re/cognition of the importance of the environment. The arts have all these levels, because they mirror our ideas, which again arise in response to the environment, and its endangered state. So there’s a whole system of interdependence, and the arts are a way to connect the dots, and therefore bring different discourses together, and facilitate and encourage dialogue.

It’s a vehicle with which to move the debate forward. Also, there’s an urgency about the debate, and the actions that need to follow, so all avenues should be utilised in working on our future.

I have done a lot of work around rivers, and am have just done work around the Hull/Humber, which included 'Albis' (the Elbe river) meets Albion'. I love ‘looking deep into a landscape’, and have also done some writing around the Dart. Writing about land- and river-marks is intrinsic to my psychogeographic way of life, by which I mean the deep immersion into the locality of a land-and river-scape. I look for the land and the “spirits”, the stories inside the land, and can nurture it by respecting and promoting its environmental, and energetic, service to us, and its needs to sustain it.
Though accessing local ‘depth psychology’ when looking at a river, I also strongly relate to the nomadic element of the work, because I am not of the same place as the river. The counterpoint between the local river and non-local me, then, brings a nomadic element into my conversation with the river. The result is a miniscule way of balancing local and global aspects, thereby centering nomadism as an inevitable source of being with the river.
Nomadism, then, also evokes fluidity, which is augmented when dealing with a river, with its water, which is inevitably linked, in a more immediate way, to other rivers and the sea. The river passes through a land, like us if we don’t live there, though the river’s passing is more constant then ours. But it makes for an exciting interplay, which, too, emphasizes liquidity, echoing your ‘liquidscapes’. So I see my work as being in this intersection and therefore am drawn to it.

I have presented a variety of my projects at conferences, including at “Further North”, in Newcastle, with “Cultural tryptichs and unconscious beyonds”, a predecessor of my “Each Other’s Islands” project – another water-based project.
I also want to take up Oswald’s point on water having memory, which I have written on elsewhere.

Nomadism has a special meaning for me as well because I grew ‘beyond a boundary’, in Germany, and have since had an interested in other types of ‘edgelands’ too. Since writing/performance, I have translocated recognition of the land ‘backwards’, i.e. form this country back to Germany, and elsewhere too. My interest is in forms and shapes, and in lines and dots, and their interrelationships and constellations.
There is fixedness in this as well, but I can relate to the fixed and nomadic poles, as I have consciously and psychogeographically experienced them from different locations and perspectives.

Nomadism also encourages a mutual moving relationship between us and our work. We come from various places, gather, and then take the spirit of the work elsewhere, whilst the river remains, though the water flows too – so there’s some exciting flowing relationships here.

Having done work around rivers before, including the river Dart, I feel that this is the perfect opportunity, and look forward to the gathering.

colourcirclesite.wordpress.com (main blog)

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/FlowFlowRiverdart-ut.docxhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Each-Others-Islands-ut.docxhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/blog-WestYorks-triangle-ut.docx
James PGrahammail@jamespgraham.comItalyUnited Kingdom (UK)

I have practised full time as an artist since 2001 producing works in a variety of media, specifically choosing the appropriate solution according to the demands of each project. In the last ten years I have made works using sculpture, drawing, photography and video installation. The main interlocking thread within my work is a fascination with the origin and manifestation of real or imagined physical or metaphysical energy fields. Elusive but intuitively perceived, their presence can indicate a superior level of consciousness. They are fundamental to the understanding of our relationship and place within the wider cosmos, as well as a reflection of what can be found on Earth within all living material.
In the last year I have turned attention to the deplorable state of the world and have made a series of works on paper entitled ‘Desacration’ about environmental damage, conflict and negative energy, the polar opposite to my previous work. In parallel I have been actively involved with a successful campaign group called ‘A Plastic Planet’, calling for a ban on all single-use plastic and introducing specific aisles in supermarkets where consumers can just shop ‘plastic free’. With the support of the public we hope to convince government, retailers and corporations of the need to halt disposable culture for the sake of our dying oceans. It is this subject that I wish to address in my proposal.

I have been working in the visual arts since 1986, first as photographer, then film director and now for the last fifteen years as a multimedia artist. I left school at 18 and after 3 years working in a London advertising agency I moved to Paris starting a career in photography, executing many editorial and advertising photographic commissions in France, the UK and Internationally. 7 years later I returned to London in 1994 to direct TV Commercials including a notorious spot for Friends of the Earth. In 2002-3 I started creating my first screen based experimental artworks using Super 8 film. In this vein I made my first large scale work Iddu (2007), an Arts Council funded project made over 5 years on the landscape of the active volcano Stromboli in Italy. This huge 360 degree multi screen film installation was first exhibited at Musee d’Art Moderne (MUDAM) Luxembourg in 2007 as a 9m diameter, 3m high projection tent. I have now shown artworks in over 30 art exhibitions including three solo shows. Since 2012 I have been living, working and exhibiting in Etruria Italy with a wonderful solo show recently at Palazzo Cozza Caposavi, near Rome.

“The only thing we have to preserve nature with is culture. . . ” Wendell Berry
Contemporary art practice can make the seemingly impossible a reality, giving spectators new and profound experiences from unique combinations of materials. Art projects can leave an indelible impact or no trace at all. What good visual art can do extremely well, is to put moral, ethical and political issues into a different context, so provoking a lateral unconscious shift in thought and perception. This applies especially to global environmental issues which for me are without doubt humanity’s biggest ever challenge. The scale of this task increases every year.
The Anthropocene has already pushed species to the brink of extinction, decimated our eco-systems and depleted oxygen levels. Life on earth is at a crisis point. Our reaction should not only be damage limitation, but also preparation for life post climate change. Visual artists like Tomas Saraceno are addressing these issues in a utopian way but we need more than fantasy. The writer Paul Kingsnorth’s book ‘Confessions of a Recovering Environmentalist’ is a seminal work which addresses a post-capitalist society and shows by example not just how we can avoid destroying the environment, but something much deeper - how to reconnect with our natural habitat from which we have become completely disconnected. The world of early ancient civilisations like the Etruscans, the Zorastrians, and Tibetans lived with a sense of spirituality that embraced nature as an equal, not as a source for exploitation and domination.
Artists have a long history of making meaningful contributions to the environment in formal and informal ways. Bucolic, romantic, alchemic, interventional, but now we need something more drastic, more impactful, and frankly more reactionary as artists engage fully with the issue, and descend from the tall tree of culture.

I am first an artist and second an environmentalist. As I grow older these two activities are converging. I know Dartington well, have studied at Schumacher College and in March will accompany its co-founder Satish Kumar to China on a trip to discover China’s new eco-civilisation programme. My proposed artwork has been developed specifically with the 'The Ephemeral River' exhibition in mind as a way of provoking new and different responses to environmental issues around water.
Inspired and horrified last year by a friend’s documentary ‘A Plastic Ocean’, I decided to take action and join a small activist group ‘A Plastic Planet’ (APP). We are campaigning for a ban on single-use plastic, an immediate stop to the production of non bio-compostable plastic, and the choice for consumers to be able to shop ‘plastic-free’ in all supermarkets. With timed precision, lobbying, and huge media coverage we have generated a massive awareness and public conversation regarding the worldwide plastic problem. On 11th January Prime Minister Theresa May announced her specific support for our initiative in a key speech on the environment. Our petition to CEO’s of Supermarkets has now hit almost 50,000 signatures. On Jan 15th Iceland supermarket announced its intention to eliminate plastic within five years. In Italy I have embarked on a series of educational lectures in schools, work with local councils, media campaign and political lobbying.
Unsurprisingly therefore, my proposal for an ephemeral artwork relates to my recent activism even though ephemeral plastic is a contradiction in terms! Here I am examining two important contemporary aspects of water and have developed my artwork with these closely in mind. The intention is to create two conceptual poles to form a tension, presenting a paradox to the viewing public. The first alludes to the destruction of the water cycle as a result of irresponsible human activity - river pollution, irregular rainfall, ocean plastic. The second highlights water as agent for destruction, rising sea levels, flooding, storm damage. Within this I keep in mind the unpredictability of nature.
I would like to stretch two almost invisible fishing lines across a narrow point of the River Dart (see photo mock up example taken from the Dartington Estate). One line 2.5m above the surface of the river water and the other at 1m, strung from camouflaged temporary wooden stakes either side of the bank. The two lines are tensioned across 25 metres. In between these two parallel invisible lines I attach shapes made out of a material which resembles plastic because of its colourless transparency. This material becomes more layered and therefore more opaque closer to the centre of the shape. These forms have been directly mapped from outlines of vulnerable atolls in the Oceans. The fragile transparent material has one surprising quality rendering it completely ephemeral….it is water soluble. Over the course of the exhibition the chances of rain are extremely high, with the result that the ethereal atolls may indeed disappear – nature will decide.
The installation will be entitled ‘Decision time’.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Decision-Time.-Proposal-for-The-Ephemeral-River-2018.jpg http://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Suspended-Animation-5.-48-stones.-stainless-steel-wire.-salt.-2.2m-long.jpg
PeterWardpete-ward@live.co.ukUnited Kingdom (UK)United Kingdom (UK)

My practice as an artist is rooted in a sense of our evolving relationships within the animate earth. Art, as a reflective interdisciplinary process, is the means through which I investigate and share these relationships. It is one means through which we may enrich our life experience. It is an intimate response to the social and ecological conditions of our age.

My work aims to provide a space for creative investigation in the outstanding and unique environments we inhabit utilizing contemporary artistic skills and experience, developed itself over many years through such investigation. In practice this has taken the form of painting, installation, writing, workshops, presentations, performance and interdisciplinary projects with dance artists, woodlanders, conservationists, marine biologists, environmental educators, geologists and geographers to investigate and express a more holistic and responsible perception of the world.

With a lifelong interest in natural history and aboriginal societies I am particularly fascinated by creative experience of elemental actions and materials through which we may discover and develop a deeper connection to the planet for both personal/spiritual and political ends.

But first and foremost I hope to celebrate the wonder and beauty that is this world with humour and joy…

Over the past ten years I have intensively researched the geology, history and uses of earth pigments found in North Devon, sharing my findings through workshops, fieldwork, presentations and paintings, both in galleries and the environment.

I have worked on a range of projects with arts and environmental education bodies, including the Field Studies Council, Beaford Arts, Appledore Arts Festival, Falmouth and Plymouth Universities, North Devon Biosphere Reserve and CCANW, to enrich and celebrate human relationship in Nature.

In 2012 I completed an MA Art & Environment at Falmouth University, receiving the Sandra Blow Award for Outstanding Achievement for my project A BUNDLE OF STICKS that explored how primitive actions, such as collecting and binding sticks, may amplify our empathy and understanding of our place within the global ecology.

From 2011 I was involved with development of CCANW Soil Culture leading to my work being exhibited across the world as part of Soil related projects.

In 2017 I travelled to France to participate in GNAP France with 20 other internationally selected artists.

I now share a studio (eARTh) with my partner in Cornwall exploring local pigments and materials through painting, workshops and installations and continuing my creative research.

Can a single action be creatively catalytic in effort and effect?
May we truly listen to the wind and waves and utter her words for all the world?
Is a prayer from the heart as large as a shout in a crowd?

Only with a conscious relationship and understanding of the natural world can we realistically engage with the challenges, both environmental and social, that we are presently facing. Contemporary art practice may hopefully enable a sense of connection and compassion through the use of appropriately derived materials, and cross-disciplinary actions and events, allowing us to develop both stronger personal relationships and practical means to approach political action.

ART, as an interdisciplinary and interactive process of investigation, is essential and intrinsic to our understanding of the world we inhabit both for the enrichment of our own experience and the development of sensitive and responsible relationships within it.

ART may be utilized alongside and in conjunction with other disciplines to encourage and foster a deeper understanding of the animals, plants, minerals and processes with which we share this planet and thus increasing our empathy towards them.

ART as creative activism and in its derivative forms (graphic design, television and popular media) may contribute to political actions and movements, although it is sometimes difficult to differentiate this from propaganda. With a more informed and person-centred approach to creative experience such negative associations may be minimized.

I personally question if ART as an isolated discipline, in the form of passive participation and isolated objects, may directly influence the policies and attitudes that are shaping and prevail in contemporary society but consider it, in all its forms, an essential and fundamental process within our evolution as a species.

GNAP UK will provide a space to develop new ideas and processes with like-minded people. Such opportunities are few and far between in my current arts practice. Participation in GNAP France 2017 allowed a fantastic opportunity for sharing and networking both creatively and culturally with international artists that I would hope to build on during GNAP UK.

More specifically I hope to explore the element of water in a similar vein to my MA Research (A BUNDLE OF STICKS). This research was based on the concept of INSTRUMENTS OF CONSCIOUSNESS developed by Shelley Sacks (The University of Trees) creating structured actions to explore specific issues…

water, water everywhere…

Water, more than any other substance, is fundamental to our lives. We drink it, cook with it, feed our crops with it, make medicine with it, wash with it, build with it, swim in it, play in it, immerse ourselves in it, travel on it and under it, gather food from it, and make art with it. We are made of it to a greater extent. Our being has evolved from water. We may take it for granted, or fear and despise it, but more often it is the object of reverence and worship.

Water exists in a constant cycle around and within all living systems, cleansing and rejuvenating itself and those whose existence depend upon it. It is a storming sea, a gentle drizzle, a trickling brook, a mighty river, a cloud, ice. Water infiltrates, erodes and dissolves. It is beneath, around and within us. It reacts. It boils and evaporates. It can be a million years old, preserved in deep underground aquifers, carrying records of climate and land through its complex subatomic signature. Water is not just water – H2O. It has different forms, different properties and consequently different ways of behaving in relationship with other substances.

Quite simply, water is not that simple.

More practically, to utilize water in our everyday lives we have had to find ways to gather, carry, transfer and store it. Through contact with it we have understood its nature and hence what forms and materials may allow us to do so. And yet it continues to beguile us, to slip through our fingers, to creep into our lives, to mystify and entertain us. Carrying sticks is one thing, carrying water quite another and has given rise to a range of technologies that have helped shape our civilizations and our evolution.

water, water everywhere… is a proposed investigation around the nature of water through a number of simple participatory individual and group actions. The activities aim to offer profound opportunities to investigate the nature of our existence and relationships within it, to develop empathy and express our gratitude for something that we often take for granted - water.


I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/carrying-a-large-bundle-courage-copse-creatives-©-p-ward-2012.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/painted-log-Westward-Ho-return-to-the-ocean-1-earth-pigments-on-driftwood-©-Peter-Ward-2010.jpg 
Hanien Conradiehanienconradie@gmail.comSouth AfricaSouth Africa

‘This place is part of myself...My relation to this place is part of myself...If this place is destroyed, something in me is destroyed...My relation to this place is such that if the place is changed, I am changed...’ (Arne Naess in The Ecology of Wisdom; 2008: 87-88)

In my practice I am concerned with loss of natural environments, cultural diversity and individual subjectivity. Rather than focussing solely on the natural world, I like to examine the complex interdependent relationships between these three spheres. I do this through exploring ‘sense of place’ through spending time in indigenous environments that I have particular connections/relations to.

My artistic approach toward making stems mostly from the discipline of painting; be it an installation, video work, land-art or performance one can always detect the painterly attitude underpinning them. My practice is transdisciplinary and includes spending time in the veld, speaking to local communities, conversing with scientists and delivering lectures about my findings.

My processes have a relational nature; the matter the work consists of, the subject, my influence as the artist and the viewers are all important contributors to the work. The complexity of the ecological crises I question is expressed in the conversations around extinction and loss set up between various works. My paintings include installations with organic matter, reflected light effects, artist’s books and paintings drawing on conventions of botanical illustration and traditional landscape painting.

My full time career as fine artist is relatively young but prolific. I studied Architecture (B.Building Arts, 1993, UPE) and practiced for 15 years before changing my career. In 2012, I entered post-graduate studies focussed on eco-art at the Michaelis School of Fine Art, University of Cape Town (UCT) and graduated with distinction (Master of Fine Art, 2015).
I have subsequently participated in various key eco-art exhibitions in the Western Cape, such as '(In)The Nature of Things'(2015), 'Claims of the Land'(2015) and 'Liminal Geographies'(2016). I curated 'On Entropy and Becoming', an exhibition focussed on current ecological crises in the global South (AVA Gallery, Cape Town, 2015). I took part in group shows throughout South Africa, in London, New York, Venice and Rome. My work has been shown yearly at the 'Cape Town Art Fair' (2015-2017). My first solo show, 'Ntlhantle: In the Direction of Beauty', opens in February 2018 (Linnaeus Gallery, Gaborone, Botswana).
My practice as representative for the natural world extends beyond art making. I delivered a paper at the 'Deleuze and Guattari' Symposium (2015 UCT)), was a guest speaker at the GNAP Stories of Rain (2016) and in 2018 I will be a presenter at 'Liquidscapes'.

It is probably more authentic to relate my own experience in relation to art as an ecologically motivated agent for change than to quote ideas I have read elsewhere. I believe that a solution to the crises of our time lies in a drastic change in the practice of relating: to ourselves, to others and to the natural world.
In my recently completed MFA, I researched ‘place’ and ‘belonging’ from an ecological perspective through forming a relationship with the endemic flowers of a landscape in the Western Cape. It was a transdisciplinary research project with my praxis for theorising mainly located in the medium of painting. The theoretical basis for the exploration was derived from the interrelated ‘ecologies’ of the individual, the social and the natural, as described in Félix Guattari’s 'The Three Ecologies' (1989).
This resulted in a relational aesthetic represented by a diverse series of works that have threatened indigenous flowers as their subject matter. The project expanded from a focus on indigenous plants to a socially inclusive one linking farmers, artists, ecologists, botanists and conservationists. My artworks became a point of connection between rivals which encouraged public dialogue and offered deeper knowledge and understanding. It is moreover important to note that through physically working with endemic matter and threatened plants these ‘other-than-human’ beings were given a voice in the discussion; through representing them, the artworks also became their representatives.
On an individual level, my artistic practice has given me a visceral awareness of the impact of my Afrikaner cultural heritage on the indigenous natural and cultural landscape. It has dramatically changed the way I relate to matter, plants, animals, people and myself. This new way of relating has affected my immediate sphere and continues to influence a wider circle of people.

In 2016 I was asked by Anni Snyman to contribute to GNAP-South Africa as a speaker. I did not participate officially as an artist but ended up observing many of the international artists, even trying my hand at land-art and found making in the landscape one of the most profound ways of connecting to self and place. It is a subtle thing which I believe you can only know once you have practiced yourself. I believe that GNAP is a potent project with huge potential to expand not only its participants but also the larger community of a place.
I was accepted for a PhD at the Environmental Humanities at UCT in 2016 but for various reasons had to put the process on hold. I feel a need to join communities of like-minded artist-thinkers to learn and to contribute to further research around the area of ecological art.
My partner, Colin Campbell, teaches part-time at Schumacher College and through his involvement there I became aware and interested in both CCANW and art.earth. I have applied to Liquidscapes and will be speaking at this event. In seeking connection with people from these organizations, I feel excited by the potential of the UK part of the GNAP project.
My work with rivers has been pivotal in influencing my way of being in the world. The Ash River in the Karoo has shown me the uniqueness of being human and restored my love for the human animal. The Palmiet River in the Kogelberg revealed to me my limited understanding of what I see as ‘destructive’ in natural processes. The Hartebees River in Worcester offered a profound new way of relating to ‘other’. As a result of working with these rivers, I have come to realise the animate nature of matter. To date all my work with rivers has been solely within Africa and I feel an excitement at the prospect of meeting the River Dart.
In working with extinction and loss my processes and final works have quite naturally come to express the ephemeral nature of all existence. For example, in my work with endangered endemic flowers I found myself creating transient ‘paintings’ in natural materials which shed their surfaces over time. These ‘paintings’ were created to be shown inside buildings and part of them always remained. The possibility of land-art as a methodology of ephemeral artistic practice inspires me in so many ways among which its ecological sensitivity. I would like to be able to explore this freedom to create beyond the expectation of permanence.
Lastly, the idea of working intensely and intimately with scientists as I did during my MFA hugely excites me. I would love to see the River Dart through their eyes and create works informed by their insights.
For all these reasons pertaining to people, a river and my individual artistic practice, I would very much like to be a part of the group of people who will have the privilege of spending time with the River Dart.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/HanienConradie__RaaswaterII.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/HanienConradie_iZibu.jpg 
LindaGordonthroughstones@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I personally hold it as true that the universe is all one, and everything within it, including ourselves, is phenomena in a state of flux, and following certain laws of energy. I hope this might explain my interest in tuning in, aligning and integrating with life's processes of transformation through my working practice, as a way of making myself at home on earth.
By definition, my work is temporary, lasting from years to just long enough to take a photo. In the past it has often been large-scale sculpture or installation, but alongside this, there have been small ephemeral pieces, quickly-made and place-specific, most often in a natural environment. This type of work has become more and more prominent in recent years, as other interests have gradually dropped away.

I like to come with no pre-conceived idea of what I might do or make (if anything) - but simply allow the flow of life/ nature/ circumstances to work upon me. However, the first, longest and most important part of my process is to establish a deep inner connection with my surroundings. This is usually achieved through much wandering about, in silence and alone.

It is crucial that I respond to my surroundings with precision and simplicity, in terms of both time and place. Apart from being fun, I consider it a sort of service, knowing that however small, ephemeral or apparently unseen, my actions and short-lived works will influence the whole.

With a background in sculpture - today, my work takes a wide variety of forms. It is generally shown as exhibitions, commissions, installations, residencies and events - both in UK and overseas.
UK residencies have included:
Most recently, Doddington Hall and Gardens, Lincolnshire (2017) and Bucks Mills Cabin, Devon (National Trust, 2016).
 Year-long residency at Highgreen, Northumberland - for VARC (Visual Arts in Rural Communities). Culminating in extensive solo exhibition (2006).

I have also undertaken a number of residencies and projects in France, as well as Poland, South Korea and Japan - which often included a solo exhibition.
Residencies have included:
Line and Spiral – Extensive participatory land work. Les Phonies Bergeres, France (2014).
Resting Place - International Landart Festival, Lubartow-Koztowka, Poland. (2012). 
Artist-in-Residence for Korean Nature-Art Association YATOO, Wongol, Korea. (2009).
Kamiyama Artist-in-Residence. Kamiyama, Tokushima Prefecture, Shikoku, Japan (2002)   
Installations have included:
Skystones -  Outdoor stone installation. Tapeley Park, North Devon (2009). Previously exhibited at Museum of Barnstaple and North Devon.
Flights of Fancy. Large-scale installation in 70ft. barn. Devon Art Works (2007). 
Myth of Place - Suspended installation. The Ox Warehouse Gallery, Macao, China (2007).
I continue to run walks and workshops for art and nature lovers, and to participate in group exhibitions, mostly with photography.

I see reaching out, and making connections with each other and our environment as very important. Events such as this GNAP, where practitioners are able to talk together, share ideas and exchange views, as well as having some time and space free for solitary exploration, reflection, dreaming, experimenting and tuning in to deeper levels of being - all this is of great value. There are other ways of connecting – online websites and blogs, for instance – but I think nothing can surpass actual physical experience.
I don’t think contributing to the environmental debate is necessarily about verbal discussion. Sometimes it is indirect.
The obvious examples are the performing arts: theatre, dance, music, story-telling, film… particularly community events, where large numbers of people may come together and be inspired to action. And in what has popularly become known as environmental or land art - thousands of people have been influenced by world famous artists, so that many beaches around the country now have their share of family-made assemblages of stone or driftwood. Whatever one's personal opinion of this, it is a pleasurable and perfectly valid way of developing more sensitivity towards the earth and its forms.
Public activism certainly also has a role to play in bringing concerns to people's attention, but change takes place in individual minds, and it is not always the biggest, noisiest and most publicised events that have a lasting effect.
I have a friend, a movement artist, who runs outdoor courses and workshops for all, including elderly people, who may move and dance out in the landscape in all weathers. I am sure she has contributed a great deal to their well-being and transformed their lives, as well as attitudes and behaviour towards the environment.

As a member of Yatoo-i, an organisation I regard very highly, I was excited to see that GNAP was coming to Dartington.
After much procrastination, knowing the project might shift me out of my comfort zone - I decided to apply, realising this was the very reason that I was interested. Comfort-zone shifting, in my opinion, is something we all have to do, and quickly, for the sake of ourselves and the planet as a whole.
I figured that my main reasons for applying were those of curiosity and a compulsion to evolve.
I find it hard to resist the opportunity to immerse myself in a new river experience, under different circumstances to what is normal for me. Focusing on the river itself, moment by moment, I am also interested to include awareness of the dynamic relations between ourselves, as well as to engage in questions about the nature of the river and how we perceive it - to broaden my horizons.
I appreciate the scope given for reflection and contemplation in this project. As someone who in the past has attempted dowsing in the landscape, and has recently completed an online course in acupressure (based on Chinese medicine), I am interested to ruminate on how the energy of the river flows, how it relates to other systems (underground water, trees, the human body… ). Maybe make quick sketches, notes, photos or draw on the ground. Of course I might forget this idea, or any others I may have, when faced with the physical reality.

I like the sense that I have absolutely no idea of the outcome of this project - it is the working process itself that is important.
I am almost as curious to hear the views of others about the river and its surroundings as I am in exploring the river itself. I strongly think that interdisciplinary and international co-operation: gatherings such as this of like-minded people, are the way forward for us all.
Strangely enough, feeling slightly exposed, and operating deeply in the landscape as a member of a group, rather than an individual, is probably the greatest challenge to my comfort zone. I am glad about this.
Coming together in this specific setting, would be an opportunity for me to take stock, challenge some of my attitudes, broaden my perspectives, and think clearly about what is going on in the world, in an endeavour to find beneficial ways forward. And to perhaps pay more attention to reaching out to others and working together.
I also hope of course, that I might also have much to contribute to this gathering, in terms of experience, goodwill and enthusiasm.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/stone-ring-GNAP-027.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/chestnut-cases-spiral-GNAP-003.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/x-marks-the-spot-GNAP.jpg
ElaSpaldingelaspalding@gmail.comGermanyUnited Kingdom (UK)

My work focuses on human, culture and nature relationships. My research is mostly about ecology, regeneration, radical pedagogies, the power of art, music and books, the anthropocene and how to encourage a societal shift out of human-centred living and thinking into a more aware, caring way of being in the world. As a facilitator, I design formats for exchange among artists and people of various disciplines and walks of life, and I support people to tap into their true creative forces. My own artwork has been mostly about the interaction of the body in space, both in performance and photography, more recently tapping into cultural manifestations of my Caribbean heritage as a medium to address social injustice due to unsustainable development. I would like to shift my art making focus towards ecosystem conservation and the power of humanity to work collectively towards that, by using the voice and/or choir dynamics and the expanded idea of the book. I would also like to collaborate with others more.

I am an artist and cultural producer from Panama and the UK. I have a degree in Cinema and Photography from Ithaca College (Ithaca, NY), where I also focused on performance, experimental narratives, bookmaking, alternative politics and creative writing. Since 2008 I moved in the field of dance and performance in Germany, where I created various works of my own and worked with Tino Sehgal in This Variation for dOCUMENTA (13) in 2012, and with Ari Benjamin Meyers on Serious Immobilities in 2013. I was part of the Central American Visual Arts Biennial in 2014 in Guatemala and in 2016 in Costa Rica. In 2015 I participated in the Panama edition of an international performance project called Fluid States. Simultaneously, following my interest in the human-nature-culture relationship and various perspectives on ecology in the complex world we live in, I have been designing and facilitating various forms of exchange between people, ecosystems and disciplines in Panama, through an organisation that I founded in 2013 called Estudio Nuboso. Since 2017 I am Associate Curator in the Center for Contemporary Art and the Natural World. I share my time between Panama and Berlin.

I believe the arts can knock on the door of people’s hearts and imaginations to trigger understanding, empathy, awakening and action in ways that rational, dry explanations of the environmental crisis we are in fail to do.
I believe that good design, for instance, which I also perceive as an art form, can help the environmental movement and message reach more people.
The arts - in a most expanded sense of the word to include all creative forces of thinking out of the box - can pose unusual questions to yield fantastic unexpected answers and solutions; they can rewrite history, the present and the future; can bring people together and move entire communities.
The arts can also simply make a space more pleasing to be in, provide a moment of relaxation or an instant of shift in perception of reality. The small things also do add up to make big changes.

I have been wanting to do something along the topic of rivers and water for quite some time, specifically alongside a river since I found out that in Spanish the word for riparian forest is "bosque de galería" or gallery forest. And I think this project, in this context, offers a lovely occasion to collaborate with others on creating something meaningful.
Another reason is that lately I have been facilitating others' creative processes, and I spent the last year becoming a mother, which has also made me think about water in ways that I hadn't before. So I am also applying because I would like to be part of a collective creative experience again.

1. Panamá Caribe: a synchronised display facing the sea to celebrate Colon, its history and culture https://elaspalding.wordpress.com/2015/01/03/panama-caribe-una-pieza-para-fluid-states-panama-interoceanico/
(please scroll down for the videos, and to the bottom of the post for a link to a text about the work in English).
2. Entre Suelo y Concreto: a reflection on the making of landscapes in rural and urban development
(sorry, no English translation for the text at the moment - only photos of the installation and the short video part of the work)

I have not participated in a previous GNAP   

For nine years I have been part of the group, ArteInSitu, doing works on art, nature and territory in Argentina.
The proposal consists of meeting artists, who work in nature creating communication channels with the people of the place, and promoting a meeting place that allows to identify, read and known different approaches to the territory.
I work in non-urban places, with rural people who have another time of contemplation and other ancestral knowledge. The idea is to take time to share and be able to make known other ways of being in the landscape.
In general, the works -actions- speak of the relationship in space, proximity, separation, heights. I try to make simple records, marks that are left
recorded from natural, spontaneous matrices.

Since 2009 I have been part of the ArteInSitu collective, organizing Art and Nature meetings in Argentina. I usually work in island territories, doing ephemeral works with natural materials, stones, branches, earth. The works have been presented at exhibitions, festivals, symposiums and seminars.
I participate in seminars on art and nature: 2013, "Reflections on Visual Arts from South America". University of Viña del Mar, Chile; II Seminar on Education and Contemporary Art; Silva Enriquez Catholic University, Santiago, Chile; 2015, Binational Meeting of Museums of Southern Patagonia, Museum of the End of the World, Ushuaia, Tierra del Fuego Antarctica and South Atlantic Islands.
ArteInSitu Art and Nature Encounters: 2010, "Terre Crue" Project, Vanganbond-arte, Chiloé, Chile; 2011 "Transitoriedad", Islote Curupí, Entre Ríos; "Windows", Chajarí, Entre Ríos; "Miradores Project", Venado Tuerto, Santa Fé; "Islands Project", Week of Contemporary Art, Mar del Plata, Buenos Aires; "Points of view", 2013; Islote Benito, Entre Ríos; 2014, "Latente", Terroir Project, Coronel Suarez, Buenos Aires; 2014/2015 "Situations of displacements I and II", Tierra del Fuego; 2015, "Intercambios", Quebrada del Tala, Catamarca, Argentina.

The art can offer a different way of looking and interpreting the landscape, can create conscience from a critical thought on the community and the environment.
The artistic creations have the aptitude to put in evidence the modifications that have operated on the territory, altering the cycles and systems. It is possible to give information about how it is the environment where we live, to cultivate the aptitude to distinguish between the species, to recognize his differences and to understand what joins them. To investigate on the systems and how they complement each other.
It is possible to present, from a visual story how the different social dynamics affect on the cultural identity and how it would be possible to improve the environmental quality.
It is possible to learn of the rural or not urbanized communities, know and spread on the ancestral knowledge, they can offer us the possibility of remembering, how it is possible to live in another way.

For a few years I have read on the different activities from YATOO on art and nature.
Generally in Argentina, the look and way of interpreting the landscape it is contaminated of a occidental and capitalist thought.
Besides, for the different social and political processes, there are very few references about the customs and knowledge of native people who understood life and related to the environment in a different way.
Where I live, in the city of Buenos Aires, it is settled on a delta, however it is not possible to find in the whole city the channel of a river or stream, because they have been buried underground. Most green spaces are designed and it is almost impossible to find wildlife.
This compact city model is replicated towards rural areas.
I think it is possible through artistic actions, to make known ways of life that are more friendly with the environment and to have spaces for silence, contemplation and leisure activities.

I think that the experience of to share, together with other artists of different nationalities, would be fundamental to be able to connect and transmit other modes and customs in relation to the environment.

The meeting would allow me to collect images, sounds, smells, flavors, maps, scientific documents, testimonies of the people, to known a particular way of interpreting the connect with the land and the living world. To understand partly, what it means for other people, who have another cultural, social and political model, travel the spaces, contemplate the nature and interpret the silence

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IreneSerra_desplazamientos-I.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IreneSerra_desplazamientos-II.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IreneSerra_desplazamientos-IIB.jpg
MonikaTobeltobelmonika@yahoo.co.ukUnited Kingdom (UK)Hungary

The intention of both the research and the subsequent work is to de-learn and relearn certain ingrained habits. I wish to teach myself a new way of thinking, a new way of being, through exercises and experiments within art. These actions are devised to facilitate a rethinking of relations with the local biosphere, of which I want to approach through multiple entry points.
So far the subject matter seems to lend itself to performative and video works, but I am open to all approaches and would like to use the meditative qualities of drawing and sculpting as potential tools to achieve a better understanding of my research area.
At the moment I am focusing on local wildlife and am making works for animals, alongside some collaborative actions with plants and birds. As I am working with non-human lifeforms, I can't control the action and experienced many humbling failed experiments. The work become a kind of learning and understanding how to act on another lifeform's level.
I have been researching related philosophical and academic works and been deeply moved by the writings of Timothy Morton in regards to re-thinking my way within the world. I believe that the only way forward is through a non-hierarchical coexistence, in which we must change the anthropocentric worldview in order to be able to see the true nature of things, and to be able to find a way out of the destructive repetitive pattern we have been following.

I am London based Hungarian multimedia artist, currently attending a MA in Fine Art at Chelsea College of Art. I graduated from the University of Bath in 2011 and been a practicing artist since. After my BA I have partaken in a one year residency at Asrtsite ltd, where I worked on collaborative and personal projects, and helped in the running of the gallery space. I also attended a 3 weeks summer residency as part of the SKICC group in Hungary.
My work developed towards the environmental through other research and reached its main focus point in human/non-human relations.
I use multiple approaches within my practice from painting through installation, performance, and video, depending on the subject.
I have exhibited in Oxford, Bath, Bristol, Liverpool, Manchester and London alongside other places in the UK, and Hungary and the United Sates Internationally.

Art has a peculiar place in our culture, it is something that is not regulated, and there is no described way of engagement or reading to follow. Due to this ambiguous existence it can surpass other fields and propose new possibilities in thinking and in practice.
It can open doors in between different areas, such as science, agriculture, technology and transfer them to a more accessible form. Creative approaches
allow new playful initiatives to make way for differing practices, and to encourage people to think about the environment and the cohabitants of this planet in a more direct and conscious fashion.
Art has the ability to start a discussion, and bring attention to areas that have been overlooked within the mainstream.
It is imperative that we introduce an alternative to the constant barrage of political and economic news, which has taken center stage as the only true and important reality.
I hope through art and play we can introduce a different strategy and start a conversation that will result in positive change.

The program of this year's residency, and what GNAP UK stands for, is very close to my own beliefs and my work.
I would like to learn from other artists and researchers and enhance my life and my art through engaging with others and accessing the collective psyche of the group. It would be an invaluable opportunity to spend a considerable amount of time without the distractions of everyday life, and to completely immerse myself in the surroundings, the artwork and learning process. The possibility for enhancing my knowledge on the subject through engaging with participants from diverse backgrounds and fields would give me the chance to gain a better understanding of environmental processes, and meet new collaborators, colleagues and friends

This year's theme; The Ephemeral River, is particularly relevant to me. I have been experimenting with structures for waterfowl, on the Thames lately, and had other works including water either metaphorically or in its actuality in the past. Water seems to be a recurring subject matter in my practice. The residency would give me a chance the takes these ideas further.

I am interested in learning more about a sustainable art practice, as most of the time we create objects whose value is inherent in their status as art. I have been trying to make without producing waste, by either performative or digital pieces or by fashioning objects that can be part of the biosphere, or easily biodegrade.
It is imperative that we, artists, lead by example, and find solutions within our own field to deal with these problems. Solutions that could be transformed to other areas of life.




I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/StFrancisofAssisiandMe.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/RestingPlaceforMyAncestors.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/livingbyproxy-tobel.jpg

Nature has been, for almost a decade, a source of inspiration every time I start conceiving my artworks. All its poetry, its processes, its constant change, its ephemerality… that is why my work is not designed to occupy a permanent place.
Since I atended my first nature art Symposium, I fell in love with working in the middle of the forest with natural materials in open spaces. The smell, the sensation of cold moisture in my face and feet, the sound of silence…. Since then, I started being aware of not to leave any trace of me when I leave the place. I understood this way of working had a philosophy of life which was teaching me to adapt to the environment I work in. Being in contact and working with nature felt good, it was a healing sensation.
I started to de-materialize my work, to conceive it as always in process.
I like to be in the place, sense it, see what it can offer me, and then think of something that could be built with what I find there. It is also interesting for me to leave my artwork to nature, and document afterwards how it is slowly changes in time.
I am interested in projects that could give me enough freedom and space for creation, and that take place in breathtaking natural places that could trigger all kind of emotions.

Born in Lima, Perú. Graduated as Licentiate in sculpture in the Fine Arts Faculty in Lima and as Master in Art and Technology in Valencia, Spain. She is currently studying for becoming a professional ceramist and teaches sculpture seminars for ceramists. Has represented her country in several international Symposiums in Europe, South America and Asia. Her work is part of the public heritage of many countries and has also been exhibited in seven solo exhibitions and a more than a dozen of group exhibits. In addition to sculpture, she creates drawings and installations connected with ecological materials and themes. She has been part of the Global Nomadic Art Group in Lithuania and Turkey. An article of her work was published in 2013 in Art Nexus Magazine, in Arte al Límite Perú Magazine 2015 and her work was reviewed as one of the most standing in the Art Lima Art Fair 2013 (Lima, Perú) by the cultural editor of “El País” Newspaper, one of the most important in Spain. She also was invited to be part of the “Ojo Latino” exhibition, the art collection of Luciano Bennetton, presented in the frame of the Venice Biennal 2014. Lives and works in Lima.

I believe that through the arts we can reach the sensitivity of people. Art has the power of creating experiences that may change the way of conceiving the aspects of our everyday life, and get people aware and involved in environmental issues. Media are also important for distributing the documentation and process of the artwork delivering the message we want. Artist can give new perspective and new ideas of how to work in environmental problems, or even make evident a problem that could be worked on. Artist working in nature are showing to the public a way of working with the environment without damaging it, and is in our hands to make our best that the message and documentation will spread in many ways.

I have been involved with the YATOO group since I was in the Geumgang Nature Art Biennale in 2010. I am interested in their way of conceiving an artwork and the philosophy behind it. I am also interested in the CCANW way of working, I have been following its call for proposals for some time. This time the YATOO group and the CCANW have come together in one project, which is very interesting for me. Also the way this GNAP UK project is conceived, in an introspective way, taking in consideration silence, meditation and ephemerality, suits perfectly with my way of working and my personality.
Taking the process as an important staring point for this project is a something I would like to strengthen in my work, and I also believe silence and time is a very important factor for creation.


I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_1897.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_0847.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_1133.jpg
Julia Jade MimosaSihvolamimosa.sihvola@helsinki.fiFinlandFinland

I'm a 23-year-old student finishing my degrees at the University of Helsinki with an academic background in Environmental Science (Environmental Change and Policy) and Cultural Area Studies (European and Russian lines). Pertaining a multidisciplinary personality means for me that there's a need for creativity from the basis of strong personal insights while still having curiosity for scientific research. In my opinion, the academic information should be interpreted and translated into stimulating forms of art for the 'ordinary' people. I'm aspiring to become an environmental artist who combines poetics to journalism and artistic interpretations to scientific revelations concerning the current state of the planet as well as the possible futures. I have visually strong outlooks on different situations and phenomena but I best express myself through my writing. The goal of my, sometimes described as 'dark' or 'dystopian', poetry is to serve as a public discursive illustration for the possible futures our generation has to come in realization with by defining one's relationship with the ecosystem(s). I am also starting to seek my place in the field of theater as a playwrighter and the director of my visions of the possible futures. Other methods of I am interested in are using scent (for example essential oils) and recorded and then replayed soundscapes as a part of the all-encompassing experience of environmental art.

Due to the fact of still being a student at the University of Helsinki, I'm so far only in the beginning of my artistic path towards gaining a stronger voice and expression as a journalist, poet, novelist and director. Having said this, I have finished two Bachelor's thesis, one from Environmental Science, addressing the connections between deep-ecology, spirituality and radical environmental movements. The other one is from Cultural Studies, addressing the visual representations in Instagram selfies of hunters identifying themselves as 'female'. In addition to the multiple academic essays I've written (both in Finnish as well as English and Russian), I'm constantly creating new poetry from the perspective of a millennial struggling with the pressures of saving the animals (us humans included) and the planet. So far the Finnish magazine 'Kimppu' published two of my poems with which I participated in their environmental-protection-oriented competition on the day for global development cooperation. I've also volunteered in Finnish animal rights organization 'Animalia' for approximately two years, leading the student group half of that time. My main job as an animal rights activist is to create visual and written content for social media, web page and email lists.

In my opinion, the environmental discourse has been overtaken by advocates of the "cold hard" natural sciences, technology and corporations. When only investing in the research of figures and statistics, ethics, values and free thinking (expressed through creativity) often become ignored. In my opinion, humanist scholars and artists have the ability, if not always given the opportunity, to catalyse creative thinking and discussion as well as empower whole communities to find their inner spirit to step up and make the change happen. Environmental issues, climate change in particular, shouldn't be narrowed down as a playfield of the formal experts, CEO's and politicians. Harmful changes occurring in all kinds of ecosystems have already given important insights and motivation for creating environmentally connected art, even if the societal space for expressing oneself is sometimes lacking. Because environmental issues (especially global ones) are bound to touch people's lives on a very personal level, they should be discussed and dealt with on emotional and spiritual level. Environmental art can function as a mediator for renegotiating one's relationship with the 'natural world'; moulding attitudes and values sometimes permanently. The emotional responses catalysed by different forms of art can help re-imagining a local environment; providing new perspectives on even a global level. Sciences constantly provide us with new information but arts can affect our culture on a deep level and inspire individuals as well as communities to feel proud and concerned which can lead to action. Arts can bring visible the information that more often than not stays in the veil of the academic jargon and hard-to-get-hands-on reports and studies; as well as empower individuals and communities to deal with not just the threat of environmental changes but also the possibilities humanity has when given the opportunity to communicate.

Poetry and performance as a form of art, expression and communication with the audience is a relevant way of contributing to the creation of environmental art and raising awareness of the contemporary issues concerning our relationship with nature. Rhymes spoken out loud and performances acted in a natural habitat are dynamically ephemeral in their form (though easily captured and passed on by the devices of the modern technology). The best poems I've created have risen from my nomadic travels across Finland, Russia, Sweden, the United States and England. My inspiration grows out of existing in a constantly changing physical environment that provides me perspectives to put into my poetry and other writings. GNAP-UK's multicultural environment would inspire me by providing me with a uniquely stimulating spatial as well as social environment. After all I confess to be a 'social introvert' who enjoys analysing subtle nuances in cultures as well as having meaningful conversations and visitors of all kind. At the same time I value own quiet, meditative time in the natural surroundings and subsequently prefer working on my own - but providing other respectable artists and friends the chance to review, analyse and discuss about my work. Having the academic background in both natural science and arts have already made me a mediator of different discourses and terminology. For a young artist only starting her, hopefully international, career path, the chance to get to communicate, learn and reflect in relation to other artists would provide me with perspective into my own expression through the experiences and works of others. My goals for the work would be to build multi-cultural networks and cherish my creativity with the unique surroundings of the estate. The results would be reflected upon the poetry, plays and novels created in the stimulating environment; capturing the passing moments, collective feelings and material details that speak to me in the form of words and phrases.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/representations_water_mimosa_sihvola.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/photoproject_mimosa_sihvola.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/poems_mimosa_sihvola.pdf

Janusz Plota Transitart Europe space www.januszplota.pl
My last performance is a reference to the world of nature. It is a polemic with the viewer, a question about whether my recipient is aware that we humans, the inhabitants of the Earth, destroy her every day. In my performaces I ‘m trying to show graphic warning signals. A construction wheelbarrow, as the main prop of my last actions, is a reference to the first wheel, a cortland, invented and built by a reasonl man. It is a combination of mechanism and humanism and at the same time a manifesto of ecological culture. I use the water and fire –of these two opposing elements. From my wheelbarrow this year, I want to take out a glass bottle and let it water for the future with an encrypted code of happiness like Holy Grail.
Deals with the wider art of intermedia their activities using the elements of performance,space,sculpture,drawing,painting , video, object, text. Uses a combination of performance as a way of everything with everything based on constantly created – new versions of my Transitart Europe philosophy – aligning it according to their own rules to the representation of areas between the image of space and understanding . My works show a thin line between art and life, creation and future, show how the World worked.

PhD of art, Independent curator-curator eco art festival 2018-www.galeriastodola.pl,facebook:galeia stodola szumilowo,facebook.com/janusz.plota. Intermedia artist (painter, sculptor, performer, designer, essayist,land art artist).
Born in 1957 . He studied at PWSSP in Gdansk, Poland, 1981-1986(Master of art).The Academy of Fine Arts in Katowice(PhD of art).The founder of the Transitart Europe .
Artist manifests his discoveries in galleries and museums creating new objects, columns, installations and mega signs: 7 th Berliner Biennale (Art Wiki) D, 2012,
12 th China Changchun International Sculpture Symposium ,Ch, 2011, The 5th Thailand International Wax Sculpture , 2010, Florence Biennale, I,2009,
Und’4 Karlsruhe ,D, 2009, The third BIAB Beijing 2008, Ch.

2016 , 2011 Cultural Prize of the Mayor of City of Gdansk.
2016 Special Prize of the Pomeranian Marshal for the Creators of Culture.
2016, 1987,1986 Grant of the Ministry of Culture and National Heritage of the Polish Republic.
2011 , 2008,2006,2005,2003, 2001, Creative Grant of the Pomeranian Marshal for the Creators of Culture.
2011 , 2008 Independent art residency TAE , China.
2010 ,2006, Independent art residency TAE IP Vaxjo, Sweden.
2008 2007,2006,2005,2004,2003, Cultural Grant of the City of Gdansk .
2002 2’Prize Citta di Laives, Edytion, Italy 2002.
1984 ,,Sopot ‘84” 3’Prize ,PWSSP, Gdansk.

Acculturation, domestation, naturalization, accommodation or adaptation, it is a universal description of the description of saving or understanding of nature used by politicians, museums and artists. It is the rudder of modern science, contemporary art and strategies used by all nations to cope with climate change. People who have rudders for this acculturation are politicians, environmentalists, town planners, farmers, industrialists, artists and social networks. Innovations based on international cooperation can play a big role in encouraging acculturation. The rudder or the key to acculturation is now in our hands- museums, art centers, artists, curators and all people of culture and art.
Can nature be general good? Contemporary garden-field, forest,ocean are one space divided by man in order to maintain the status quo. Does the contemporary man remember about the Mother Earth? Does he owe Her anything? Huge biosphere degradation and residual examples of environmental care do not bear good witness of us, Earth inhabitants of the twenty-first century. What will we do to rescue our common heritage?
Here, where our house is now –once was a field, where the field is – there was a forest, and where the forest is – there was an ocean. The man changed the nature but at the same time forgot about himself and cut off the thread of communication and understanding the nature. Today, with the use of children's spades, we fill up huge trenches -scars caused by years of neglect and lack of respect for the world of nature. But we woke up from torpor – we guess language of the nature, we begin to live environmental awareness and look for traces of healthy living space,healthy livig art.

TRANSARCHETYPE The process of creating art – the phenomenon of its continuous movement and migration is the subject of my research, which takes the form of observations, meetings, conferences, symposia, recordings, projects and exhibitions. For many years now, well, actually, since Transitart Formation was established in 1993 (since 2000 - Transitart Europe), I have been exploring and researching transitart, as I called it. I compare the process of creation in cultures and subcultures of Europe and the world. I got interested in the archetypical sign, form and figure as a civilizational indicator and guidepost. The latest research and archeological findings let us link distant cultures in one sequence of civilizational events. I am, of course, aware that independence of creation existed in distant places and times before cultures got closer and became interlinked. Universalism and independence – the two cultural poles – once so remote – became very close in the era of mass media communication. Sometimes, consciously or unconsciously, these differences are bridged. We ourselves are responsible for seeing the differences between these values and protecting them, to let them last in time. Scientists and artists have different ideas about the process of creation.
Creating is a process which encompasses knowledge and experience gained through long material and cognitive studies. The artist – the teacher has enough knowledge to be able to show the recipient – the student how a work of art is created. It is good when it is done by a lecturer that has a perspective vision of a highway of culture. I would like to present the process of creation based on my own experience. I am very much concerned about the message of cultural independence of a given culture, continent, and about showing common culture-creating features. Such a comparison serves the purpose of showing the phenomenon of the same thought being born in different independent places. I see the way of designing, recording and documenting as a series of lectures on the document of the museum and the document of the environment. There would be speeches and lectures, shows of slides and films on the iconography taken over from the cultural heritage, and following the traces of lost civilizations. Understanding and ability to look for cultural links will let me start a series of meetings on transarchetypical art and will provide an answer to the question why we hit the wall of culture. The highway of culture means cultural bridges, joining the routes of trade exchange, and, consequently, cultural exchange. Place, space, journey are all the attributes of old culture but also a source of knowledge for all of us. Like from the bird’s eye view, by the help of scientific materials, we will be watching templates of culture, trace, drawing, graphics, painting, sculpture, architecture, music, or a seal, cast, matrix, module. I would like to draw your attention to the growing communication demand, which, through its universalism, becomes an important cultural, religious or sometimes transcultural object.

https://www.youtube.com/watch?v=UpC5NMD32v4 (Janusz Plota PL performance China )

https://www.youtube.com/watch?v=XIcK9_CfnK0 ( Janusz Plota PL ECO ART. Project GSS PL )

https://www.youtube.com/watch?v=BybMvfeOtrQ (Janusz Plota PL ECO ART. Project GSS PL)

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/1.-Janusz-plota-BEACH-ART-2008PL.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2..Janusz-Plota-ecoart-gss-Pl2014..jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/3.Janusz-Plota-PL-wl4-gallery-Pl2017..jpg

While I consider myself an interdisciplinary artist, drawing remains the foundation of my art practice. It is where I begin to feel a grasp on both the subject matter and the ideas as the work develops. I use graphite and watercolour, paired with sewing, woodworking, ceramics, sound recording and performance. My practice is guided by a methodology I call Day-to-Day-Aesthetics: a focused daily practice which aims to use reclaimed materials to imbue artworks with a greater depth of narrative, also being environmentally considerate. It places focus on awareness to surroundings, whether this is to collect, observe, record or to be completely present in an area.

I believe that my task as an artist is to create stimulating artwork that transports the viewer to a state of wonder or inquiry and to this end I am always searching for ways to further develop my work. Fueling my desire to make art is an intense, life-long love and respect for the environment; my deep concern for its welfare is equally profound.

A large part of my art making process involves reflecting deeply about the poetics of place; about connection and disconnection to our environment; about the state of being in tune with nature. In my work, the repetition of patterns found in land and seascapes and the use of the boats and islands as metaphors for the human psyche are employed to inspire the viewer to consider their own connection to nature and what is happening in our natural world today.

In 2012 I made a conscious shift in my art practice, bringing it from producing painting for private galleries to include a broader scope of mediums and subject matter. I applied for two artist residencies and was accepted for Byrdcliffe in New York supported by a Pollock Krasner grant, and subsequently a one year residency at the Ranger Station Art Gallery in western Canada. I began to explore the addition of manmade elements to abstracted aspects of nature and to create three-dimensional work.

I was accepted in 2014 to the MFA degree at Falmouth University so I moved to the UK to continue this creative exploration. After being awarded an MFA with distinction in early 2016, I returned to Canada, held a solo public gallery exhibition of new work and was selected as Artist in Residence with Parks Canada and Haida Gwaii Museum, resulting in an exhibition of work inspired by that residency (summer 2018). This residency and the two that followed (Earthskin in New Zealand and Sitka Center for Art & Ecology, Oregon) have allowed me to further explore my ongoing interest in using islands and boats as conceptual metaphors for the human psyche, especially pertaining to our environment.

I believe the arts are integral to the universal, contemporary environmental dialogue for a myriad of reasons.

Visual and media art, literature, theatre, film and dance can present ideas in ways that make information more accessible, interesting, emotionally charged and in the end, more vital. In an age when we are overloaded with facts, 'fake news', dates and arguments, the arts offer a lead into issues that engage the more humane side of an often confusing narrative.

When people are inundated by a wide variety of media detritus, they frequently tune out. Presenting stories, opinions and visuals in creative ways provide a direct link to our brain, more likely to fire synapses which will forge new thoughts and even new habits. We are impressionable creatures, so when information about a topic of great importance is presented with passion and fervour, we catch that spark and I believe we are more likely to act on our concerns. For example, if someone sees an exhibition of photographs such as by artist Edward Burtynsky, with their impressive scale, surprising content and sharpness of detail, I believe the impact of viewing this in a shared space like a gallery that gives the art validity, will be greater than reading an online article, and far more enjoyable. People will come back for more!

Sharing ideas of beauty, fragility, growth, degradation, risks we face as a global community with an imaginative approach can elevate these topics, presenting both the reality of the present day alongside hopeful aspects, thereby reaching a more receptive audience. I do believe that hope is as integral to action as facts are and by the nature of the tenacity most artists embody, we innately share this hope by virtue of our expression.

My query for The Ethereal River symposium proposal is: How do the sounds of nature influence, affect, inspire and translate through music and rhythm (violin, in particular), via ambulatory experience, through pencil on paper, as carried, played and interpreted by myself as artist/musician?

Inspired by a recent conversation where, in discussing ideas behind new work, I mentioned that I had started a series of ‘in nature’ performances titled ‘Music for Nature’ (ie: Music for Trees, Music for Water, etc). In response, my friend offered a question: Why ‘Music for…’ and why not ‘Music of. . .’ or ‘Music from. . .’?

I had considered this previously and had questioned whether it would be a particularly egoic venture to assume I could discover and come to know what the trees or the sea sound like, what, in essence they were saying. The discussion evolved into ideas around quantum entanglement, and if we are all interconnected -if there truly is no separation or hierarchy between human and nature then perhaps through a meditative state I could be a vibrational tuning fork for a variety of aspects of nature. This could be an opportunity to expand my ideas of ‘poetics of place’, adding to it a sound element. Or perhaps, like John Cage’s Prepared Piano Sonatas, I can use nature to make the sounds or melodies.

How I imagine this experiment unfolding is to explore by foot the Dartington College grounds with my violin, zoom recorder, camera and sketchbook; to observe, listen, take notes, record and experience various elements of that environment. Questions such as: What is the sound and vibration of the river? Is it the sound of the water against the river bed stones, or the wind against the surface of the water that we acknowledge? How is this separate from the water as it meets the land? And, as an extension to this line of inquiry: Is this sound melodic? What notes can be captured? Do these sounds conjure images and if so, how can they be translated into a visual language?

Through this wandering and discovery, I will categorize sounds, marks, colours and emotional reactions to what I experience. Perhaps the recordings of the water or wind as overlaid with violin and/or voice will become the first layer of a soundscape or a film. Or maybe my translation efforts are visual with descriptive components being graphic mark making. It is, however, my prime intention to attempt to discover, translate and record the vibrational sound of the various elements and objects (river, wind, trees, grass, ivy etc).

This is not a scientific experiment but rather will draw upon my skills of perception not separate from my accumulated history and emotional connection to nature. My desired outcome would be to build a ‘Music of Nature’ soundscape to accompany collected visuals, and/or a non-moving catalogue, a sound dictionary that could be shared on sight with participation of colleagues toward building on online storehouse .

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Other-Ways-to-Find-Home-No-3-and-4_S.Humston_2018.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Naviculum-Chorus-drawings-in-studio_S.Humston_2017.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/4.-How-to-Make-an-Island-drawings-ceramics_S.Humston_2018.jpg
HyelimKimhyelimtaegum@gmail.comUnited Kingdom (UK)South Korea

Hyelim Kim is currently a research fellow at the Bath Spa University and post-doctoral associate at the School of Oriental and African Studies (SOAS), University of London, United Kingdom. She obtained her Ph.D in ethnomusicology from SOAS in 2014, where her dissertation was on the performance-as-research of Korean traditional music; this dissertation will be published by Ashgate in 2018. Hyelim has been engaged to teach at various universities both in England and South Korea, including SOAS, Bath Spa University, Hanyang University and Kyungbuk National University. As well as the traditional music of Korea, Hyelim is also interested in the modernisation of Korean culture, South Korean music, and theories of cultural nationalism and transformation.
As a composer and taegŭm soloist, Hyelim has been composing and performing professionally since 2000 specialising in traditional repertoire and various cross-over genres. Her debut recording entitled 'Nim: Hyelim Kim Taegŭm Collection' released by Universal Music in 2013 includes traditional pieces together with new works, special commissions and her own composition. She has since released two further recordings (a live recording of a fully improvised recital and a collection of traditional Korean court music) and is preparing her fourth album which is an improvised collaboration with Australian avant garde jazz musicians.

Taegŭm performer, composer and researcher, Hyelim Kim, is opening new possibilities for Korean music by using the taegŭm. The taegŭm, a horizontal bamboo flute, is considered one of the most representative of Korea’s traditional instruments. Kim already has a rich history of achievement: she was selected as the pioneering artist of 2009-2010 by the Korean Arts Council; was a performer at the New York Omi Residency in 2009; was invited to perform a live session on BBC Radio 3’s celebrated Late Junction in 2012; was selected as the Kumho Young Artist for 2006, to name but a few. She has also won prizes at various acclaimed competitions, including the Gold Medal at the Korean National Taegŭm Competition and the 1st prize at the Korean National Chongro Music Competition. Kim has held numerous performances overseas including three recitals and performances at the London Jazz Festival, the 2High Festival (Australia), the Omi World Music Concert (New York), the Sori Art Electroacoustic Concert (Australia), the NZEMS (New Zealand), the World Classics (England) and the Shubbak 2017 (London). She is a regular member of the British contemporary music ensemble Note Inégales directed by Peter Wiegold.

In Korean music, musical notes are treated as living tones, so a piece of music is not considered a combination of different elements, but as one existing, living sound. The music becomes an existing presence where nothing has happened and would not happen. The ephemeral life of the sound created by the traditional instruments can be related to the traditional concept of nature. There are specific relationships between Korean music and nature in terms of instruments and its repertories.
Bamboo, the main material of the taegŭm, reflects the fact that Koreans celebrate nature as a standard of sound but even more widely for weights and measurements. Bamboo was chosen for the measure of a tuning system since natural material is regarded as a product straight from nature. Thus, the length, capacity and sounds that are produced are the direct result of nature, not fabricated from the attempts or intervention of humans. The ephemeral character of nature outweighs the artificial standard of man-made materials, and therefore the taegŭm flute reflects this aspect through its sounds.
This total submission towards nature can also be found in the repertories for the taegŭm. P’ungnyu (Wind and Stream) is a term referring to the chamber music of the literati class. This music reflects the flow of nature as presented through a ‘living sound’. Nature is always changing but it is also omnipresent. The genre p’ungnyu is one of the representative types of music employed to express the ephemeral quality of nature in Korean music.
A music tradition that is fundamentally connected to nature, such as traditional Korean music and particularly music for the taegŭm, is therefore suitable to provide a musical voice to the environment, whether it be the aural and colour changes brought about by the seasons, or political issues such as sustainability.

As a Korean traditional musician based in the UK, I have focused on the languages involved in creating new music across various boundaries. I believe that the wide range of sonic colours that the sound of water is capable of creating can be one of the creative languages adequate to bridge the different soundscapes of music and nature. I will explore the diverse sonic palettes of water as a container for the diverse sounds of Korean traditional music. Among the Korean traditional instruments, the taegŭm flute is particularly noted as being versatile in its ability to produce not only a pure and soft sound from bamboo body, but also a buzzing and piercing sound created by a special membrane that is activated by over-blowing. This trait is similar to the multiple facets of the river shaped by diverse ecological surroundings. The basis for my project remains the taegŭm as a representative object of a characteristic Korean sound-world, and this object will correspond to the waterscape of the River Dart characterised by its local landscape in Dartington. My role as an improviser and composer will be used to develop an intercultural sonic work connecting music and nature and between the sound worlds of Korea and the UK.


I have not participated in a previous GNAP   
CherieSampsonsampsonch@missouri.eduUnited States (US)United States (US)

My practice is at the juncture of several art forms: visual arts, performance/dance and electronic media. The natural world, and related cultural themes, inform my site-specific projects in wilderness, rural and public outdoor settings. I have worked in boreal forests to the agricultural spaces in my own backyard where I live on an organic farm, surrounded by woodlands, prairies, orchard and gardens. The cycles of life, sustenance and decay are intrinsic and universal, whether within a wild place or an agricultural landscape where humans are inextricably involved. These processes and spaces actuate my work and are my sanctuaries.

Often working in remote and physically challenging environments, I have developed self-reliance as well as heightened sensitivity to place, returning to the same sites over days, weeks or even years. In creating a work - whether a live performance for an audience or for the camera - where the trees and elements are the only witness, my roles are many: director, camera-person, performer and sculptor as well as responsible for all post-production. My movement practice includes yoga, improvisational dance and since 2009, the Indian dance form of Bharatanatyam, the language of which has been integrated into several recent projects. A cancer diagnosis in 2017 turned my attention to my body as a site of research. Having documented much of that experience, I am transposing it into an equally relevant environmental performance work: healthy food, long walks and new works made in our woods and orchard during my treatments were essential to my healing.

I have worked for over 25 years as an interdisciplinary artist in environmental performance, dance, sculpture and video art. I have participated in solo and group art exhibitions and installations, conferences, live performances, art-in-nature symposia and video/film screenings internationally in the US, Finland, Norway, Holland, Cuba, France, Greece, Italy, India, Spain, the UK, Argentina, South Korea other countries. I am a two-time Fulbright awardee to Finland in 1998 and 2011, where I have traveled extensively over the years and created many of my works inspired by the Finnish cultural and geographical landscapes. Other grants received include a Finnish Cultural Foundation Grant (North Karelia Fund), three Finlandia Foundation Grants and multiple university research grants. I am an Associate Professor of Art at the University of Missouri, where I teach video, performance and digital storytelling in the School of Visual Studies. I divide my time between the university and my husband's organic farm in Northeast Missouri where I also create my art in the cultivated and wooded environments. I received my MFA in Intermedia & Video Art from the University of Iowa in 1997 with a minor in Sculpture.

The notion of an artist is a relatively recent construct in human evolution. Before there was 'the artist', the visionaries, poets, and ecstatic performers were the healers, shamans and mystics of the tribe or community, whose role was to transport the collective psyche in need of healing from one state of being into another. Visual, tactile, and/or rhythmic tools would have been used as vehicles for such transformation. I am reminded of Suzy Gablik's 1991 book, The Reenchantment of Art, in which she distinguishes between deconstructive and reconstructive paradigms in contemporary art practice. The deconstructive paradigm is individualistic, whereas Gablik calls for and cites examples representing the reconstructive model in which community, connectedness, ecological and social mindfulness prevails. She invokes a mythological consciousness as a foundation for this shift; for which the living artists of today must embody in order to be the pioneers of change.

Art is potent form of communication and artists have a myriad of ways in which we can communicate as well as implement new perspectives, ideas and design in support of the environment through our works and collaborations - with community, science, industry, education, activism, conservation, and really, all sectors of society. I think there is no one single way to contribute to change, but many. The important thing is to communicate about these issues, whether quietly and celebratory in the manner of the Taoist inspired philosophies underlying the GNAP model of working with/in the environment or overtly as did Julia Butterfly when she lived in the redwood for a couple of years as a powerful statement about the vulnerability of the environment under human impact. (Julia is not an "artist" per se', yet hers was a gesture of healing and her action a powerful manifestations of 'performance art'.)

The dancing, singing waters of a river are ephemeral, as are its earthly borders. Most rivers worldwide have been shaped by human movement, hands, necessity and desire. The trajectory of river pathways, as well as ecology of the water itself, are ever-changing, tethered to human conceptions of a river's use. Like the Dart River in Devon, many rivers are bordered by riparian buffers, liminal places with species of flora and fauna, between water and agricultural lands. 4000 miles away in the U.S., I live and have made artworks in such a place, on the bluffs, cultivated landscapes and tributaries of the Mississippi. Though there is no physical confluence of the Dart and the Mississippi, there are connections macrocosmically and metaphorically in the patterns of the riparian "in-between," their oceanic destinations and the reality that all water that has ever existed on earth is all there will ever be. Having visited the Dart River region in June 2016, it felt familiar and of course, different from my home eco-systems. I wasn't able to spend much time on the river during that short trip and wish to return to explore it more through embodied and physical interaction - hands, feet, limbs, movement…mud, water, tree bark, root. Poetic interpretations of the 'in-between.'

From another perspective, I am very interested in the cultural layers of Dartington Hall as a pioneer in the early 20th century east-west exchange as well. In my study and practice of classical Indian dance, I am aware of the early luminaries in Indian dance, such as Uday Shankar and others. Shankar, as well as Indian poet Rabindranath Tagore, were involved with the cross-cultural, interdisciplinary programs and the "Dartington Experiment" in the 1930's. This experiment eventually segued into the art school there, with a plethora of international artists, writers, musicians, dancers, musicians, thinkers drawn to Dartington's unique creative space. While I understand that we are not being asked to make a formal proposal to realize a production (or product) during GNAP UK, I am nonetheless inspired by the "presence" of the Indian dancer and poet in the palimpsest of Dartington's history. The movement language of the south Indian dance form that I know, particularly through its expressive gesture and intricacy, will be one of the performative tools that I will work with while exploring the river and its environs.

Finally, I see the exchange with YATOO, its vision and the artists from South Korea as part of Dartington's continuum of east-west exchange over many decades. I would be pleased to be a part of that exchange in the present day, perhaps as an American "representative of the west." I have participated in a very short 3-day GNAP in Korea on the China Sea in 2016 and a 10-day GNAP in France last year. Thus, I have some familiarity with the model. At the same time, I would very much like to participate in a river eco-system GNAP as I have envisioned some kind of similar event for the Mississippi region one day.

I am submitting links to videos only; no images. Please note that Passwords are case-sensitive.

"Every.single.one" 2017
(excerpt from work in progress)
Password: TheBigTree2017

"Dissecting the Blossom" 2015
Dance for the camera

"River of Spirit of Life" (ice piece II) 2008
Video-performance on Wyaconda River
no password required

I have participated in a previous GNAP   
Enes OktayDeğirmencioktay_degirmenci@hotmail.comTurkeyTurkey

Besides painting, I have been interested in different art disciplines since my student days. By using different expression possibilities of each discipline I have been able to better understand and describe myself. In this context, I have started to develop my relationship with nature art in recent years. I feel very excited about the idea of being in nature through nature art, being one with nature.
It is of great pleasure to me to produce works of art with natural materials in the country, to communicate with the environment I work with, to think about the possibilities that will be presented to me, and to create an appropriate aesthetic design without harming nature. Being able to produce artworks having nature as inspiration and as main developer of my creativity allows me to be free from greed, my identities and my labels. I mean, in between nature, I am able to be alone with "I".

Oktay DEĞİRMENCİ was born in Erzurum, Turkey. He graduated in Painting in the Buca Faculty of Education and as Master in Fine Arts in the Institute of Educational Sciences Department from the Dokuz Eylül University. Although he finished his studies as a painter, he has worked with different materials and means, lately related to nature art. His works have been exhibited in several international Symposiums and Festivals such as 8. TORUN INTERNATIONAL PAINTING SYMPOSIUM "Malownicza Barbarka", POLAND (2016), “IDEAL AND REALITY” workshop and exhibition, Normal University - Chengdu, CHINA (2015) and International Plastic Arts Festival Monastir – TUNISIAN (2013), among others, and in three solo exhibitions in Istanbul and Izmir. He also took part as participant and organizer in 2017 in the International GNAP (Global Nomadic Art Project) “In the Trace of Nature” workshop and exhibition - İzmir – Kapadokya, TURKEY. An article of his work was published in 2003 in Artist Magazine under the title “Pictures of Oktay Değirmenci terms of human and meaning”. He currenly works as painter and designer. Lives and works in Izmir.

The capitalist culture is leading to ever-greater environmental problems that are becoming increasingly profitable and harmful. This uncontrolled situation creates great damages to the ecological system (such as declining forests, climate changes, global warming). To cope with this situation, artist have a great responsibility. They contribute to the formation of the cultural environment, which is necessary for continuing the existence of the societies, by establishing a relationship between nature and life. People often benefit from the strengths of their artwork, and sometimes they owe their assets to it. For this reason I believe in the power of art.

In 2015 a group of five artists and I, who were interested in nature, established the PATIKA ART GROUP in Izmir, Turkey. Our group is in the process of being an association. This group leads national and international events related to art and nature. At the same time, it aims to be in communication with international artists, associations and art groups working in this discipline by sharing information and participating in nature related activities. Our group, which met with YATOO Group two years ago, succeded to organize GNAP TURKEY "On the Trail of Nature" project in 2017 with over 30 natural and international artists. GNAP TURKEY consisted in 20 days of daily workshops around Izmir and Cappadoccia, concluding with an exhibition of all the works in Kulturpark Izmir.
In this context, the event in CCANW is related to GNAP, caring about art and nature, and I would like to participate.

 I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/oktay-degirmenci-1-gnap-turkey.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/oktay-degirmenci-3-gnap-turkey.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Oktay-Değirmenci-2-PATİKA-SANAT-GURUBU.jpg
JuliaWilsonjuliababs@hotmail.comUnited Kingdom (UK)United Kingdom (UK)

I am a horticulturist + artist hybrid. Each discipline is informed and enriched by the other. My work is characterised by a playful curiosity of life and a desire for deep connection - physical actions, gestures, inter-actions with nature and the everyday, listening to the body, the senses, direct experience, wordless thoughts and trust, love, nonsense and medicine.

As a horticulturist I currently work with the Royal Horticultural Society at Wisley Gardens. I care for a number of botanical plant collections, woodland and two display houses. I also look after a range of streams, ponds and aquatic plant groups. A large part of my role is educating students and visitors on the practical aspects of plant cultivation whilst also exploring the relevance of horticulture and plants to our everyday lives and for our changing world. Key aspects of this work include 1) Health and Wellbeing – the inter-relationships of individual, communal, environmental and economic health. 2) The role of green spaces in social and community empowerment. 3) Ecology, biodiversity and conservation. 4) Ethnobotany and biocultural diversity.

As an artist I work across disciplines; land art, live art, dance/movement, visual arts, writing and music, including also somatic meditation and the actions of our everyday. My work is transitory in nature, made in response to a particular environment, time and company present. It is very much a process focused practice and allows spaces for meaning and understanding to emerge that are inaccessible via logical reason alone.

Passionate about art + science I have worked as a horticulturist with the Royal Horticultural Society for the last 4 years. I have developed a broad range of experiences including; the study of ecological environments, plant identification, propagation, and the care and cultivation of various plant groups. My work includes educating on the practical aspects of horticulture and its place within our changing world. I have also spent time working and collaborating with other organisations including RBG Kew, Chelsea Physic Garden, Great-Dixter and Gothenburg Botanical Garden. In addition I have gained my certificate in permaculture design.

Prior to this I spent 10 years working in the arts as a curator/producer/projects manager on exhibitions, artist residencies, festivals, performances and learning and participation initiatives. My focus was on experimental, cross disciplinary and site-specific work. I worked with organisations such as SouthBank Centre, Chisenhale Dance Space, Farnham Maltings, and South Hill Park Arts Centre.

Initially I studied Art at Oxford Brookes and last year received funding from www.rajnishah.com to re-enter into my own art practice. Since then I have been informally mentored by www.sheilaghelani.co.uk, spent time developing my practice with Michael Atavar and am studying Shambhala contemplative arts practices with Claire van Rhyn.

I believe the arts can create spaces for listening and dialogue. Spaces for connecting with an embodied/ somatic awareness, knowledge not accessible via the analytical thinking mind alone, rather a wordless knowing gained through deepening our connection to the immediate body and to the larger body of the land.

I believe the arts are a way to both access and communicate this awareness. That art processes allow us to step beyond habitual ways of thinking – opening us up to a broader range of perceptions, perspectives and approaches. For I believe the very thought processes we apply to approaching issues around environment, ecology and climate change are in themselves calling for our attention.

I believe through art process we develop the art of paying attention. Much like in meditation we develop our capacity to observe and to listen more deeply to ourselves and the world around us …learning to trust what we hear and allowing thoughts and actions to flow out of that.
I also believe that the arts have the ability to engage with the public on issues around environment, ecology and climate change in a more immediate way than a dry relaying of scientific data. Art has the capacity to connect directly with our core humanness, our imagination and our hearts. It can take what can often be confusing and overwhelming amounts of information and distil it into a more relatable, creative language. Furthermore to this I feel that where science and art can meet and work together a fuller understanding and approach can result.

1) As both an artist and a horticulturist I feel that it is a collaborative process - with that which is primordial. That life energy which makes the green grass grow and the buds open and which flows through all of us and everything. My wish to develop as an artist is led by a desire for a deeper and richer relationship with life, and discovering ways of sharing this with others. This residency is unique in that it honours art, science, spirituality and politics, allowing a holistic space for them all.

2) I have reached a stage in my career as a horticulturist where it now feels important to re-engage more fully in my own art practice. The zone of overlap between my work as a horticulturist and artist is one which feels very potent and fertile and which i wish to explore further. I require more open, experimental and playful spaces which allow for this.

3) I wish to develop my awareness of river ecologies, species and systems through an immersive experience, learning and responding in a direct kinaesthetic way. Allowing this to then inform and influence my work as both a horticulturalist and artist.

4) I wish to develop a community around me of artists and individuals who share a common passion and approach to their art practice. A supportive network for dialogue, sharing ideas, exploration and experimentation. In particular I am drawn to this residency for its bringing together of people from differing nationalities as I am keen to better understand differing perspectives and cultural relationships with nature.

5) Inherent to the nature of my art practice I experience a difficulty in documenting my work. I would like to find better ways to do so to enabling fuller communication with others (artists, scientists and public) and to do so in a way that enriches (rather than impedes) the spontaneous flow of the artistic process. I am keen to speak with others who are engaged in ephemeral work and to experience how the residency itself is documented.

6) In follow on to the previous point. Participation in this residency will give me a very tangible point of reference when speaking with the scientists, educators and community engagement departments at the Royal Horticultural Society where a new centre for Horticultural Learning and Science is in development. I am keen to advocate and demonstrate how art can be incorporated into the vision for this new initiative.

7) From a personal perspective I have a deep personal connection with Dartmoor, having been born there and returning each year for a ritual family gathering to explore the rivers, woods and moorland. This would be a wonderful opportunity to take that exploration to another depth.

8) In short this residency would have a massive impact on my development and orientation as both a horticulturist and artist. It would also open up opportunities and connections for the future.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Song-1.m4ahttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Rock-Garden.-RHS-Wisley.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Self-Portrait.jpg
RebeccaLowerlowe.studio@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I am a visual artist with an interest in transient surfaces, landscape, light, movement, time and gravity. I am interested in developing visual work as a language and a process, as well as an aesthetic experience. Throughout my work there is an interest in fragile and enduring states.

My past work, predominantly painting and drawing, has concentrated on surfaces of objects, such as ancient hand-made pottery from China and Korea. I researched the histories of the pots and observed the traces of human touch still visible in their surfaces. They were approached as still lifes but with a focus on surface and a slow, shifting light, rather than form.

The paintings are built up in layers as a way of considering movement and time, which is both historical and experiential. There is an interplay between subject and object, which results in a reductive and abstract surface and a subtle, illusionistic space.

More recently I have been photographing and drawing natural and environmental surfaces, including fields, water and stone. In particular I have been making work from glacial and tidal rock laminae found locally in Yorkshire. The surfaces of the rocks have been formed by the flow of water and subsequent settling of sand through gravitational movement. One of the rocks has visible traces of two crossing river beds. I have used fluid media, such as concrete and cement, to make casts from the now still and solid surfaces.

I studied Fine Art at Leeds Beckett University (formerly Leeds Metropolitan University), gaining 1st class BA Hons Fine Art (1999) and MA Fine Art (2000).

I have combined my art practice with work as a researcher and part-time library assistant at Leeds Arts University (formerly Leeds College of Art) (1993 - 2016). I was a visiting lecturer for the BA Fine Art programme at LAU (2001) and a gallery invigilator at LBU (2000 - 2002). During my work for LAU I developed the University’s historical archives and curated the library’s special collection of artists’ books. I organised regular exhibitions and presentations and helped to establish a series of library residencies. In 2015 I presented “What is an Artist’s Book?” at the International Contemporary Artists’ Book Fair. I now follow a full-time art practice.

I have exhibited in group exhibitions throughout the UK and Europe and currently have a solo exhibition at Leeds Arts University. In 2017 I completed the Correspondence Course at Turps Art School in London.

Previous employment included care work and mental health nursing.

I enjoy walking and am a member of the RSPB and Woodland Trust.

Scientific knowledge can explain the human impact on our fragile ecologies. Facts and knowledge can also be transformed and made vivid through the arts, enhancing the way information is taken in and experienced. So an understanding of landscape environments and people’s places within them may also be strengthened by artistic interpretations, whether they are developed as representations, creative processes that echo ecological systems, abstractions or metaphors.

I believe that human experience is inextricably linked to both landscape and art. Being in a landscape leads me to a stronger awareness of my physical body, my thought systems and my emotional and intellectual states. Human presence in the landscape takes forms which can be useful, recreational, creative and destructive. All life depends on the Earth’s structures and materials. It seems clear that we are all collectively responsible for preserving these structures and helping to reverse the damage that has led to plant and animal extinction, climate change and environmental pollution, including the growing volume of plastic in the oceans. Creative intervention can draw attention to the human relationships with landscapes and ecological systems without damaging or depleting them. Art questions and helps to make these relationships visible.

I would like to mention here the artist, Tania Kovats’ sympathetic approach to landscape in her description of “drawing as a mechanism for exploration as much as a tool of representation” (Kovats, 2014): drawing is a way of trying to understand something, which can also then communicate the attempt. To try to understand is perhaps to look, or listen very carefully, not necessarily expecting answers.

Kovats, T. (2014) Drawing water: drawing as a mechanism for exploration. Edinburgh: The Fruitmarket Gallery.

I understand this is an open-ended project and I would hope to be led by the surrounding landscape, as well as the encounters and conversations that may occur.

I like the focus on work and ideas that are ephemeral and would enjoy engaging with the points suggested in the “themed enquiry”, particularly thinking about the interrelationships of water, landscape, movement and time.

The location of the Dartington Estate would enable me to develop my current work with landscape away from familiar surroundings. I would make good use of the facilities there especially the studios, the library and the art collections.

I would like to learn more about the aims of the Global Nomadic Art Project in practice, and the philosophy of ‘Nature Art’, which I am not very familiar with. The idea that it is a “way of working and of being in the landscape” rather than an art form or style suggests a holistic and sympathetic relationship with landscape rather than a distanced or objective one and that is something I want to develop. I am thinking of examples in the work of artists such as Hamish Fulton. The Dartington estate seems an ideal setting and context for the GNAP, in terms of its history, shared philosophies and care for its natural environments.

The contemplative and quiet approach that the GNAP encourages is sympathetic to my way of working, which is reflective and finds ways to slow down responses.

Having always lived in northern cities with rivers or canal systems, which have been developed to support urban industry and, more recently, inner city housing, “The Ephemeral River” project is a chance to travel and explore a different kind of river landscape. I would enjoy learning about the River Dart’s history, its physical and geological structures, the different aquatic habitats, gardens, plants, water meadows, and how they evolved.

Working closely with an unfamiliar landscape would help me to give fresh consideration to how I approach subjects and procedures and what these communicate about my (our) relationship with that landscape.

I envisage keeping a journal, drawing, photographing, filming, recording sound and extending these into different physical media, perhaps making casts in more ephemeral materials. I would like to find ways of recording the surface movement of river water. It would be helpful and stimulating to collaborate on this with people from other disciplines, as part of an expanded community exploring cultural differences in our relationships with water.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Shift-II.2015.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/SurfaceDrawing.2017.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Cast1.2017.jpg

Rafael Santos (Argentina, 1961)
I am a contextual artist and environmentalist whose working objective is to connect the artistic way of thinking and creating with the development of sensitive research about socially and environmentally critical situations.
My work can be defined as sustained exploration, deep interrogation and creative visualization, to foster understanding and cultivate awareness and critical thinking.
I primarily focus on the observation, interpretation and defense of Nature as a whole trying to unveil contradictions in human/nature relationship (rigid/flexible, static/fluid, fast/slow), with the intention to capture different levels of consciousness about our relationship with (in) Nature
My main tools are photography, map creation and signage as a kind of poetic questioning, along with an interactive attitude with communities, natural and built environments.
In Christoph Schaffer´s words:
”He combines direct interventions, and precisely defined concepts to a parallel universe without giving up the symbolic potential of art. With projects at the Rio de La Plata, he is successful both in intervening directly into ecologic and social systems, while exposing at the same time the structures that cause the global catastrophes, the difference between local and global knowledge. He confronts global stupidity with a radical alternative approach”

I am an Argentinian born contextual artist and environmentalist whose working objective is to connect the artistic way of thinking and creating with the development of sensitive research about socially and environmentally critical situations.
As co-founder of the art collective Ala Plástica in 1991, I have since worked, exhibited and campaigned on plant restoration in estuaries, animal captivity, recovery of urban forestry, among other projects.
Since 1994, I take part of Littoral Art, the independent network of artists, critics, curators, and scholars interested in new ways of thinking about contemporary artistic practice and critical theory
Since 2006, when I decide to quit Ala Plástica in search of a different projective consistency, I work independently with a special focus on rivers, as crucial territories for the most powerful relations between society and nature.
My work has been extensively presented and shown in the Americas and Europe.
2008 CHANGING LANDSCAPES RESIDENCY AWARD Center for Bioenvironmental Research, New Orleans, LA, USA.
1998 INTERNATIONAL ARTIST RESIDENCY AWARD, The Arts Council of Northern Ireland.

What does globalization mean in relationship to environmentally concerned art?

One possible way to define what an Environmental artistic intervention might be:
A clear interaction between practice and concept development, there is room enough to develop paradigmatic shifts.
Also think in terms of opportunities to review a strong tendency to think and act locally (the actual practice), being possible to expand it into wider realms. Certainly art is paradoxically a long lasting human activity, but with little influence upon global processes, technologic development and its current consequences: maniac production and consumerism.
Environmentally concerned art in general has the potential, via creativity and imagination, to turn ”anti” actions of protest, declamation, and finally confrontational violence, into perhaps more effective “counter” creative or imaginative options.
We should explore sensitive points of view that can contribute to any process of transformation, as sciences do, as technology does, as many kinds of belief structures do. This could become a real paradigmatic change, the border that perhaps we must breach.
To try not to think on what art or an artist is…
to think about what art or an artist can and must do.

Some guiding premises

-the question of what human being is capable to build or destroy, and what for.

-To look at how does human being function on Nature.

-The development of an inclusive objectivity; another way for human being to focus itself into nature.

-To take reference on nature not just in the artistic/visual tradition, but in terms of behavior as artists.

-Art in terms of adventure, exploration.

-Closeness and empathy to nature`s behavior.

-To experience subtleness in human/nature relationship.

-To challenge Greek Western traditions in order to help it, to alleviate it through a new and inclusive objectivity

I have been aware and followed CCANW activities for more than 15 years, since the times when Clive Adams struggled to establish CCANW in Poltimore House. Now, as since then, I daydream to collaborate with the Centre.

For me, working in a fluvial context is natural. At this moment my interest is focused on exploring something of the ancient western and eastern traditions with respect to the rivers, apparently contradictory, but that might not be so much. For this I start from Heraclitus´ quote “You cannot step into the same river twice” and Zen proverb “You can take many buckets of water from the river, and the river will remain the same”

One reason for me to apply for this event is that I feel the proposal as absolutely congruent with my background, way of working and professional and conceptual interest. The proposed collaboration between art and science, is always present and central in my art projects.

I want to remark my profile as an artist interested in the links between art and the environment and my deep compromise with the transformative potential of art.

As an experienced artist and projects developer in different contexts and cultures, The possibility to immerse myself in Ephemeral river Project seems both a challenge and a privilege for me, making the prospect extremely interesting. I expect to expand my artistic practice scope through this experience.

I hope that in these few lines I could express my deep compromise in relating art, nature and society, my will to offer the best of my experience, skills and ideas, and my belief in that GNAP-UK and Ephemeral River is a not easy to found opportunity to do so.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/ABUSO-DE-SUSTANCIAS.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/DELTA-FACTS-On-Golden-Flow-of-Capital.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/RIVER-WORKS.pdf
AnnaGillespieinfo@annagillespie.co.ukUnited Kingdom (UK)United Kingdom (UK)

We are applying as two artists, a choreographer and a sculptor, intending to collaborate. Richard Chappell, choreographer and dancer, has been working to produce independent dance productions for the last five years. His company often creates energetic dance stemming from his search to find honesty through physical exertion. In recent years Richard has been searching for a way of turning his attention to environmental themes in his dance works which he tours with a small dance company Richard Chappell Dance. Richard has worked regularly in Singapore since 2014 and has previously collaborated with Korean artists though a commission from the Nanyang Academy of Fine Arts.

Anna Gillespie, a sculptor, has spent the last 10 years making work from found tree material and exploring the spiritual connection and similarity between non-human nature and the human form. In the last two years, witnessing the refugee crisis and visiting Africa has changed the nature of her work. Whereas previously much of the work attempted to create harmony through a focus on beauty, Anna’s current work is more concerned with the destructive effects of humankind and specifically the way in which we traverse the surface of the Earth as we destroy its habitability. She is also interested in the way that by dwelling in man-made constructions we separate ourselves from the rest of nature.

Richard Chappell is a South West based choreographer and dancer and has a BA Hons Degree from the Rambert School of Ballet and Contemporary Dance. Since 2014, Richard has created his own independent work, with yearly grants from Arts Council England and extensive annual touring schedules across the UK. Richard has also created three independent site specific films. Amongst other companies, Richard has created works for Stuttgart Ballet, Frontier Danceland (Singapore), English National Ballet, Nanyang Academy and Trinity Laban. Richard is Dance in Devon’s Artist in Residence and has undertaken residencies yearly at Dartington since 2014.

Anna Gillespie has a degree in Philosophy, Politics and Economics from Oxford University and a postgraduate diploma from the London School of Economics in International Relations. She holds an MA in Fine and Media Arts. Anna has been a studio artist for 25 years and is now moving into working in the public realm. Attending a course at the Schumacher College in 2005 called Art in Place was a turning point for her work. She also recently attended a Dark Mountain course at Schumacher. Anna has made works from recycled objects for the Green Fields at Glastonbury Festivals and for the Alderney Music Festival.

In 2005 when Anna attended the Art in Place course at Schumacher College she was questioning whether it was right to be an artist when the Earth is so threatened. A 'collective' answer came back from the 'course' that art can be made in ‘service’ of the planet, an answer which perhaps reflected the Gandian principles of the College and have influenced the work she has made ever since. Art can be part of the solution in a way that if it ignores the crisis, it can potentially become part of the problem.

Simply by drawing attention to the disastrous consequences for the planet of our unthinking actions, by raising again and again the issues involved, the arts can help pull us out of the collective denial that still largely pervades our societies and reach audiences who don't normally connect with environmental issues.

On a more subtle level, the arts can give expression to the joy of connecting with non-human nature thus stimulating a desire to care for and preserve it. Perhaps less obviously, but maybe equally importantly, the arts may also act as a vessel to hold the difficult feelings, such as anger and grief, that we experience when we witness the destruction of our planet. Like all powerful emotions, if they are unacknowledged and not processed, unanticipated harm can emerge over time.

It is these personal, emotional and yet widely felt responses to the current crisis that may form the starting point for our collaborative research at GNAP. Can sculptures and dance, combined and separately, form a vessel to hold and acknowledge these responses and thus potentially transform them so that they can help rather than block the process of contributing to positive change.

Last year Richard Chappell saw Anna Gillespie’s sculptures from the Gathering Project, and was deeply moved by the connection between their focus on the human form and his own work. He realised that this represented the opportunity he had been looking for to make a dance work with environmental themes at its core. He made a short research dance piece inspired by the ‘Gathering Project’ sculptures before approaching Anna about a possible collaboration.

For her part, Anna had been looking for a way to revitalise the Gathering Project and at the same time move from working as a solo studio artist to a more collaborative foucs.

To start the collaboration we had decided to spend some time in Dartington in the summer of 2018 working to see where our different art forms might take us if they were brought together. Dartington is symbolically important to the collaboration as it is where the Gathering Project was born over 10 years ago at the Schmacher College’s Art in Place course. As a South West based artist, Dartington and its performance history and current programme, are also very familiar to Richard.

With this in mind we were both delighted when we saw the Ephemeral River call out.

Working collaboratively within the context of GNAP would provide a safe ‘space’ in terms of the environment where we can work - permission to be and work in and on the land - without an ‘end product’ being required. There will also be the added benefit of the stimulation of the other participants. In particular, Richard has worked in the Far East and would be very interested in seeing how the participants from Korea interact with the environment and how they bring in their performance traditions. Anna is particularly interested in the focus on ephemeral works that the GNAP event proposes to encourage and is also keen to learn from other traditions. She is seeking a way of taking the Gathering Project’s sculptural focus in a new direction which ‘treads more lightly on the Earth’ than traditional sculpture making techniques which formed the first manifestation of the project.

Our aim is to weave between sculpture and dance with the two art forms fluidly interacting. An ephemeral sculpture might, for example, inspire a dance improvisation which in turn may inspire another ‘sculptural’ work. The dance may actually involve the natural objects which are being used or may have been transformed into a sculptural piece. Sculptures may emerge though the process of movement and dance as this approach ties in with Richard’s long standing interest in creating dance through task-based methods of movement generation.

Although we would not intend to come away with a specific performance idea or with a ‘sculpture’, it is likely that we would film some of interactions with the environment with a view to both ‘keeping notes’ that might lead to a short film, a performance or sculptural works at some point in the future.



RachaelAllainrachael.allain@plymouth.ac.ukUnited Kingdom (UK)United Kingdom (UK)

I am an artist, researcher and lecturer based in the South West of England. My multidisciplinary, site responsive practice incorporates text, ephemera, swimming, walking, experimental still and moving image, sound recording and installation. My experiments explore phenomenology in relation to watery sites, the temporal, alchemical properties of analogue film as well as the immediacy of the virtual, scientific and digital data technology.

My practice is informed by a fascination with the vast complexities that shape natural order into the reality we all know. To be human is to be fluid, immersed in the physical, perceptible ebb and flow of the world. I am absorbed in the inherent repetitions that punctuate the materiality of our existence, creating cycles and systems of rhythm that inform all aspects of our lives. I'm interested in phenomenology; based on two distinctions. The first is between the inner and the outer: the inherent sphere of conscious experience and the transcendent field of external objects. I see inherent repetitions that punctuate the materiality of our existence, creating cycles and systems of rhythm that inform every part of our lives. The second is between concrete and abstract entities: the real things existing in space and time and ideal essences.

I hold an MFA in Photographic Arts following a Masters in Contemporary Art Practice both at Plymouth University. I regularly exhibit my work both nationally and internationally; co-curate exhibitions and contribute to a range of arts and ecology practice and research events. I am a Visual Arts Plymouth Activator, this role involves organizing and developing forums and workshops for artists.

In 2017 I completed a three-month artist residency at Plymouth Arts Centre, creating a site responsive body of work, revealing both the seen and the unseen aspects of above and below the physical and metaphorical horizon. Datum Line, an experimental film, made during the residency, was selected for Making It Real at Ugly Duck, in London. I was selected for a residency, Place Exploration at Kestle Barton in Cornwall where I collaborated with a diverse range of International artists (including writers, actors and dancers), culminating in the creation of a site responsive, audiovisual installation, Deep Noise. I was selected for the Women in Photo Instagram takeover (Dec’17), an International platform for artists to share and discuss practice. Lunar G was selected for Film For Friday at Tate St.Ives (Dec’17) a curated program of films about celestial skies.

Increasingly artists concerned with environmental issues are receiving global recognition for their illuminating and thought provoking work. For example the pioneering American photographer and environmentalist Ansel Adams (1902-1984) described (in his autobiography) how his photographs of Yosemite National Park captured ‘The quality of place, the reaction to immediate contact with earth and growing things that have a fugal relationship with mountains and sky, is essential to the integrity of our existence on this planet’. He respectfully captured the wildness and beauty of the landscape using photography without leaving any physical trace.

The Danish artist Olafur Eliason uses light and immersive installation to highlight and explore the negative impact of the pressing environmental issues by creating epic, intoxicatingly beautiful installations that are exhibited all over the world.

Also, Mandy Barker the internationally acclaimed photographer whose work focuses on the excessive marine debris has received global acclaim for her beautiful images which aim to raise awareness about plastic pollution in the oceans and the negative impact on the marine environment. She regularly undertakes scientific research expeditions and collaborations in order to gain a deeper insight into the imagery she is creating which informs the work as it develops.

The role of the Artist is to reimagine the world and highlight aspects and otherness through exploration and artistic process. Artists, including myself, increasingly seek advice and collaboration with scientists in order to gain a deeper insight into the matter of things. The arts make a meaningful contribution to the environmental debate by highlighting aspects of climate change in a conceptual and poetic way whilst encouraging new ways of looking and seeing.

The opportunity to participate in GNAP-UK, would allow me the time and space to break away from the familiar, domestic environment into new, exciting and unknown territory, exploring different ways of being and creating in response to the Dartington estate which is dominated by rolling hills and surrounded by the River Dart which runs from the source on Dartmoor and releases into the sea at Dartmouth. I would like to explore and consider new ways of working and collaborating with artists and scientists that use different methods and approaches to making work and gathering data.

Even though I live within close proximity to the Dartington Hall Estate, I am drawn to the promise of extracting the exotic from the seemingly familiar environment. I consider the Ephemeral River residency a unique opportunity to connect with nature, in June, close to the summer solstice, when the daylight hours reach their peak, and tune in to my senses in a spectacular location that has a rich heritage of arts and ecology.

In Phenomenology of Perception, Merleau-Ponty explicates how ‘The body is the vehicle of being in the world, and having a body is, for a living creature, to be intervolved in a definite’ (2002: 94). I am drawn to the water, both above and below the physical and metaphorical horizon, the place where the land meets the river and the sea. The writer and swimmer Philip Hoare, in Rising Tide Falling Star (2017) describes his connection to water as ‘I have been coming here since before I was born…The Red and Green and Blue must’ve registered amniotically on the watery me in my little ocean…’ I am a curious, sensing human being and am instinctively drawn to watery places.

I am eternally seeking ways of trying to understand how I got here. As I let the days go by and allow the water to hold me down, I hear the water flowing underground, I love the colour blue, it’s not about the money, but about the water flowing underground, I love water, under the rocks and stones, there is always water underground, as David Byrne sang in Once in a Lifetime. I am not a poet but would like to be more playful with words and to explore, challenge and reinterpret my practice in a different place, a different time, rather than letting the days go by, same as they ever were…this could be the chance for a once in a lifetime adventure into the unknown depths of GNAP-UK on the Dartington Estate.

River Teign, A subaquatic film revealing new horizons in unexpected places with diegetic sound recorded above and below the river.
Vimeo Link -https://vimeo.com/175688493

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/bluenoise2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/BlueNoiseCyanotype21.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/RachaelAllain_SlideProjection.jpg
SeilaFernandez Arconadaseila.fernandezarconada@gmail.comUnited Kingdom (UK)Spain

For a few years now, I have been developing a research based practice focusing on the exploration of artistic methodology, its boundaries and new social approaches. I have been implementing my research by working on a number of international artistic experiments. Participatory and collaborative research methodologies involving academics, practitioners, community members, among others, have been central to my practice. I have worked in artistic and transdisciplinary collaborations using bespoke methods for each project always influenced by site-specific responses and inspired by social and environmental contemporary concerns.
This praxis involves the use of different media including creative mapping, public interventions in the public space, socially engaged practice, sound and performance. My methods draw from ethnographic research, cultural geography, landscape studies, climate change research, etc.

My work has become increasingly oriented towards addressing socio-environmental issues connected to identity and territory and its relationship with perceptions of the notion of place on both a personal and community level.

Seila Fernández Arconada is an artist-researcher based in the UK. Her work focuses in exploring artistic methodology, its boundaries and new social approaches.

Very recently, she has worked in the project Afluents selected by Hablar en Arte for the European platform Collaborative Arts Partnership Programme at ACVic museum (Spain).

She has exhibited internationally, recently at Imagined Landscapes at the Royal West of England Academy (UK) Inbetween Storage (Latvia), the B-SIDE Festival (UK), ENCLAVE Land Art (Spain) and 'Migration, Identity and Belonging' at Institut Français (Mauritius).

She is Honorary Research Staff in the Department of Civil Engineering of the University of Bristol where she co-directed The Land of the Summer People, a multidisciplinary collaborative project and the project Some:When, celebrating cohesion through the watery heritage of the Somerset Levels and Moors, a collaborative-socially engaged project co-directed with the artist Sage Brice and locals in Somerset (UK).

In addition, She has delivered numerous performances, cross-disciplinary workshops and interventions, recent examples include: AGU International Conference (USA), Communities Development in Post-Crisis Regions (Ukraine), Governing for Resilience in Vulnerable Places (Netherlands), Transnational Dialogues (China), On Earth, (UK) Role Models Festival (Ukraine) and Migration Identity and Belonging (Mauritius, selected by Gasworks London).

For me art operates as a language enabling an open dialogue rather than limiting thinking, it generates dynamic relations and unfolds layers of coding, hence acting as the focus of dialogue and interaction. I believe that the art research praxis provides an experience with the familiar that enhances sociological and environmental consciousness, and a number of skills and learning. Artistic responses therefore can generate meaningful relations across tangible boundaries addressing questions of resistance, power, equality and visibility and many other aspects.

I expect creative collaborative practice and hybrid methodologies will support resilience at individual and community levels through the exchange of skills and knowledge, and the expansion of public discourse, in addressing and responding to the environmental and social implications of extreme weather events.

Creative strategies can support climate change studies, supporting development of sustainable and innovative research of an unpredictable future and bringing academic knowledge into the social realm to enhance community resilience. “Riding the Tide, socially-engaged art and resilience in an uncertain future” is a first stage of this research, a collaborative paper written together with the artist Sage Brice published in 2017.

Artists have sought to situate themselves at the intersection of tangible and intangible benefits, building cultural and social reserves to sustain and support individual practice and the community; I believe we can contribute to current discussion on climate change.

I am interested in hands on collaborative research in which participants will be able to imagine and feel themselves and the surrounding nature to revitalize innovative thinking and creative articulations and I believe this approach is supported by GNAP-UK.

GNAP-UK is an unique opportunity for my professional practice; it encompasses my interests and visions therefore I would like to contribute with my skills and expertise including collaborative transdisciplinary and participatory methods and artistic ecological engagement, while learning from GNAP-UK and participants visions and experience during the placement. GNAP-UK is follows an experimental approach I am very interested in therefore I am very enthusiastic to apply for this opportunity.

In addition, my entirely artistic practice has focused in water from different perspectives including rivers as it can be seen in my portfolio. We are immersed in transitory times in which the relationship between water, human being, and place is changing constantly. However, as the notion of place is evolving the awareness of this and its understanding become important in order to act correctly. It’s then when creative and critical methods though art and cross disciplines collaborations becomes important. I believe this opportunity at GNAP-UK is beneficial to support those concepts in order to facilitate dialogue around practical issues related.

I would like to contribute to this opportunity through collaborating in an intense time as a catalyst of a new collaborative engagement of artful praxis. I strongly believe I can contribute to the current discussion on climate change by addressing creative and experimental methods with the collaborative research provided by this innovative and experimental network residency.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/NaturalZONE-@SeilaFA.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Somewhen-@SeilaFA-@SeilaFA.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Afluents-@SeilaFA.pdf
ChloeBonfieldchloebonfield@googlemail.comUnited Kingdom (UK)United Kingdom (UK)

Arriving at dusk. The sun sets over the land and the full moon rises over the sea. There is a very distinct sense that someone has just been here. Not before, not when this was used as something else. But very recently, just now.
There is a slab of concrete carved out of the rock. A tunnel to the side which I could possibly escape through.
Three, cylindrical seats are arranged around a crumbling table. On top of the seats there are some congealed masses. Inside each there seems to be squashed flowers and berries. The berries look like insects. On the floor a gelatinous lump has slipped. Inside it seaweed is unfurling. The seaweed takes on the gait of lizards and tadpoles.
It’s as if something from the sea tried to climb out onto land and got stuck halfway. I think I hear a sound. That makes me smile. The way the concrete is built in a semi circle with angles, it shelters all of the roaring sea and wind from me.
The lamp gets hung up in the doorway, that I at first thought was an escape route, and light echoes round the place. It bounces off of the rocks, casting irregular shapes onto the concrete.

Following a BA in Illustration at Camberwell College of Art I have worked as a commercial illustrator, children's book author and as an arts educator in schools. I have also been involved in numerous exhibitions, usually showing a mix of performative, video and installation work. Having been variously published, most notably an author illustrated title that deals with idea's around sharing space, anti colonialism and eco fable, (The Perfect Tree, Running Press, 2016) I am now embarking on an MA Authorial Practise at Falmouth University. Where I am exploring my interests in writing, performance and image making. An attempt to create fiction prose and part ritualistic performance that helps me to understand innate shared and improvised narrative connections, is leading me to research that helps to situate this work in an area that deals with a 'new materialsm'. I like the idea of striving for new stories, using fiction as a way to alter the narrative around ecology.
I am just starting to explore how bookmaking can also become a part of this in itself.

Following making work in the children's book industry, I found myself frustrated that there seemed to be only one story of the other. This one or that one. And it mostly seemed to centre on an eco fable, or story with a human centric focus. Through looking around for other ideas, and a love of the writing of Ursula Le Guin, I found myself reading and becoming familiar with the work of Donna Haraway. I find her take on the arts and ecology to be a whole and beautiful one, from a place of love. Using a 'cats cradle' approach she speaks of changing the story. Of the 're-invention of nature' in her Cyborg Manifesto (1984). This is just one example of the thread of thought, leading through feminist ideas of materialism, vibrant matter.
By becoming a part of the intertextual narrative the arts here has a place to explore and change the stories that are told. I think the art that can fit this is far and wide reaching, this is not a dogma. But it is focussing the work that is made to specific points, and not to all the points. By having that focus the work can take on features that are not commodity alone.
I am interested in a part of this happening using an interruption, something that is seemingly pulled through time and shown to all. It is then past, and as a snap shot of a process, it continues on. It becomes this story, that story. Part of a liquid ecology of narrative. Comparisons can be drawn with other ritualistic or spiritual processes, and I don't see any lines drawn here. Ever changing differences.

I found a conch shell lamp displayed in the Pitt Rivers museum in Oxford. It lodged itself in my head. It was from Scotland, and apparently it is the kind of object still in use sometimes today. Upon moving to Cornwall to start a masters course, I found myself walking into a gun embattlement, on a headland at Pendenis Point. At the time I didn't know about this place, and with a quiet mind I began to imagine the place as a living room. A place between, with concrete seemingly fused eternally with the rock that it sat on. A dug out hexagon that held run down pieces of brick that could serve as furniture. From here I built a fragmentary narrative, and from there I built a performance. This worlding has become informed by other voices, in science, in art, in prose and in poetry.
The nature of this way of working calls for ideas to move from place to place, and through time. To be able to focus this practise onto a specific ecology and a place that has its own stories, situated and seeped into its grounds, would be a challenge that I would very much like to try. Further to this, the possibility of speaking and working with others across disciplines can only be a continuation of where I am at this time. Would the writings that I could make whilst taking part become a part of the body of work that I am building? And if I can intwine an element of reading or performance, to share and create the ecology between others. Perhaps leading further into making a book object to house these things. A woven object, much like a basket, a book can perhaps work as such.
When making writing, I like to blend autobiography, quotidian experience and sensate fantasy. This is part of an attempt to make work that is questioning the patriarchal element. The role of the female within spiritual art, 'earth religion' and the problems and critiques that lie there within are also an area of interest to me. And how some areas of contemporary feminism seem to encompass and hold ecological thoughts as a part of their thinking. The opportunity to discuss these ideas, whilst making work and practising routine with others, is exciting.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Eleanor.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Witches-Front-Room_edit.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Screen-Shot-2018-01-20-at-15.56.02.png

A preoccupation with the natural world has always been at the heart of my work. Beginning with a large series of photo-based works documenting nature’s discards; leaves and seedpods directing a viewer towards the humble and commonplace in the natural world. With time I came to view these images as documents of preservation, a conserving of fragile and perishable subjects.
While the mediums of my work may change with time, the themes that are central to it are revisited and reconsidered with the passage of time, both my own and the world around me. For a recent work titled Seed Bomb I gathered hundreds of burrs of the common Burdock plant. Taking advantage of their stick togetherness, I constructed a large ball of seeds, to be placed in varied environments and documented. To deliberately create a seed bomb from an undesirable species leads to questioning why and how we decide what in nature is desirable and what is not.
Increasingly I am willing to recognize when an opportunity presents itself in the form of a happenstance within the world of nature. This is the case in a recent work titled Filāre, a video piece depicting a seed of a linden tree hanging in mid air, suspended by a spiders thread. An invisible but audible wind, animates it into sporadic movement; a spontaneous dance. The duration of this impromptu performance lasted for only a short amount of time, the thread releasing its hold on the seed, freeing it from its brief captivity.

Adriene Veninger has been a professional visual artist for over three decades. Her earliest photo based works set the tone for what would come to be central to her art practice; attentiveness to the natural world through the study of its organisms. Her large scale images of leaves and seedpods, discarded after their time of usefulness had passed, individualized the subjects by isolating them from the chaos underfoot. It pointed towards considering these forms as worthy of attention by preserving an image of the fragile and perishable specimens.
A selection of these works are in the permanent collection of the National Gallery of Canada, and have toured as part of it’s exhibition FLORA AND FAUNA; 400 YEARS OF ARTISTS INSPIRED BY NATURE.
Veninger has been included in exhibitions throughout North America, the United Kingdom, Japan and Canada, and is found in many corporate collections. In 1998 her work was chosen for exhibition from Discoveries of Meeting Place at FotoFest the Seventh International Biennial of Photography in Houston Texas. That same year she received an invitation from her birth country to participate in the Slovak Month of Photography Festival.

Artists have the freedom to work and explore at the edges of margins, allowing for the free expression of ideas without restrain and restrictions. Their voices are their own and need not represent an ideology that is not central to their thinking. That being said, that peoples from the arts and peoples from the sciences are increasingly listening to each other and cross pollinating their ideas and concerns is very encouraging for both fields.
But perhaps the best contribution we as artists can make is to lead by example, not only with the work we make but also the ways in which we do that work. Mostly we work on a very human scale by which I mean that our output is mostly brought into being by the individual who can then stand back and access his or her output. There is a certain harmony in working in this way it is tangible and immediate and as such gives I believe satisfaction for the labor. We make our offerings and send them into the world. The artists who choose nature as a subject within their work can by so doing, intone a message of respect and valuing of that world.
When a number of peoples of like minds work on similar subjects the messages or the questioning within those work will be heard farther and wider. It so often feels that artist do their work in a bubble, a bubble that consists of other like minded peoples, often other artists that have found a form of communication that speaks to each other in a language each understands.

In Canada mature estates like Dartington, established long ago and nurtured, over time by many hands do not exist, as a young country we do not have the history of aristocracy or landed gentry with its prerequisite resources to have established this manner of grand estates. As a much younger country our rural areas, subject as they are to encroaching over-development, are still often in the midst’s of a more unruly landscape. Very near to where I live is a beautiful running creek that has often drawn me to its banks, with its hypnotic swiftly moving water. This creek is a part of a larger watershed that traverses the region flowing first into Georgian Bay and then into Lake Huron. It often appears as if water, as it navigates it way across land, is searching to unite with other larger bodies of water .
Water is such a wonderful element to consider from the unique point of view of an artist. Multi- faceted, it is an element that can both nurture or summon a force that can destruct and destroy. Its material substance has great weight and can under the right circumstances gather tremendous force, and yet it is transparent and invisible.
Alongside, the overwhelming cacophony of a man-made world, there exist in relative quietude a world beautifully rich and complex, containing more than enough splendors and stimuli to satisfy anyone willing to look and listen. This, is the place from which I draw my ideas and carry out my work.
The concept of a Global Nomadic Art Project providing an opportunity to connect people whose work and interests are aligned towards building greater awareness of and empathy towards, the natural world, is inspiring. I would welcome the opportunity to come together as part of this community to bring my voice to those with similar goals and to have time in which to immerse myself into such a unique setting in which to work.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Seed-Bomb_1_A.Veninger.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Seed-Bomb_3_A.Veninger.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Filare.jpg
RachelWebbrachelwebb@live.ieRepublic of IrelandUnited Kingdom (UK)

Everything I do is part of awakening - exploring connection and identity, immersed in tactile and visual pleasure, inviting myself and others to recognise our place in the web of being.

For five years I have photographed local forestry plantations in all stages of growth until the devastation of felling, which then gives way to grassland and wildflowers, in time to be replanted. In the forest's more accessible shadows are piles of dumped rubbish, further in are ruined cottages and the old byways known in Ireland as boreens. Quiet, dark home to animals and fungi, lichens and moss, I love these trees in their sad rows. I am now collating these photos with other media to craft a coherent exhibition.

Other projects over the last two years include a video about water and another about a derelict house being overtaken by nature. I made a photographic series of my neighbours, all former new travellers, wearing papier mache animal masks and branching hats. The exhibition of these led to a funded project facilitating children's art workshops about migration - both bird and human. Each child made a mask of a migrant bird they had chosen and researched. The resulting photos are due to be exhibited locally this spring.

Now I am working to integrate my art with my druidic and shamanic path to empower deeper interaction with the non-human and a clearer invitation to others to join us.

I grew up in London, but during summers spent in a cabin in the woods with no electricity or running water, I found an abiding sense of coming home to the land and became the only member of my family to relish rural life. After ten nomadic years as a new Traveller in the 80s, I came to a mountain lane in the West of Ireland where I have made my home.

I graduated with a first class BA (hons) in Fine Art from Sligo IT in 2016 at the age of 58 and now divide my working life between being a psychotherapist and an artist.

Through photography, video, sound, masks and things made from materials found in nature, I am challenging the human (my own) perception of separation from nature. I have had exhibitions of landscape photographic montages, and a photographic series of travellers wearing masks and hats to mourn the death of trees. I lead children's art workshops and also adult art and mindfulness workshops. A local art centre has applied for funding for me to do a second series of workshops expanding the migration theme.

Despite politicians' denial and downplaying, there is nothing more pressing than the plight of Gaia and I believe that almost all humanity's problems stem from our psychotic illusion of disconnection from everything that is 'other'.

Art can be a mirror of culture, a way of finding new windows through which to view the world, an agent of change. Our current environmental catastrophe is a result of the way we have been seeing and creating reality - that humans are the pinnacle of creation, that monetary value trumps any other and that we have infinite resources to use as we please. Hand in hand, art and science can challenge this reality.

Many different art forms reflect all this in a way that allows us to see more clearly, more viscerally, what is going on. Understanding intellectually moves some to action, whereas others need that emotional response - art can tap deep into our conscious and subconscious selves.

Being told that the icecaps are melting does not touch us in the way a photo of a starving polar bear does, or a giant snowball melting in a Paris street. Stimulating the imagination can take us outside ourselves and into the 'other', animal or plant, wind or water. And encouraging exploration of creativity is an antidote to leisure equating with consumption.

Perhaps one of the most important tasks performed by the arts is to kindle hope in those of us who already see the abyss opening beneath all that we love. Let us create new stories to challenge the current paradigm, threads that might lead us out of the labyrinth of the current world-view and back into the light of truth and belonging. To find a better way to live, we must first be able to imagine the possibilities for change.

When I read about this project, my heart leapt and I immediately remembered the artist dominique mazeaud and her ritual cleansing of the Rio Grande begun in 1987. It seems synchronous that I am also revisiting the 'element' of water as part of my druid training.

As my art practice is currently curling its way into my shamanic practice (or vice versa) I consider how to journey to the spirit of the river? The complexity of life and chemistry, forces and flows that make a river, like our own bodies, are many combining to make one, with a name and identity bestowed by humans. The possibility of living with the River Dart for nine days - exploring, discussing, seeing the river through the eyes of other people, having access to scientists who understand the river's ecology, taking photos, doing ritual, being immersed, seeking to be with the river beyond our human concepts - is exciting and daunting.

Another synchronicity is that, although I have never visited before, I am coming to Schumacher college at the end of March to do a short course: Shadowed Ecology with David Abram, Stephan Harding and Martin Lee Mueller and I imagine that my experiences on that course will affect the way I approach the GNAP project (and enable a first encounter with the place).

However, as a tentative proposal I wish to investigate how to build a relationship with a river, in particular the River Dart, with all its occupants, companions and layers of biology.

This would seem to involve three interwoven stages: firstly, research into the ecology, history, geology and mythology of the river, secondly, meditation, ritual, shamanic work and intense attention with my 'animal senses, coevolved with the animate landscape, ... still tuned to the many-voiced earth' (Abram p 264) to develop the connection and, thirdly, the making of photos, video, sound recording and perhaps other, temporary interventions. This third stage will also include thinking through how I might communicate what I have learned and understood, felt and experienced.
I have many questions arising already - if I listen deeply will I be able to dance the river's song? When do the waters that feed the river become the river? What is the identity of the river if the water is constantly flowing away? How cold will the water be in June?

In line with the description of the Ephemeral River project I imagine any work I produce will be more contemplative and spacious than the video I am linking as one of my samples of work.

In his investigations of the boundary between culture and nature, Pierre Huyghe (2008) talks about how we have to learn the language of a place, or non-human entity, and are only then able to speak to that entity. I will be coming to the River Dart to learn its language as well as I am able.

Abram D (2010) Becoming Animal: An Earthly Cosmology Vintage Books USA

dominique mazeaud

Huyghe P (2008) Narrative, Projection and Memory


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Upwards-small.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/all-the-bird-masks.jpg 
AliceFoxalice@alicefox.co.ukUnited Kingdom (UK)United Kingdom (UK)

My process-led practice has sustainability at its heart. The work that I make celebrates and carries an essence of what I experience in the natural world. I work with natural fibres and gathered materials, employing natural dye techniques, print, stitch and weave in different combinations to create surfaces and structures. My practice is based on deep investigation of pertinent simple processes, using repetitive actions from textile traditions (hand stitch and plain weave) but exploring them in unconventional ways, displaying strengths in material appreciation and sensitivity to found materials.

The found object becomes a tangible link to location and landscape. I take an experimental approach to found items: by engaging with the materials, manipulating them and experimenting, I learn about their properties, boundaries and possibilities. I use found objects to make marks, allowing them to stain the fibres and stitches that I surround them with. This becomes a collaboration between object and artist. The resulting works become a very personal record of my experience of ‘place’.

My background in geography and nature conservation underpins my artistic practice. I follow a line of inquiry, each result leading on to another question: what happens if I do this? In presenting my findings I aim to draw the viewer in, notice things they wouldn’t otherwise have seen or considered, change the way people view their world, even in a small way.

I have a life-long passion for the natural world. From an early age I studied, collected, identified and drew natural objects. My first degree was in Physical Geography after which I worked in nature conservation. I subsequently re-trained in textiles and have worked as a full time professional artist since graduating in 2011. I exhibit nationally and internationally. I also lecture, teach practical workshops and write.

In 2012 I was Artist in Residence at Spurn National Nature Reserve, East Yorkshire, funded by Arts Council England and supported by Yorkshire Wildlife Trust. The project was documented in a blog, a book and a film sequence, all taking something of the experience and uniqueness of Spurn to an international audience. A further ACE funded gallery tour Tide Marks (2013-14) progressed my use of the coast and beach-combed objects as themes and explored how humans interact with coastal landscapes. Through Leaf Stitching (exhibition and publication, 2015) I followed a line of enquiry using local windfalls and exploring their potential for joining, patching and constructing with hand stitch. My book Natural Processes in Textile Art (Batsford, 2015) promotes a way of working that considers environmental impact and makes use of what is readily available.

Artists are in a unique position to bridge gaps between scientific and non-scientific communities. By exploring aspects of environmental issues, ecology and climate change, creating and presenting work that people can connect with on a variety of levels, artists might help others to make leaps of imagination, link to conceptual thinking and inspire personal responses to environmental issues, climate change and possible future scenarios. Creative approaches to issues can provide a means of interpreting them, making challenges approachable in different ways. Beautifully and skilfully constructed objects and images can speak without words, induce wonder, foster curiosity and spark the imagination.

I feel that personal engagement with the natural world is the key to people’s understanding and appreciation for it, and therefore for the issues and challenges that face it. However, not everyone has the same opportunities for spending time engaging with the environment or with inspirational landscapes. Artists can help people to see the world through different eyes, interpret and enrich their individual experience.

I am attracted to this project because I believe that as an artist I have a role to play in helping to communicate ideas about the world. My background and experience mean I would be able to undertake this project with sensitivity, bringing my understanding of the physical landscape together with my art practice to contribute to this project meaningfully.

I am currently studying for a MA in Creative Practice, through which I am exploring self-sufficiency in materials sourced from a newly acquired allotment site. By working within a set of constraints, using only materials from the site, I am pushed into exploring the potential of what is available more fully. Working the plot with aims of producing both food and materials for creative projects I aim to develop a deep connection with the site over an extended period of time.

My practice is based on ‘slow’ principles and involves slow (time-based) processes. This allows for constant reflection on the detail of what is going on, in my making, in terms of environmental impact of my work and in the incremental changes that happen in hand-made and natural processes. I feel my approach is very much suited to the ethos of this project.

The constraints for working within the Ephemeral River project are an exciting prospect. Much of my previous work has engaged with materials that are unstable and thus change over a period of time. To make work that is ephemeral within the timescale of this project is a challenge I would relish and I would seek to only use materials gathered sensitively on location. I would hope to explore, in particular, the points where water and land meet, the river edges where mud, silt and stone are shifted and deposited and where vegetation and water interact. This littoral zone is ever-changing and I would aim to explore the potential of the physical materials found there. To allow these experiments to exist for only the length of the residency makes for a very particular emphasis on ideas of change, control (or lack of it) and impact.

The potential to work with different organisations and individuals with a range of experience and expertise is exciting and could provide surprising opportunities and links to be made. I am open to interdisiplinary collaboration if appropriate.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Alice_Fox_stitched_limpet_shell.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Alice_Fox_weave_with_found_metal_Natural_dye.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Alice_Fox_woven_cube_with_estuarine_mud.jpg
TomIngatetomingate@gmail.comUnited Kingdom (UK)United Kingdom (UK)

Originally a photographer I have also experimented with performance, sound, construction and cultivation as practices that engage with the environment. I explore sociocultural and ecological tensions, usually through collaboration over a long period of time.
For example, a six year musical collaboration with apple trees that became a 45 minute performance. Two years gathering photographs of soil to build an image of germination and invasion by airborne seeds. Last year I started a visual storytelling project that builds new stories across three villages, drawing on archive images, family histories and new work shot on smart phones. This intergenerational story is framed by the river that runs through the three communities.
The building of a cob shed at the Soil Culture Conference at Falmouth University in 2014 has probably been the swiftest of all my works. A year in development but only two weeks to construct the shed was a focal point during the conference but also became a hub for an ongoing community of staff and students. An allotment society, the green living project, composting for students, and a meeting place for ideas that became the centre of an experimental independent state by Exeter and Falmouth university students that sent a delegation to COP21 in 2015. In 2018 the temporary shed lives on, quietly resisting.

I currently teach on the on the BA (Hons) Press & Editorial Photography course at Falmouth University and have two bodies of work in development. The first being a community visual storytelling archive framed by a river and a photographic investigation into hedges as complex hybrid structures.

2016 Escape & Invasion is a two year project using photography and soil to track airborne seeds. Although self published online this is yet to feature in an exhibition.

2014 Story of a shed – Cob shed community build and workshop for the soil culture forum at Falmouth University for RANE

2013 Group Exhibition ‘Making Good’ Green Hill Arts, Moretonhampstead, Devon & Falmouth University Gallery

2012 Apple Tree Orchestra ‘Three Seasons’ live performance and talk at Environmental Utterance Symposium, UCF.

For the individual experiencing the arts can have transformative properties, a genuine change of consciousness, an awakening, powerful and sudden. For a community it is slower. Communities may well be aware of the environmental debates that affect their street or their homes but are locked in ideological positions without listening. The arts can provide new languages, make new communities and new frameworks of understanding. Globally the arts must spread to the mass audience, to populate all platforms to be a part of all debates at all levels. Then and only then is there a chance of a meaningful contribution.

GNAP UK is an opportunity to conduct a swimming performance art piece. To spend the week swimming against the flow of the river. As the Dart gently washes past I will maintain my place in relation to the bank. A point of focus or an intersection of human struggle in the environment. As the swim goes on I will rely on the technologies of my wetsuit, the training, nutrition and hydration to extend my time but the longer I’m in the water the greater my exposure to pollutants from organised agriculture, household chemicals and industrial waste. Eventually I will fail. And the river keeps flowing.


I have not participated in a previous GNAP   

I am both a researcher and an artist. I am a landscape architect and assistant proffessor Dr. in Department of Architecture in Mustafa Kemal University. My research topics are specific characteristics of site, temporality of landscape, and relational, multicontextual , multiscalar dimensions of site. Research helps me finding ways of understanding site, landscape and nature, their cycles and how they transform with natural and cultural influences.
I am also an artist creating with the inspirations of site and nature. I like seeing beauties of nature and make them more appeared by adding or extracting some details. By means of artistic production, I feel like I complete the missing part in research: experience. Art enables me to experience what I keen on, what I am searching, reading and writing about. Art helps me to feel it, experience it which, in my opinion, provides another kind of knowledge. I believe feeling is another kind of information you get when you experience it. I feel like I enhance my scientific knowledge on nature by feeling it. Since I begin creating artwoks in nature, my writings became stronger because I feel my writing has a soul now; I feel more connected with what I am writing about site and nature. I would not prefer to exclude any of them. But to combine them to improve my feelings and my ideas.
Accordingly, in my works, I prefer to integrate experience with specific, temporal, multicontextual characteristics of site as an outcome of empirical and scientific research.

I am landscape architect (undergraduate), urban designer (Ms), and architect (PhD). I taught and researched universities in different departments.
My PhD , “Site as a Generative Force to Architecture Theory,” I discussed contemporary landscape architecture theory that provides relational, temporal, multicontextual , multiscalar and performative understandings of site that could contribute to architecture. I worked as a guest researcher in TUDelft Landscape Architecture in 2015 Spring semester that was granted by a scholarship.
I am also practicing landscape architect, involved in competition projects (some were awarded), projects conducted by municipalities and UNDP .
In addition to research and practice, I keen on being close to nature, walking, camping, meditating in nature and creating nature art works during my visits. With a portolio of these works, I was selected for Migrant Landscapes, Floating Mountains Workshop in Pennabilli, Italy, for Artisti in Piazza Festival in 2017. as a group of people, we created land art works that were exhibited in the park during the festival. In 2017, I conducted environmental art event, with children for Peace School in Antakya, an International Group. I am a member of nature art group called Yerlebir Art Group that established recently with some of GNAPTurkey artists.

I believe that nature is not passive, thus, preservation is two way process. For me, preservation of nature starts with feeling connected to it; feeling belonging to it. Nature art is a reflection of this two way process, starting with artist’s appreciation of nature and then, nature takes the power to create: When we complete our own creative process, we invite winds, animals, rain, and sun to take over where we leave off. Moreover, Whenever the observer saw nature artworks she feels this peaceful commitment with nature and that energy expands. Thus, I believe that nature art can be a kind of activism; by appreciation of nature.
I would like to give two examples from my life.
In 2015, in corporation with Bugday Association(NGO), I started a vegetation garden in my university. The garden provides a place to understand nature. We learned together how vegetables grow slowly, transform, produce seeds and decay. This experience thought me pace of nature and cycles of nature that led me to look at it in a different way. As the garden growed, the amount of our community increased and start a green project for university campus.
Second, Every year, on 17 th June, Radical Joy for Hard Times communitycelebrates Global Earth Exchange Day, by making beauty in wounded places. In 2017, as the representative of Turkey, I organized a trekking and land art event in Balcova Forest, Izmir before the Balcova forest open to settlement. As a group of people, we gathered and left some gifts of nature art to the beautiful forest. In my opinion, it is a kind of activism. During the event, art has been a mean to raise environmental awareness for the trees, animals, all living and non-living things that is endangered. (See http://myemail.constantcontact.com/Tools-for-Making-Magic--Anywhere---Radical-Joy-Revealed.html?soid=1116509328444&aid=h4_20ec1XSY )

I was following GNAP as a result of my personal interest about nature, my professional occupation of landscape architecture and my PhD studies on the relationship between site and architecture. In September 2017, on the web, I saw GNAPTurkey’s gathering in my hometown, in İzmir. I contacted to coordinator to meet, observe and talk with them. For two days, I talked, observe and share with GNAP artists. It was highly inspiring for me to see how the creative energy increases when you create together with a group of people. That day, I decided to apply to GNAP to be a part of this soul.
With this inspiration, I wrote one newspaper article about my experiences with the GNAPTurkey group and nature art and another article for an architecture magazine about how nature art could contribute to architectural design. (See https://yesilgazete.org/blog/2017/11/04/dogayla-oyunlar-oynayanlarin-izinde-global-nomadic-art-project-ebru-bingol/, and http://m.arkitera.com/gorus/1114/doga-sanatiyla-dogadan-esinlenerek-tasarlamak--global-nomadic-art-project-turkiye )
I believe that both architecture, landscape architecture and nature art could extend their discussions in their own area of expertise and creation. Recently, I am searching on the contemporary landscape architecture theory which focuses on characteristics of site, dynamics of nature, forces on site, patterns ob site and how design could be adapted to this dynamic environment. Some of these information could not be experienced at the human scale since these forces are functioning in the longer time periods and at larger scale. Contemporary Landscape architecture makes this forces visible by displaying with landscape change in the regional scale and decades of periods as a result of historical researches. This information is a way to understand dynamics of nature. I believe that these information could be an inspiration for nature art to display these forces visible on site, and could be experienced on the human scale. I believe that landscape architecture could contribute to nature art by displaying the invisible dynamics of nature to be transferred into artistic production. My future plan for my artworks is to create nature art with the inspiration of these landscape maps; to transfer the invisible information on site into experience on site by using nature art.

Nature art could also provide a new perspective to architecture. I believe that architecture could be re-considered nature art’s process of creating. Architecture has a limitation with its endeavour to stay permanent. I think nature art could help breaking this limitation by respecting to nature’s cycles of born, grow, rust and to reconsider the relationship between temporality and architecture. Second, nature art could resist against global warming by searching ways of creation with possibilities of local materials rather than transporting standardized, industrialized materials and techniques. Third, Nature artists create with a spontaneous mood, by inspiring from what a site provides when you visit it. Some of the architecture works exclude site’s context and produce with a project in mind before seeing site. I believe nature art provides a way to spontaneous and contextually sensitive design.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Guandu-Nature-Art-Project-Proposal.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/ebru_1_2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/ebru_2.jpg
BrydeeRoodbrydee_weka@hotmail.comNew ZealandNew Zealand

There is something very fascinating that exists between ritual and habit; of the things we do habitually versus ritualistic actions, it’s pretty murky and vague sometimes - the conscious, unconscious, practiced and learnt knowledge that inherently develops our belief structure and the age old questioning of why we do the things we do? Man’s contemporary relationship with water is questionable, underscored by geopolitics; viewed as a resource to be used, polluted, wasted and consumed at a price all be it economic, social and environmental. My work seeks to quiet the imposed value of water within a capitalist structure, to evoke an alternative value and express a reverent positive memory exchange with the body of water existing within us and connecting us to the earths Rivers. Monsoon Prayer for Anjuna River was a ritual steeped in the fluid landscape, leading a silent ceremony in the depth of Goa's Monsoon, a communication with the water echoing a sensitive human footfall between earth and sky, a slow meditative prayer for our rapidly changing climate. The old steps formed a passage between man and river - by occupying this space, 3 bodies wearing hand painted clay Matka water-pots over their heads, cloaked in garments folded, draped, dyed with natural indigo - seeking confluence with the river, monsoon, patterns of climate change and the localised water festivities of Sao Joao, reflecting a yearning for our deeper connection with the natural world; the River as an essential life force.

Bio : Brydee Rood
b.1978 Takapuna New Zealand

Master of Fine Arts 2007 | Fulbright Scholar 2012

Fresh from presenting her selected project, Survival River Series, in the 6th Balance Unbalance Conference with Plymouth University and The Eden Project in Cornwall England. She is presently a recipient of the Stipendien Stiftung Künstlerdorf Schöppingen in Germany, where she is creating a light performance for Licht Kunst Nacht 2017.

Her interdisciplinary arts practice is influenced by patterns of environmental change, waste, climate & materiality in an ever-changing globalised world fuelling new collaborative work onsite at a local level.

2015 projects included conducting a new live performance collaboration in India at Healing Hills Art Residency & the Matheran Green Festival. Recently her art & installations were exhibited at Auckland Diwali Festival with Auckland Art Gallery, Artisterium#7 Tbilisi Georgia, SALE Parallel Programme – Manifesta#10 in St Petersburg and W139, The Netherlands. Residencies include the CEMETI Art House in Indonesia awarded by the Asia:NZ Foundation 2016, Headlands Centre for the Arts San Francisco USA & Van Gogh Huis, The Netherlands.

I feel a reverent sensitivity for the natural word; rivers, swamps, forests, mountains, the earths diverse living environments create wonder, amazement and respect from within. As time passes in my life I see more devastation, chaos and loss of these precious environments for capital gain and power. In response to this I am compelled into action, my art becomes a vehicle of expression and a pathway to reconnect with nature. Ritual has evolved intuitively through the creative process - stemming out from my ephemeral installations and performance projects. Art and the development of aesthetics are ritual acts; how we locate materials, methodology and a spiritual balancing. The rituals that lie embedded within my creative process are constantly shifting, connecting to local narratives and ecologies. By exploring ritual, mysticism and particularities of a place, it’s like fusing the energy of my art process with a site, it’s also about inventing new rituals for our contemporary existence and responding to critical issues of climate change in this context, finding some meaningful shift in perception. So much of our contemporary life is underscored by a Disconnect with nature. A long time ago humans knew how to read the signs of nature, weather, the cycles and rhythms. Not only how to take from the earth to feed our families but how to nurture and not take too much, how to preserve and give back to the earth. The term “natural resources” holds many complexities and problems for me, in my work I am often seeking to reverse the power of that belief that suggests the Earth is ours, and that everything in it is a “resource” to be used, sold and traded. Art has the power to incite change, reveal meaning, to be innovative and spiritually connected.

The project title - The Ephemeral River, called out to me immediately and connects with several recent river performances I have been engaged in with my practice; Survival River Series and Monsoon Prayer for Anjuna River, as well as touching on projects in my current wider series of work - Bodies of Water, The Rainmaker and We Are Weather. I have followed some of the previous GNAP projects and I felt very curious and aligned with the creative processes and outcomes that I saw being explored through the programme.

If selected for GNAP-UK I would have the chance to further explore these dialogues in my work. Bodies of Water addresses our present day human relationship with water, rivers and rains at a critical point in time, within a rapidly changing climate, increasing storms and rising floods amidst battles of water rights, pollution, care and usage. Highly relevant within New Zealand waters and further afield globally the geopolitics of water on the Earth will be explored through acts of celebrating and worshipping water as an essential life force and not a resource to be depleted and polluted. Water as sacred is echoed through this experimental ritual performance, installation, sound and video project.

My art project Survival River Series was selected for exhibition in the 2017 Balance Unbalance conference with I-DAT, Plymouth University and the Eden Project [August 20-23 2017]. Attending Balance Unbalance became an intensive part of my wider residency research and development; by attending and participating in the 3day conference I was able to immerse myself and soak up shared research, creativity and knowledge around the central theme and discussion of “A Sense of Place - Our increasingly mediated relationship with the environment brings new insights to the invisible forces that affect complex ecologies. From meteorological data flows to temporal climate change models, our relationship with our environment is becoming more abstract, simulated and remote – tempering our desire to act.” Balance Unbalance sited my work Survival River Series at the Eden Project Biosphere, affording me the opportunity to further explore a thriving example of a living transformational environment. This was my first trip to the UK and I would love the opportunity to come again with GNAP-UK to further immerse myself within a stimulating and ecologically sensitive programme, these experiences are incredibly valuable to my practice and growth as an artist.

1. Link to Performance Art Week Aotearoa with Urban Dream Brokerage as context for Solar Nap Coal Rest [Image #1] http://urbandreambrokerage.org.nz/performance-art-week-aotearoa/

2. Link to Survival River Series at Balance_Unbalance 2017: http://balance-unbalance2017.org/events/survival-river-series/ [Image #2]

3. Private link to view video: Monsoon Prayer For Anjuna River: https://vimeo.com/190650239 | Password: siolim [Image #3]

I have not participated in a previous GNAP   
Esra Ertuğrul Tomsukesraertugrul2013@gmail.comTurkeyTurkey

I believe that, in response to unconsciousness, lack of memory, and imperfection against environmental catastrophes and ecological problems, it is necessary to develop a nature-centered understanding that will lead people to rethink nature with the world they live in.

I draw attention to ecological problems and observed false ecology policies, and try to produce jobs that act as sensual relationships that we establish in order to create environmental awareness. This process involves questioning the connection between human and nature.

Instead of aiming for a permanent contribution to nature, the aim is to embrace the transience of man and all living things in nature, to emphasize the desire to symbolize the change in nature, and to incorporate it into the establishment of the articulation dialectic of nature. In order to establish relationships with the earth, a mystical language that communicates with nature is developed. It is important that the perception of nature and the "harmony and balance" philosophy can be improved.

My works aim is touch to the nature with a small gesture. I use only natural materials what I found or what nature present me. It is a small collaboration and communicate with nature. I do not have to plan or make plans beforehand. I attach importance to an improvised experience with the instant relationship I have established with nature. Everything in the land is temporary and constantly transforms. For this reason, I prefer to produce a temporary work with a delicate touch instead of a permanent and majestic structure.

I was born in 1983 in Ankara- Turkey.
I graduated from Gazi University, Division of Art Education in 2007. I started master programme of Gazi University Fine Arts Faculty Painting Department in the same year. The Art Proficiency Training, which I started in 2011, continue in the same department. Since 2009 I have been working as a research assistant at the Department of Painting, Faculty of Fine Arts, Gazi University.

My master thesis topic is “Analyses on Bird’s Eye View Visual Images”. Thesis context is about that topographical paintings which are made with natural materials on canvas. These topographical paintings are using satellite photographs have gradually been transformed into works with natural materials. While my working process with this natural materials, my works transformed from canvas to installations at nature. After that I started working in nature with just naturel materials.

Now I am writing my PHD thesis about Nature Art and it is related with environmental approaches in contemporary art, environmental art and nature art.

I am participated in a number of nature arts events and exhibitions regularly and the last one is Gnap Turkey was the most createfull and helpful process for me.

Silent Spring is an environmental science novel by Rachel Carson. The book was published in 1962 and it documented the adverse effects on the environment of the indiscriminate use of pesticides. Carson's work had a powerful impact on the environmental movement. Silent Spring became a rallying point for the new social movement in the 1960s.

Carson's work and the activism it inspired are partly responsible for the deep ecology movement and the strength of the grassroots environmental movement since the 1960s. It was also influential on the rise of ecofeminism and on many feminist scientists. Carson's most direct legacy in the environmental movement was the campaign to ban the use of DDT in the United States, and related efforts to ban or limit its use throughout the world.

As a result, a novel has pioneered the awakening of the environmental consciousness all over the world with an artistic approach. For this reason, the important influence of art on societies should not be underestimated.

In nature art, artist's approach to nature and non-harmful style are very important in terms of creating awareness of environmental pollution. Art is always the best means of attracting societal attention. nature artists choose a temporary and harmless method instead of leaving a permanent trace in nature and they are approaching the environment in an exemplary manner.

In this respect, it may be possible to create consciousness in the environment such as environmental pollution, ecology. Artists with this approach can make a meaningful contribution to nature.

Gnap Turkey was my first nomadic experiences and it teached me a lot of thigs; It was like a mistic secret way to talk with nature quietly and every project in nature it became a very strong communicate and meditation way to talk wih it.

With all nomadic nature artists and I became a family together who is coming from different countries, different cultures and geographies. These inspirational spirit affected us and we were so greatful with this integrating process. Sharing experiensces, creating and learning with nature created collective spirit.

As a young artist, I found a new inspiration with especially Eung Woo-Ri’s “one day one work” method. We lose our contact with nature very easily in a city life. And we shouldn’t forget how to built a peaceful relationship with nature. Art is the best way to remember how powerful contact we have with it and nature makes us healty and balanced if we don’t lose this contact with it. it is necessary to create opportunities for ourselves to touch nature every day. It is important to be nested with natural materials and transforming them into the process of nature through a modest method without harming nature.

I thought each artist has a different ability and profession but the most important thing is, every artist has a different way and method to understand to the nature. It was the big opportunity to observe, meet and communicate. It is very inspiring to be a community of people from different disciplines and different cultures and approaches.

For this reason, I applied to Gnap-uk for re-sharing this experience and seeing new places, meeting new people, and most importantly, for the new projects I will do with nature in such a peaceful and creative environment.

 I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/shelter_odtü_2015_2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/shelter_odtü_2015_3ortak_iş.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_6231.jpg
Chris Petersoncri@bastarto.comNetherlandsNetherlands

First of all I want to start out by pointing out that I'm not applying alone. Together with fellow Dutch sculptor Ton Kalle, we would like to create some sort of spacial intervention that triggers an inquisitive response to the environment.

Chris Peterson: is a Dutch / British stone sculptor living in The Netherlands but active in the field of sculpture worldwide. I was elected a Fellow of the Royal British Society of Sculptors in 2014 and winner of the Millfield School Sculpture Prize in 2007.

My work is a continuous search and exploration of urban, and in some cases, rural space. It’s by means of observation that certain spaces trigger a sudden fascination. Whether this is based on an interest I take into the human behavior I encounter, or solely from an architectural point of view, the way the space is shaped.

Ton Kalle: (text taken from his website) works from an impassioned love for his material and with attention to form, color and volume, Ton Kalle transforms stone into sculpture with principally simple interventions. Because of the well-considered placement of this sculptures in open landscape, the visitor experiences an intensification of the sense of space, a direct connection between this sloping lowland and the immeasurable depth of the universe.

Ton Kalle (Born 1955) and I (Born in 1976) have been active in the field of sculpture worldwide, making large scale works on location, exhibiting both in The Netherlands and abroad and co-organizing related events. The list of our activities is long. We have collaborated on projects before, with our last being a three piece, 40 tonnes granite sculpture for the Aswan Open Air Sculpture Museum in Egypt in 2014. Ton and I have worked extensively in Asia, particularly in South-Korea. We both feel more connected to countries that uphold different views regarding 'Nature' and how people relate to it in a more in depth spiritual fashion.

In today’s society we are surrounded by an intoxicating mix of visual content that leads us to believe it is us. We identify with stuff that seeks our attention instead of stuff that deserves our attention. Our identity has shifted from firmly grounded standards: nature, religion, family, work to more shifty and shaky grounds. Identity as an accumulation of added values makes sensible and durable use of our surroundings and ourselves rather difficult. Society is increasingly afloat because of this development. Our identities and related preferences are becoming less solid and constant as a consequence of this. In a time when our environment is under pressure, we need to be resourceful in overcoming present and future obstacles. We need to appeal to our creative capabilities in order to find suitable answers to these pressing issues. Art has the proven ability to create movements and stimulate creative dialogue. The time is now for artists to go further and take an active role in solving the problem through their own work.

Ton and I feel strongly about our roles as artists and how we can play a significant part in stimulating creative dialogue through art. In our case through sculpture with a main emphasis on the material stone . Although we normally create work that lasts for generations, we would like to create a spacial intervention that evaporates and leaves no mark. The process and dialogue as a permanent and dynamic memory, is what matters most. It might lead to a re-calibrated sense of space that is far more important than any fixed outcome.

Chris Peterson: http://www.BastArto.com

Ton Kalle: http://www.tonkalle.nl

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/19942683_10155668565776929_1799154668756693760_o1.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/090.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG-20170501-WA0004.jpg
TonyLopezt.lopez@plymouth.ac.ukUnited Kingdom (UK)United Kingdom (UK)

I work in poetry. I am particularly interested in the development of separate professional and technical vocabularies and the ways in which they are used to establish separate areas of knowledge and expertise. I have tried to make work that puts different specialist vocabularies and different social registers into collision: creating satiric and comic effects of appropriation and disproportion. I have been using collage techniques of different kinds and intensities over some considerable time and with varying success. The point for me in this experimental practice has been to investigate and to try to get a grip on the ways in which language is used instrumentally (in advertising, in separate disciplines such as medical, military, technology, management, fashion, manufacture, education, architecture, food) to divide our culture and fragment our experience. I have tried to make poetry out of non-literary language and to imagine a unified culture through negation, collage and play. I have been writing and publishing (27 books) since the early 1970s. I have also for the last ten years or so been involved in making composed text for various kinds of public display, both in galleries and in public art. More recently I have been working through collaboration with writers and visual artists to shake up my practice and rethink what is possible.

I published 5 novels with New English Library in the 1970s. I later attended Essex University (BA1980) and Gonville and Caius College, Cambridge (PhD 1986). I taught at various universities, and was appointed first Professor of poetry at Plymouth in 2000.
My best-known work is the book-length poem False Memory, published UK and USA, reprinted and widely anthologized, reviewed in the national press, a book of the year in the Guardian and New Statesman. I have received awards from the Wingate Foundation, the Society of Authors, the Arts and Humanities Research Council and Arts Council England. My poetry features in major anthologies: Twentieth-Century British and Irish Poetry (Oxford), The Art of the Sonnet (Harvard), The New Concrete (Hayward), Other: British and Irish Poetry since 1970 (Wesleyan), and Conductors of Chaos (Picador). I have performed poetry internationally.
Some group exhibitions including my visual work are: Wor(l)ds in Collision. Byrne House, Exeter University, 2015; The Dark Would. Summerhall, Edinburgh, 2014; Light Night. Bury Art Museum, Manchester, 2013; Time, the Deer, is in the wood of Hallaig. Bethnal Green, London, 2013; Visual Poetics. Southbank Centre, London, 2013; Text Art: Poetry for the Eye. TR1 Gallery, Tampere, Finland 2012; Sentences. Bury Art Museum, 2011.

We still live in a world where economic growth is widely seen as an unqualified good. The most common idea of the natural world that is depicted is the romantic view of wilderness territory as a challenge to the individual: as a location for extreme sports, as an index of individual achievement and of sensitive discrimination, or as a backdrop for car adverts. I like Caspar David Friedrich as much as anyone else. Nature is seen as an expression of the sublime and as a state of violent and destructive war.
An art that depicts the complexity and interdependence of living systems is a great good we currently need. The challenge is to incorporate real science and enhance that experience by putting art making into scientific enquiry and experimental practice, by which I mean working/researching together. There are plenty of political issues that require political action and artists are citizens like anyone else who need to act locally and do what they can. The ethics of making art are often worked out through critical writing and critical writing that raises ecological and environmental issues is needed as never before.
I have been inspired by an early experience of ecological art at an exhibition in the Hayward Gallery, London, in September 1971. I saw the portable fish farm by Newton Harrison, a series of large shallow tanks with lobsters and catfish, apparently a survival set up for a poisoned environment after war. This work had a profound emotional effect on me that I have never forgotten. I met the Harrisons in Encinitas California when I was on a USA reading tour in 2001 and such meetings through work are really important. I was glad to see their climate change topographical map of the UK at CCANW in Haldon Forest.

I am curious and very keen to work together with a group of artists from different backgrounds and different cultures at the particular location offered for GNAP-UK. I am interested in the history of the Dartington estate and in that current environment as it is right now. I would like to have some concentrated time on the estate and to work with the resources that are available there. This would be as simple as swimming in the river, walking in the woods, meeting and getting to know the other artists – but also for me access to the Dartington archives. I know that there is a collection of modernist art that I haven’t seen, and I would be fascinated to see it – but the most pressing material would be what people who worked on the Dartington experiment have left behind, from the Elmhirsts to those who came to work for and with them. The restoration of Dartington Hall, the establishment of various artistic and educational enterprises, new farming and business ventures, all of this would be very useful resource. I propose to go in with a simple plan of work such as reading across archive material looking for matter relating to the river, to find written traces of it in the store of Dartington language and images. I understand that archive materials are not available for circulation and publication. My aim would be to produce entirely new collage work for kinetic display (if facilities could be got) onsite as well as for page-based publication. I would be happy to work within any restrictions of the Trust.
Recent collaborative projects have helped me to make shifts in practice that I wouldn’t have managed on my own. I’m hoping that such new work would be possible in the social situation of GNAP on the Dartington estate. I made a new print ‘A Small Tree’ with the photographer John S. Webb, a memorial tribute to Ernst Schumacher, Ian Hamilton Finlay and Brian Haw, published by my press Orcombe.com. I collaborated on a new long poem ‘Sea Holly’ about sea swimming and sea creatures with the Devon poet Elizabeth-Jane Burnett, published in the large circulation USA journal Poetry (Chicago). I have just completed ‘Wheal Emma Leat’ a collaboration with the Chilean artist Ignacio Acosta on nineteenth-century South Devon copper mining near Buckfast on the Mardle, a tributary of the Dart. This new poem has also been accepted for publication as a feature, with the photos, by Poetry (Chicago). I’m showing these collaborative pieces as work examples below.

My third file is not an image but a text file and I don't have a link. I will try to upload it below and also send it to the address you give above.

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Wheal-Emma-Leat-Typescript.docx  
MirjamiLanttoh.lantto.1@research.gla.ac.ukUnited Kingdom (UK)Finland

I am a first year PhD student at the School of Geographical and Earth Sciences, University of Glasgow. While I am part of the human geography research group, my interests are largely cross-disciplinary, ranging from fluvial geomorphology to performance studies.

My current research focuses on the elemental and ontological dimensions of water on the Anthropocene planet, specifically through addressing the geopoetics / geophilosophy of rivers. In my PhD project, I wish to address how the liquid materiality of water might inspire new perspectives into how we think about environmentally challenging (watery) futures. Water connects things and beings through space and time, working as an agent of planetary changes, yet maintaining the same elemental quality and planetary amount since its interstellar arrival - and it is this cycle that I wish to creatively address in my research. Specifically, I want to explore how our interactions with water (aesthetically approached) could help ground us into the deep temporalities of the Earth, thus re-positioning humanity on the Anthropocene planet as a ‘fibre’ in the fabric of the world, rather than as its 'master species'.

My approach to research is deeply embedded in creativity and experimentation. Building on previous projects, I am currently interested in using the medium of moving image as a 'geophilosophical provocation' – a way of interrupting our taken-for-granted patterns of thought. While I am indeed a researcher rather than an artist, I believe that approaching complex conceptual issues through creativity has profound value for academia and beyond.

In a recent research project, I began experimenting with the medium of moving image as a personal exercise in performative research practice. I produced a short video that, as a coming-together of a researcher and a riverscape (River Torne), experiments with a kind of ‘liquid mode of address’. In searching for the varying human and non-human temporalities and ‘communications’ of a riverscape, the film is an exploration of not only the ‘rivering’ of our world, but the ‘rivering of self’: an ontological positioning among the flow of atoms. I will be discussing and presenting parts of this film in the ‘Liquidscapes’ symposium following GNAP-UK.

While the film is not intended an art work per se, it gives you an idea of what modes of expression I wish to develop as part of my future research, and what kind of work I might engage in as part of GNAP-UK. The short film can be accessed through the provided link.

As an establishing researcher, I cannot yet refer to published work. However, I would be more than happy to send you a copy of a paper on ‘rivering’ that is currently under review, if it would be helpful. Please email me if required.

Our engagement with environmental issues tends to be laden with contradictions and confusion. A lack of intimacy with environmental debates (since processes such as climate change often take place beyond our corporeal and temporal experience) coupled with the simultaneous, forceful infiltration of these seemingly removed discussions into our lives (through e.g. extreme weather events) is perplexing, perhaps contributing to the feeling of powerlessness we often experience at the face of profound environmental change. There are processes at play here that are difficult to approach through our current ontological and epistemological tools; the deeper temporalities of planetary scale environmental change keep infiltrating our everyday corporeal experience, and humanity is essentially becoming geology through the dynamics of the Anthropocene.

This is where I think the arts have a potential role to play. To address experiences that we find difficult to comprehend through relying on ‘rationality’ we might need to experiment with modes of address that work against our ideas of ‘rational thought’. Artistic modes of expression, which tend to embrace hesitation and contradiction, may be equipped to approach the uncertainties and tensions around the place of the ‘human’ in midst of environmental turmoil. Further, I feel that not only can art be a way of interrupting and re-thinking our relationship with the world around us, but it can also bring seemingly abstract debates into an intimate, experienced realm, thus stitching the gap between alienated discussions of inevitable ‘environmental disasters’ and our everyday lives. As I see it, the value of the arts in environmental debates is not in delivering answers or ultimatums, but rather in creating questions and openings that make us re-consider our place on the planet, be it through exploring experiences of alienation or through cherishing immersions.

I believe that GNAP-UK is a unique opportunity for all participants to widen their perspective on the ways in which art can enrich environmental debates. Therein also lies my main motivation for attending – a desire to learn. For me this desire is particularly immanent, as I am a beginner in all forms of creative expression. Being at the starting stages of my PhD research, I would find it immensely valuable to develop my lines of enquiry
through engagement with other creative thinkers, and thus steer my work towards something that might grow into be collectively affective.

While I believe this event to be inspirational for me and my work, I also trust that my geographical perspectives, mindful of issues around temporality and spatiality, are worth sharing with other creative thinkers. In addition to being trained as a geographer, I also have more ‘specialist’ perspectives on water and rivers (ranging from fluvial geomorphology to new materialist ontologies) that may be fruitful for others. In my research, I want to develop a ‘liquid mode of address’ for a ‘watery Anthropocene’ that could help us recognise our embeddedness in the deep materiality and temporality of the planet, and I think sharing ideas about this notion in GNAP-UK would be jointly productive.

I find the open approach of GNAP-UK particularly alluring. It is impossible to anticipate what might emerge from an engagement with the site (River Dart), and other participants of the event. Thus, I will not suggest a specific ‘project’ I might want to undertake, other than that I may wish to continue developing my skills with moving-image (and sound) technology, as well as deepen my enquiry on the geophilosophical dimensions of water on the Anthropocene planet. Most of all, however, I want to embrace unexpected collaborations and encounters, as these often prove to be the most fruitful.

What I can suggest is that, if it fits the agenda of the event, I can co-produce a submission for an academic journal following GNAP-UK, discussing some aspects of engaging with a river system through a collaborative art-project. In undertaking research that combines issues across sciences, humanities and arts, I am in a position to collaborate on a piece that takes different approaches and expertise into account.

All in all, GNAP-UK speaks directly to my research interest, and would be a unique and valuable opportunity for me to share ideas with like-minded people, in the spirit of a joint broadening of intellectual and creative perspectives.


I have not participated in a previous GNAP   
JuliaBrooklynjuliabrooklynartist@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I have been creating ephemeral art for over 10 years , it gives me immense joy as I hyper focus on my creativity in nature. I create pieces of art in nature from nature, in a woodland, by a river, on a beach, in a garden, wherever there are natural resources. I rarely have a preconceived idea of the sculpture I am going to create, needing to absorb my surroundings and open my eyes to what is around me. My sculptures are often whimsical, I think my personality shows in my art.

Looking back at photographs of my sculptures over the past ten years I can see how my art has changed, I started off doing very simple rock balances, some of them to me now look very childlike! As I progressed with learning about how I could use different natural materials my work started to change, I realised there was more to ephemeral art than I realised. I had trained as a teaching assistant, working with children is a honour and a joy, they are natural artists, you never hear a child say 'I cannot do art'! It took me on the journey of bringing (landart/ephemeral art) to children. On a regular basis I work Richard Shilling who is also an environmental artist, we created landartforkids. I have worked in schools and at festivals and events. I have travelled around the UK and abroad instructing, talking about and creating landart with children, their tutors and families. Richard and I also created landartforhealth.com where we bring ephemeral art to a much larger audience.

Shakespeare once said 'The eyes are the window to your soul,' I believe that statement to be true for environmental art. Environmental art is a window to your soul and our environment, it opens our eyes. Creativity in nature absorbs us, you'll notice the elements/nature, how they change, how will the elements change what you are creating? whether you have personally created a scultpture from nature, or you have seen a sculpture in situ or a photograph, environmental art, is for all of us to have our eyes opened, to see, to feel nature is what makes us human and opens our minds to how our actions interact with the environment. Environmental debate is large, can we bring enviornmental art into focus and show how beautiful our world is?We need to realise that life isn't just about going to work, buying things we don't really need, buying food wrapped in plastic, I want us to stop that treadmill, help to see that we can get off the so called merry-go-round , which often isn't that merry, and stop, see nature, absorb nature into our lives and become one with nature which has been lost with our hectic lifestyles and our addiction to the modern world. I think we can, we will and are able to do this with enviornmental art. I could write an huge essay on this subject, I hope you can understand where I am going!

I am applying to you for this opportunity as I believe in your ethos, about the spirit and culture of environmental art, how it can tribute to the enviornmental debate for the planet itself and in turn to us as a human race. I would be highly honoured to work with other land artists to learn from them and hopefully show other artists how I see environmental art too. Creating artistcally with like minded people in such an environment and in the beautiful county of Devon would be an absolute privilege. Thank you.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Beech-Leaf-Candles.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Mussel-Shell-Spiral.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Rowan-Berry-Burst.jpg
RobertLachLachR6452@gmail.comUnited States (US)United States (US)

My work is based on the architecture and anatomy of nature. I create “green habitats” that reference the design, form, and simplicity found in the natural world that mimics the biology and structure of living organisms. The focus is on the craft of experimenting and manipulating everyday objects into art material that are primarily discarded, found and recycled.

The process is intuitive with a visceral connection to items and materials collected. The local New Jersey landscape inspires my efforts because bodies of water attract wildlife, especially birds. It is the experience of spending time in nature (walking, listening and observing near waterways) that influences my art practice, grounds me, and makes me whole. Over the years this has helped me combine my two passions of birding and art making.

What grew out of the fusion of these passions is a fascination with natures’ architecture, specifically bird nests. My sculptures and installations are based on the architecture of bird nests and nest colonies were some species choose to live in colony communities. Constructing bird-like nests from anything I could find became a ritual expression, a remembrance of the absence and transience of my childhood home. Growing up not feeling rooted, I found my place in nature. The nest became the physical, spiritual, and psychological residence I yearned for as a child.

I have often participated in public art projects, site-specific and installation projects, residencies, solo and group exhibitions that included the Artlantic sculpture park in Atlantic City, Windup Wonderland located in the Gateway Concourse, Newark, NJ, and Atlantic Nests for the Noyes Museum Arts Garage. The four residencies were at Elsewhere in Greenboro, NC, ESKFF at Mana Contemporary in Jersey City, NJ, Solo(s) Project House in Newark, and I-Park in East Haddam, CT.
Site-specific projects have included gallery window installations at Gallery Aferro, The Walsh Gallery at Seton Hall University, Emerge Gallery in Saugerties, NY, and Gallery U in Redbank, NJ. Other locations include the office of an abandoned gas station and an old air stream camper. Solo shows were at the West Orange Library, RJampol Projects in NY, and Solo(s) Project House in Newark. Installation’s at the Noyes Museum, New Jersey City University, and Gallery Aferro.

Art making has evolved into using mostly sustainable practices. Thus, I have sought out projects where this is possible. Making art is not just a physical production. It is a philosophy, a lifestyle, a living ideology. Part of my process requires me to get out into nature. This is when and how I meditate….empting the mind of excessive thoughts and being in the now. I believe that art making is also an act of meditation. – a zen practice. Art requires extended periods of focused attention. So does sitting quietly.

One of my exhibits “refuge” is an example of well spent time in nature. The presentation at the Noyes Museum in Oceanville, New Jersey was a collaboration between the museum and a local wetland preserve. The Edwin B Forsythe Wildlife Refuge is located right next door. I received permission to access the site to collect materials for a sculpture installation. On seasonal visits I collected reeds and debris that washed ashore on the New Jersey coastline to raise awareness as to what was floating in the local waterways. I constructed a nest colony based on birds that live in rookeries. An excellent example of Art making with a purpose and a social conscience.

While not extensive, “refuge” required the removal of debris from the local waterways and surrounding land, an unexpected consequence. This made me even more aware of the need for environmental protections.

I have applied for The Global Nomadic Art Project because of my strong connection to the environment, especially waterways, where my passions for art and birds have deep roots in the land that surrounds me. Living in the most densely populated state in the United States, I am confronted with the effects of over development and land misuse. On a daily basis natural resources like trees, animal habitats, and open spaces are being limited in access to the dismay of local residents. What I am experiencing is not just a local phenomenon but represents a microcosm of a global problem.

My creative efforts demonstrate the passion I possess for this topic. Participating in the GNAP-UK would be a good fit because I have participated in exhibits, public art, and a site responsive residency where the art created was connected to bodies of water. I welcome the opportunity to explore a new environment, add new birds to my life list, discover new wildlife, trees, and plants. This project will challenge me creatively and help me grow as an artist which is a goal of my work and development. Exposing myself to new environments, professional influences and meeting other creative individuals are paramount to my artistic maturation.

I want to be part of the culture and effort of GNAP-UK to increase global environmental awareness. This is why acceptance into the program is so important to me.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/1.dont-leave.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/2.house-raft.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/3.refuge-nest.jpg
MirellaBandinibellsbandini@gmail.comUnited Kingdom (UK)Italy

I am an emerging artist working primarily in ceramics, often coupled with or inspired by found objects. I have an inherent love of old rusty metal, gnarled wood, wire and cotton thread, and these elements weave their way into my pieces. I follow an intuitive process of making – a communion between clay and the human hand. I explore the spontaneity and surprise of random and unique finishes over which I have little to no control. My pieces are frequently figurative in nature with a deeply emotive quality. They are often bound physically or contextually to a specific place. This connection to place and emotion strives to create a continuum between mind, space and object. My landscape architectural education and South African upbringing emerge as generators in my work and contribute to its underlying emotive qualities. I frequently find myself drawn to 'land art' and immerse myself in the natural environment every chance I get. Communing with nature is a very spiritual and almost life-altering experience that I don't really think one can understand unless one has spent hours getting to know a particular place on a purely sensory level. There is so much to learn and immersing yourself in these environments gives you space to grow...

In 2015, I was still living in South Africa, and was lucky enough to participate in Anni Snyman's 'Snake Eagle Thinking Path' geoglyph in Matjiesfontein. In addition to the main piece, we were also afforded the opportunity to spend some time making our own smaller pieces in the landscape, and subsequently created a piece for the opening exhibition. This was really my first introduction to land art and I have been hooked ever since. Last year I was accepted to take part in 'Paesaggi Migranti', a land art workshop and installation in Pennabilli, Italy. Both of these experiences were made particularly poignant by the amazing people that I met, worked with and learned from. In the time between these 2 workshops, I have participated in quite a few exhibitions in London with my sculptural work, and dabbled in informal pieces of land art in my own time. Quite often I regard my sculptural pieces as small mobile works of land art, in that they are often made specifically for a piece of 'the land' (drift wood, a rock, a log...) that I have fallen in love with and taken home.

I believe that art is an expression of emotion and passion, and as such, it has the ability to speak to others; to touch people on a level that is not entirely understood. In my opinion, art should contain meaning and purpose - it has the potential to act as a catalytic vehicle, asking and encouraging people to question things; to look at things differently; to pause, contemplate and grow. It allows us to refine and re-define our sense of beauty, expands our frames of reference and educates. I think that sometimes in our drive to make a living as artists, we forget and end up creating things that will sell, but I believe we need to continuously question our lives and motives as artists and in so doing, challenge ourselves to create art that will encourage others to do the same. Artists are the thinkers, provocateurs, trend-setters... We are passionate and emotional and we pore all that into our work so that 'man' might find beauty, passion and purpose too. The plight of the environment, our enslavement of ecology and the idea of climate change should be something that everyone is striving to solve, but alas, this is not the case. Art has a place in highlighting these issues and perhaps even a place in the physical solution, but in order to make this impact possible, we need more!

I would very much like to delve deeper into the world of land art as I find it to be an immensely enriching experience, both as an artist and on a spiritual level (not that they are mutually exclusive). Workshops, in general, afford the opportunity to meet new people and learn and collaborate which I always welcome. I also have some ideas for a temporal and ephemeral installation based upon and around the Dart River that I am excited about, and would obviously love the opportunity to see them grow and develop once I spend some time on site, and then eventually go on to be realised.

My proposal deals with tracks and signs that something has been there... The things we leave behind show our interactions with the landscape. Sand, mud, vegetation, snow... we (and by 'we' I mean all living creatures that move across these landscapes) leave our imprints behind us... when it comes to water, these obvious telltale signs are erased and washed away...

My proposal is therefore 2-fold. One part deals with an investigation into which animals and beings move across and make use of the waterscape. I then propose to make a likeness of their footprints using sticks and leaves sewn and crafted together as a symbolic manner of showing that we have been there... these 'prints' will float down the river together in harmony suggesting that we can all live together, man and nature, surviving through and around the life source that is the river.

The second part is not so 'happy' and deals with man's inability to do just that... it deals with the fact that man meddles and destroys, turning natural harmonious systems on their heads and bringing death and imbalance... Dead birds ‘swim’ and dead fish ‘fly’… I propose to create a sculpture that references this fact - a symbolic apology; a homage to nature which will float on the river that brings life out to the sea to 'perish'.

I have many friends, mostly in South Africa, who have participated in GNAP workshops and they all speak very highly of their experiences and the wonderful people they have met. I would truly appreciate an opportunity to become part of this community!

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/matjiesfontein-land-art.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Discarded.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/sangoma.jpg

I am a conceptual artist, who is inspired by Nature; it’s complexities and mysteries. My ideas and concepts often derive from the study of change in the topography as a result of rapid growth and modernization. I express these in the form of Installations, sculptures, paintings, site-specific art works, video art and Nature art. Overtime my artwork has been increasingly reflective and representation of what I perceive and feel while exploring various places, situations and meeting different people. Growing up in an industrial town I have lived between machines and nature. This dysfunctional relationship between the two is the route cause of my curiosities. My art journey has gone through the process of visual creation to a deep philosophical conclusion.

Projects, Awards, Recognitions & Shows
2017 Seychelles Biennale Award (Most Prominent Artist)
2017 Global Nomadic Art Project France.
2017 Global Nomadic Art Project Germany.
2015-16 Riceived fellowship from ministry of culture.
2016 Spiralling Inspiration : “Cosmic Chant” installation Chandigarh.
2016 , “Elements of Being”Lalit Kala Akademy New Delhi.
2016 “Spiralling Aspirations” Installaion, National Stadium, New Delhi.
2015 “Global Nomadic Art Project” Gujrat.
2014 “Timeless Moments” Visual Art Gallery, India Habitat Centre, New Delhi.
2013 Portraits of “Vir Chakra Awardees” for the 45 brigade.
2013 Golden Jubilee Paintings for Army Headquarters, Jaipur.
2013 Portrait of “Param Vir Chakra Awardees” for the Army Headquarters Jaipur.
2012 “PEHCHAAN- Yatra Anterman Ki”, Ahemdabad.
2011 Portraits of 'Ashok Chakra Awardees’ South Block ,Ministry of Defence, New Delhi.
2011 “PEHCHAAN” show at Lalit Kala Academy Rabindra Bhavan New Delhi.
2009 Portraits of Martyrs who have received “Vir Chakra” and “Kirti Chakra” for the
Army Headquarters, Ranchi. Jharkhand.
2008 Portraits of Param Vir Chakra Awardees that adorn the elite corridors of South
Block, the Ministry of Defence, New Delhi.

I have also participate in many group shows internationally and in India

Throughout history, the artists have played a major role in recording and reflecting the state of human society and the natural world in which society exists. Artists help the people visualize the immensity of the problem. The whole point of art, after all, is to be seen, to be experienced. For example, climate change, is a global issue and can sometimes it is difficult to comprehend; As an artist, I feel we can help localize the issue so that the common man can easily understand it.

Art has the power to move people, make them feel things. And we have the ability to present the same monotonous headlines in a way that would actually catch the eye of the beholder.

And another contribution we, as artists, can make is to lead by example. To create work that is in harmony with nature. Using natural material, found material and eco-friendly objects.

GNAP for me is not just a residency program rather it is a movement that I have been a part of and I would like to continue to be a part of. I want to be able to create awareness through my work. I have had the best experiences with all the other artists from around the world in my previous GNAP projects. Learning about various places and cultures has only helped me grow as an artist. I enjoy working with nature, in nature and getting inspired by it. Also the themes for this particular project, Water, Landscape, River science, spiritual relationships with water etc, are some of the topics I have been working on since the part 2 years.



I have participated in a number of previous GNAPshttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/living-stones-GNAP-France-2017.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Sailing-Hope-Nehru-Park-Project-2016.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Natures-Cage-GNAP-GERMANY-2017.jpg
LauraDenninglauradenning2@gmail.comUnited Kingdom (UK)United Kingdom (UK)

All my work focuses upon water – for even where it is (seemingly) absent that absence is significant. Until recently my work has focussed solely on moving bodies of water such as streams, rivers and the ocean. However, during 2018 I am creating work under the title Rhyne and Huish, to explore the Somerset Levels and Moors, particularly with reference to water as vapour. Through the winter months the Somerset Levels are often shrouded in thick fog and mist. The project explores how climate change is changing this landscape irrevocably, and that wetness as a way of being provides a starting point for negotiating life in a changing landscape.
I am the recipient of the Bath Spa University Research Centre for Environmental Humanities inaugural PhD Studentship - practice-led (due to complete 2019) and in this capacity I am informed by feminist interventions into debates around posthumanism, specifically the work of Neimanis to do with Hydrofeminism. Very recently I joined the Geography department a Bath Spa University as Associate Lecturer, which gives me further insight into methods and processes that engage with the natural environment.
My practice as an artist is informed by my initial training as a painter. However, I now predominantly use moving image and sound, using field recordings as the basis for short films, sonic works and installations. https://lauradenningartworks.weebly.com/

I am currently Artist in Residence at Ysgol Penrhyncoch, near Aberystwyth, collaborating with an engineer to create water-borne capsules that record speed, rotation, GPS, moving image and sound. The capsules will be released into a stream and the data collected will form the basis of a creative outcome.

I am also engaged in an ongoing project using Experimental Geography to uncover visual and sonic responses to the Somerset Moors and Levels. I will be presenting my initial findings at two conferences in April: Monsoon Waters at University of Westminster, and RGS IBG at Royal Holloway University of London.

I am working with the National Marine Aquarium and the Shark Trust to develop sonic installations about marine predators. This work will be presented during Plymouth Art Weekender 2018.

In 2017 I staged Benthic Caress a sonic art silent disco in the sea.https://benthic-caress.weebly.com/ I also produced Liquid Mimesis (short film) a conversation between Island, Mainland and Ocean. It was screened in Boston US, Plymouth, Bristol, Bath, Hull, York, Madeira, Australia, Italy and Greece. For Fringe Arts Bath 17 I was selected as guest curator, presenting work by eleven artists which considered how humans and other species relate to water.

It is about ‘Staying with the Trouble’ (Haraway 2016), engaging with environments and ecologies, including those where the human and more-than-human are affected by the consequences of climate change. The term ‘Anthropocene’ doesn’t just require the attention of those with insights into earth systems, new technologies, world trade and policy choices. It also requires a clear understanding of the literary, cultural, philosophical, religious and artistic traditions that affect how people make choices about their interactions with the natural world. And more than a focus upon traditions, it requires a collaborative approach to developing new languages, new creative languages, that can articulate complex relationships in a complex world. It is not just a matter of science, economics, policy, or politics. It is a matter of ethics.

Rising scientific confidence and consensus do not in themselves produce shifts in societal values and norms, or changes in human behaviour on a significant scale. The great environmental predicament of the early 21st century is not primarily an ecological crisis, though its ramifications are far reaching within ecological systems. Rather, it is a crisis of culture. Unpacking the complexities involved in this crisis requires expertise and analytical tools from a panoply of knowledge communities, and across the arts there exist many strategies and practices that can play significant roles in this process.

Terminologies can act as trip hazards, ghettoising some responses and fetishising others. Even terms which seek to foster transdisciplinarity, like ‘Environmental Humanities’, or terms which seek to foster inclusivity like ‘socially engaged’ can corral artists and audiences into group thinking and into the cul de sac of the echo chamber. When the arts speak in their own languages these barriers can begin to be dismantled.

When considering applying for GNAP-UK I initially responded to the focus upon the river as a shared site for exploration and interrogation. All my work responds to water, and, as someone local to Dartington, it could be argued that I could engage in this exploration and interrogation at anytime, and that indeed I could do so with any river in the region. I do make the most of the watery worlds in my local and regional environment, but I have never had the opportunity to do so alongside fourteen artists and participants from other disciplines. This potentially collaborative, and definitely discursive, coming together offers me an invaluable experience to reflect upon my own practice from new perspectives and learn from others a greater breadth of creative vocabulary. Perhaps precisely because it is ‘my patch’ there is much I might be taking for granted, so the combination of local and international perspectives will most definitely ‘crack open’ my own practice and provoke me into evolving a newly meaningful relationship to this place.
Over the next twelve months I am developing work that is either a direct response to monsoon environments or is making connections with UK environments where monsoon-thinking and wetness as a way of being might provide a starting point for negotiating life in a changing landscape. I am presenting at a conference succinctly titled ‘Monsoon Waters’ (University of Westminster April 2018), and it is likely that I will spend time near Bangalore during the Monsoon, collaborating with a resident artist to explore issues of cartographic accuracy and climate change, through creative practice. Learning about this phenomenon and the ways in which it is understood and negotiated, from Korean artists and other international artists, will deepen my understanding and multiply the connections and distinctions that can be understood when thinking about Monsoon.
To embark upon such a journey as is offered by GNAP-UK, uncharted by myself and my experiences to date, would expand my practice in ways yet to be identified. To play an active part in a temporary nomadic community that celebrates and embodies equality, collectivism, accountability and transparency would be a responsibility I would embrace as a privilege.
Although individual artworks I have created are labelled specifically, my private umbrella term for my practice (since 2004) has been to consider that each work is a chapter in my own ‘Manual for Nomads’. The term has many connotations and can be read in multiple ways. I am drawn unequivocally to your description of work and ideas as nomadic, and in this sense I understand GNAP-UK to offer a laboratory of becoming, without anxiety over a product, outcome or material evidence of ‘work’.
Finally, who could resist unfettered access to the treasures at Schumacher College and Dartington Hall? Resources such as CCANW’s extensive library of books and catalogues, and films that can be screened in the Barn cinema, other physical resources, but especially ecologists and ecological designers make me work extra hard at this particular application!


I have not participated in a previous GNAP   
CharliClarkideasfish@charliclark.co.ukUnited Kingdom (UK)United Kingdom (UK)

I am an artist, a gardener and a beekeeper. In recent years, my work has focused on trying to understand the interdependent and precarious nature of life on Earth, and my interest in our relationship with the many non-humans that co-exist with us is at the core of my work. Over the past year I have been working as a gardener to increase my understanding of what it is to experience being outdoors for an extended period, watching and working with the life of plants and other animals, seeking the knowledge that one can only get from experiencing the ever changing weather and seasons through time. Experiencing how different factors impact on the possibilities for myself and the other life forms around me throughout the year has given me a new appreciation for beauty in the moment; sculpting a plant to watch it bloom, then accepting its decline into dormancy, only to celebrate it again the following season.

My artwork tends to be research based and collaborative. My most recent work has involved analysing honey samples from beehives, looking at the history that unfolds when you study the numerous different pollen grains that are present in a spoonful of honey. Working in the botanical garden that the bees were situated in, I was able to map out the different paths they would have flown at different times of the year and share this with the public to engage the users of the garden with another much smaller visitor, the honeybee.

I was born in Bristol in 1987 and after graduating with a degree in Fine Art from University College Falmouth in 2010, I completed a 6 month artist residency at The Muse at 269, London, followed by a summer residency at a tented environmental conference centre near Worcester, Green and Away. In 2012, I performed at BLOP at the Arnolfini, Bristol, among other exhibitions and completed a short course in permaculture. I was also selected for God’s Bridge, a mentoring program with Tania Kovats culminating in an exhibition at the Bowes Museum.

In 2013, I moved to Helsinki and completed a Masters in Environmental Art with a minor in Biological Art at Aalto University and since 2015 I have been a member of the Bioart Society and developed projects for Melliferopolis – Bees in Urban Environments. During my time living abroad, I completed a number of commissions and residencies in Sweden, German and Finland alongside my studies. In 2016, on return to the UK I completed the RHS course Principles of Horticulture Level 2 to develop my understanding of the plant world for future projects and have been working as a gardener for a year to gain hands on experience.

In my experience, it is not the act of someone telling someone that something is so that sparks an interest and a level of care about a certain issue, it is an experience itself. Through art one can share their experiences with others and new ones can arise, enabling the artist and the viewer/participant to create their own memories and thoughts about an issue. Artists are meaning accumulators, they are inquisitive and they are passionate. I believe that when meaning is attached in our minds to a problem or a thought then that is more likely to resonate and move with us through life. It is this care and attention that will help us to make meaningful contributions to the problems our environment and ecology are facing. In art there is still a space to explore and question unlike other subjects that are end product focused. There is still space for thinking outside the box and validity in sharing our experience of the world. We can go, make and do, where others need a reason to be, without prior justification. This makes the arts invaluable in the unknown territory of climate change and the future of this changing planet.

I feel it is also important to note that as artists we have a responsibility in society to play with important issues such as our changing ecology, we have a chance to challenge others but also to learn from others and move forward in communal experience. It is not a time for grand gestures, but rather change in the day to day experience of life on Earth that is needed to move forward towards and more caring and stewarding existence. The arts can create spaces to speculate the worst and best of scenarios, bringing people together to imagine, talk and exist.

Over the past year I have concentrated my efforts towards immersing myself in the world of horticulture in order to learn how to be a better steward of the bees I care for and the environment that surrounds me. Now that I am starting to feel more confident with my understanding of my surroundings, I would like to continue developing projects once more. I feel that GNAP-UK will help me to re-connect with my artistic self and expand my horizons, looking to the river ecology, and the plants and creatures that exist there, as a way to find my practice once more or perhaps let it go and find a new.

I currently live on a narrowboat and have spent a lot of time on the Kennet and Avon Canal, as well as the river Avon, over the years and I find the river environment fascinating. It amazes me how swimming in the wild can be both relaxing and exhilarating at the same time. The peaceful and active nature of this forever flowing, moving and renewing water course is something that draws me in, and the idea of sharing this experience with others is something that really appeals to me. I am also interested in hearing experiences through the words of other cultures, meeting with and collaborating over contrasting positions and differing opinions on water, the environment and future ideals. Challenging our own preconceptions with international participants is and will be important when planning or imagining a future that works for the whole of mankind and the other species that co-exist alongside us.

I am interested in the changing shape of the river over the years and would be like to explore the history of the plants and species that have been lost in time or have arrived a fresh along the river Dart. I am interested in learning about the working water meadow, (although I am aware this is currently under restoration) to understand how a past habitat can be re-instated and re-imagined into being through conservation work and restoration. It excites me to have the chance to see this process of transformation and offers hope for the future of habitats currently undergoing change, whether it be good or bad.


I have added links instead of images as my artwork is experience based and is hard to understand through one image

I have not participated in a previous GNAP   
BobBuddbobbudd@talktalk.netUnited Kingdom (UK)United Kingdom (UK)

The main influence in my work in terms of themes and approach came from meeting small holders and growers after I had studied at Dartington in the early 80s, and subsequently from working on bio-dynamic farms in Switzerland. I learnt that in order to work the land, you had to know it like the back of your hand, with a similar approach to each animal. Everything was so nuanced.
I’ve carried this approach into my site specific work, where each work is the result of first having taken every else into account. I am happiest when I’ve discovered something and surprised myself, when I really feel I have joined with the place I’m working in.
I often return to the theme of `working the land’. Specific projects have dealt with and include food. `9 Jam Symphony’ (located in the Beethoven Temple - performance art project in Baden, Austria), re-imagined Beethoven as an eco-chef, having gathered his jam making materials from the surrounding land, his ninth symphony a cook book, with a public tasting.
Many works have included farm and gardening implements. For instance, an interactive wheel of spades over a Dutch canal – the impoverished pre-mechanised local population worked communally keeping the canals clear to stop the land going under. Or an `avalanche’ of wheelbarrows transporting water to a French lake near Geneva, entitled `Gardening Tip No. 26’ (which belongs to a gardening series).
Humour is sometimes an important part of my work, often disguising something I feel more strongly about.

I graduated from the Art and Social Contexts course at Dartington College of Arts in 1980, subsequently working on my own art council funded film projects and as assistant film editor for Channel 4 productions before returning to education to study Architectural Glass and Photography at the State Academy of Fine Art, Stuttgart, Germany, where I graduated in 1991. I continued to live and work there on public art projects until 1998 before returning to England to raise a family.
As the 90s progressed, I gradually returned to the rural and environmental themes and concerns I had as a student at Dartington, working more sculpturally. Since then, I have worked on many temporary site specific and rural environment projects, alongside permanent public art works, in the UK and mainland Europe (Germany, Austria, France, Spain, Holland, Belgium, Italy, Switzerland and Andorra). Many projects have included collaboration with professionals or the public.
From 2005 to 2014 I was Secretary General and Committee Member of `Artists in Nature International Network’ (a paying membership of around 150 of the most active environmental artists from across the globe).

I first became aware of the environmental debate in 1980. Even then people were warning that it was the eleventh hour – “the tipping point is coming”. Given the very long delay before our bad habits work through on the environment, it’s probably happened already? The environmental lights won’t go out (not yet), they will dim, and we can certainly avoid things getting darker. In fact, we might find light at the end of the tunnel?
Our attitude, specifically over the last couple of hundred years, has been that nature is something to be escaped from and/or conquered. Could we, instead, change our attitude to nature on a long term basis, to approach it as a collaborator or trusted friend on a shared journey?
It might seem like an incongruous analogy, but if we consider how artists have helped rejuvenate run down inner city areas (for instance, Broadway Market/London Fields in London), revealing intrinsic values and changing our attitude, then places we viewed as `lost’ become culturally valued, with a ripple effect on life generally.
Artists can be quite good, with their `jack of all trades’ mentality, at finding meaning and potential in places where, apparently, it doesn’t exist. If we can find an image of ourselves in the environment, then we connect with it better. Indeed, why then destroy your own image? Love it instead.
Caveat: In the name of environmental art I have probably used up more aviation fuel and other resources than I care to admit. A contradiction?

I have known of Yatoo (the instigators of GNAP) for 15 years or so, and who were for a while members of our association (Artists in Nature International Network – see my bio). We have similar aims. I admire Yatoo’s philosophy, let alone their longevity, and it would be great to work with them. I had the good fortune to meet Ri Eung Woo on an environmental project in the Forest of Darmstadt, Germany in 2014, where we both made works. He’s a very good singer, a beautiful voice, entertaining us with songs from Korea.
The Ephemeral River would be a lovely opportunity to lose (or find) myself in the environment of Dartington, sharing the experience with colleagues motivated by nature and rural life. I think the project would be `slower’ (more thoughtful) than my usual way of working, so it would be interesting to see how I adapt to that.
As a young student at Dartington, it was the time that my eyes were opened to a new world (I grew up in a high-rise inner city council estate, so it couldn’t be more different) and I guess I’ve spent the rest of my life working through it. Returning to Dartington, as I do now and again, is always a personal journey, reflecting on what I am now by thinking about what I was then.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Sheep-Shears.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Kitchen-Biotope.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Boat-Park.jpg

My work is like

-entering a garden - seasonal, personal and colourful.

Like the bud that contains the flowers, the clouds that hold the rain, and the moon that sleeps and shines in intervals.

-a playground - exploration, spontaneity and community.

Of waiting on thresholds, and of bursting forth.

-a pollinating hub – variety, dots and connections

A showcase of learning and expressing in different forms.

-raising carps

I am reminded of an incident I read in 'School with Forest and Meadow'. On the founder and passionate educator Giichuro Yamanouchi's
persuasion, the local industry donated carps, an expensive variety of fish, to raise in their school pond. The children didn't and teachers didn't
know how to take care of them while they germinate, so the carps died. The professionals handed them a few more. This time,
children kept a watch and took diligent care. Soon, the fishes were thriving. One child's grandfather came to school to congratulate. The village
elders stopped by, to see how the children were doing this, and to pick up a few tips.

Similarly, I hope to gently bring awareness, and build a bond – with the subject, within the community, and the world at large.

-Social Change Arts Jam, Artivists (arts and activism) – in India under Yes World, US

-Fellowship on 'The emperor has no clothes: Hacking Education System' – Shikshantar, The Peoples' Institute for Rethinking Education and Development, Udaipur

-Contribute to curriculum on values-based learning on harmonious relationships. - Co-existential Harmony, various places

-Theatre – worked with

Manav Kaul, Sunil Shanbagh, Abhishek Majumdar - India

Ravi Jain, Kristine Landon Smith – London

Kai Tuchmann, Nell Ranney – In India

Two plays I directed were consecutively chosen for Short and Sweet Festival. One reached the finale

Adapted The Magic Tree, for a stage play with children

Adapted I am a Tree from Orhan Pamuk's novel, and combined it with a real-life story

Devised and performed on my experiences in London.

Explored and worked in different forms of theatre – Clowning, Commedia, Bunraku Puppetry, Devising, Lecoq, Documentary

-Training - Theatre Making Program – Indian Ensemble

Design Direct, Tamasha, UK

-Written a script for a health-based film, written articles, and copy.

-Made a short film on the inspirations of Indian rural life writer, R.K. Narayan

-Storytelling sessions

-Made hand-made notebooks for a conference on Medicine and Spirituality.

Deep change or paradigm-shifting change can happen when things become personal, and arts has that thing about it - the potential to reach the deep pockets of our hearts. And from there to the crevices of our brains. From there on, to the actions of our hands.

Even though we can feel the effects, issues around the environment sometimes can still feel a little further from the daily demands of life. Plus, the change we need and want is not like swiping a gadget and seeing immediate results. So, us, human beings could do with more meaningful contributions.

Working with nature as material in Nature Art, brings alive the things we are made of, the inter-dependencies, the transience. It brings about the cycles, and like singing a song together, it creates a harmonious bond. It's painting with nature, welcoming us to show our colours. It's walking with nature...it may show the way.

While statistics can surprise or shock us, arts can move us to do something about changing the statistics. Arts can reach emotive depths, sensorily affect us, and stir us. It can create a space to re-imagine things, to see the possibilities, to sow a seed. It equally creates moments to relax in, to fall back upon, to strengthen the roots. Arts can help us see the world in a different light, with others' light, with new glasses, with different perspectives, with empathetic nods, smiles and sometimes, tears.

Arts can seamlessly tell the long story of the earth and it can dive deep into one aspect of it, and bring out the pearls. It can make us ponder, and make us wonder, and surrender.

I am very interested in nature art, most visible in my house, where I respond regularly to the garden that I tend to. GNAP-UK will provide an opportunity to explore this wholeheartedly, in an ecologically rich space, and with and for people wanting to hear this bird's (my) song. I am interested in hearing and seeing how birds (artists) from different parts of the world respond to this call out. Maybe, we collaborate on something there.

The opportunity to inquire and create Nature Art as defined by GNAP will be a jumpstart to create more such and give opportunities to others to do the same. As a way of living, I'd like to imbibe more of it. The emphasis on silence touched me. Something, i am writing begins thus – Like music, poets need their silences. Else, they become hungry wolves scavenging for food.

I relate to the nomadic metaphor, to some extent, literally. I happen to have grown up in a place where the river is so mighty that it's referred to as male. Communities have settled around it, and make their livelihood from it. Whereas, my native place is desert land where they have songs to invite the rains. Sometimes, referring to rain as a god, and sometimes a lover.

I am keen on exploring, listening and responding to the ecosystem and space. Also, I am a water baby. Time spent in water rejuvenates me. To be able to do something around a waterbody will be a great giving and receiving experience.

I would like to bring stories of rivers from this part of the world, and regional songs, where water is given the same place as mother's milk. I want to hear how other parts of the world care for water. I want to be “Yatoo'ed” (thrown in the field, or maybe river) so that I can dive deep to bring out some treasures from the silence underneath. Like a child viewing from the windowpane, amidst the droplets of water, I want to see the world afresh.

Finally, here is something which sprung from GNAP-UK's call -

The enduring ephemeral

like the sky
like the flowing river
Uncountable stars,
that vanish when you next open your eyes,
after lullabies.

The clouds that burst
the earth that seeps in the rain
The river that swallows it
in a single gulp.

Our lives so full of ephemerals,
the placentas we came with,
ephemeral glances that start a relationship
the breaths we let go,
ephemeral silences that makeup sounds
our ephemeral lives, in which we meet.

Deja vu may be a phenomenon,
but you never step into the same river twice.


password : 1234

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/A-song-for-spring.mp3http://ccanw.org.uk/wp-content/uploads/vfb/2018/01/My-heart-has-a-boat.doc 
Alice Karveliblackarrowsinspace@outlook.comUnited Kingdom (UK)Greece

I work across many disciplines, but mainly focus on performance. Considering any creative act essentially performative, other disciplines are woven into my performance works, both live and on film. The footage, (edited in Final Cut Pro) is often multi-layered, giving a sense the duration of the act. The film is presented again in an installation space (sometimes including traces/objects created in the performance) with an immersive soundscape, often created in collaboration with my partner (who sometimes also co-performs) using all original sounds. I work on outdoor locations and derelict buildings, using the body and its built-in tool kit: voice/sound/language, movement/gestures/dance and the power of presence. I focus on the experiential aspect of the work, both in making and presenting it, experimenting with its transformational potential and ability to unearth inner truths. It also relates to relationships with natural materials/elements like earth, water, clay, leaves, wood, copper, blood, bones, fire, ash etc. The work becomes a rite I need to go through to facilitate esoteric work: transforming pain or burden into protective and creative power, exorcising fears, integrating aspects of the shadow-self and ultimately liberating the true self. A rite the viewer can project upon, thus perhaps instigating analogous transformation within themselves. I am researching shamanic practice and how it relates to artistic practice. How to better integrate artistic practice with spiritual/esoteric practice and environmental consciousness forms the basis of inquiry for my dissertation.

Originally from Athens, Greece. After age 18, I lived in Chania for a few years studying architecture and I got involved with photography group “Photoskiasis”, getting my first group exhibition experiences and a theatre group with which I performed in two plays. I completed a BTEC in Art & Design in Hastings and returned to Greece, attended some seminars (photography, psychology and engraving/etching) and organised my first two solo exhibitions (2014). Then I moved to London to start my Mixed Media Fine Art BA, now nearing completion. Since my second year, I participated in several group shows outside the University and completed live painting performances at all-night music events and festivals such as Small World (in 2016 and 2017) and Shadow of the Dark Shaman, in Sweden (2017). In 2016, I got involved with the Temporary Autonomous Art (TAA) events crew, exhibiting with them three times so far and helping set up the events. In November 2017, I did live performances in the show “Home” (by TAA) and “Surgery Slave” (by The Nave). I have also produced artwork for music projects, photographic/video documentation for gigs and performances, and organised Art and Music Jam nights within the community I lived with.

I believe through the arts one can go well beyond merely “spreading awareness” about these issues (which is great of course and many good people are doing so). Art - depending also on the level of emotional involvement of the artist - can facilitate the opening of a channel of empathy and deeper connection to nature that is fundamental as it is lacking in most of the urbanized world. Art can embody and convey beyond the informational, the experiential, emotional and existential side of both being connected to nature and the fact that our species is responsible for incalculable damage and disrespect towards it. There is a world of possibilities that opens up when you approach the natural environment with an artistic perspective, in terms of not dominating, but respecting, appreciating, nurturing and creatively collaborating/interacting with nature and its ecosystems. Nature is after all the ultimate creative force in the physical world that has created all we know including us. It can open the door to the ephemeral side of art, how to create using natural materials and respond to the uniqueness of a place, it can bring people together through shared interest and in creating big collaborative works, whilst also enriching outdoor environments and inviting people to explore and interact with the work as part of the environment as well as the environment itself. Art can also become in and of itself a form of activism, made in a symbolic way, signifying the intention to protect endangered environments and ecosystems, through the concept and materials used to the location chosen and their respective connotations.

There are many things that attracted me to this project and why it greatly resonates with what I want my next steps to be following the completion of my BA course. First of all, the global, nomadic, ecological and ephemeral aspects all strike home. Having lived like a nomad myself, being curious about the world and what unites us, I have been wanting to better integrate this nomadic instinct with my art practice, as well as connect with people of the same mindset to open the door to possible future collaborations. Studying and living in London for nearly four years has left me longing to connect more with nature, create work in it and in a sense, with it. Even in London though, (as you will see on the performative video work “The Cosmic Egg” linked bellow) I have incorporated “pockets” of nature in my work and the push and shove of urban life against or near them. To make work in less tainted natural surroundings and bodies of water being my intended next step, the opportunity to be a part of GNAP project, to have the freedom and support to develop a multilayered work that involves many of the themes listed on the website (most of which I was already working with) would be a great privilege and opportunity. The natural elements of water and earth within the landscape, how they form living ecosystems, how the human body and element relates to them in a poetic, symbolic, kinaesthetic and spiritual way are all themes I will be focusing on and the description of the site sounds like the perfect place to do so. Ephemerality is something I have already explored to an extent in my work and intend to do so even more, specifically ritually burning work was something I was planning to do soon whilst working outdoors, so seeing that is already part of the curriculum is interestingly serendipitous. Furthermore, I am excited about the interest in merging the scientific, eastern philosophies and an environmentally conscious, politically engaged perspective with artistic practice that GNAP supports and stands for, as it is completely in line with my own feelings and perspectives about art and its role in society. Naturally, I am also eager to connect with other creatives that feel the same, with the possibility of collaboration both within the program and also in the future. Finally, I hugely respect the fact that the whole program is irrefutably run with the genuine goal of supporting artists and the development of other creatives, what’s more, in a way that supports the environment and how we can have a positive impact on it through art, instead of making profit (or merely helping us work on our marketability). This is ideal for me personally but also the art world - thus by extension the world at large – I believe, needs more of this attitude.

"Mould" - https://www.youtube.com/watch?v=p0fJRb9jTNU&t=109s
"Break-Mould" - https://www.youtube.com/watch?v=slYQD0J_OV0
"The Cosmic Egg" - https://www.youtube.com/watch?v=hJjLcFIO-6U&t=694s

I have not participated in a previous GNAP   
MajidMasoomi Radmimmimrad@gmail.comIranIran

Re-descent / Environmental installation & performance

Like my past environmental works, I use the walk and element of the steps.
In this work, I have tried to mention the descent of Adam and Eve and make it more poetic than it has been.
So I take two-stroke tracks that come together at one point. As the cement pillars rise to the sky from step to foot.
The steps affect the wet cement and then dry. This can be done in a landscape.
Re-descent for me refers to the abandonment of the earth and the return to the primordial position of man.

Besides the project, I will have performed different walking performance in different fields.
In the following, you can see examples of it in Yatoo,http://yatooi.com/55471

in short

MAJID MASOOMI RAD | Multimedia Artist | Born in 1980 | Tehran | IRAN

Since 2000, his works have been shown at various venues and public spaces around the globe such as IRAN | The US | France | Greece | Syria | The Netherlands | Morocco | Romania | Hungary | Cyprus | Korea…

As a Tehran-based autodidact artist, there is no border in his territory. He uses a wide range of different media includes Installation, Video, Photography, Performance poetry, Creative writing, Environmental activities to represent various aspects of his thoughts that derive from his intricate society in comparison with the universe.

As an author, He has written 12 books in Poetry and contemporary literature. He has also written more than 1000 min screenplay for films, theaters, and animation series as well as some essays in the field of contemporary art in art magazines.

Graduated in Industrial Design from Azad Art & Architecture University of Tehran 2002 Member of Iranian screenplay writers and documentary filmmakers Member of Institute for the promotion of visual arts of Iran Member of the ISBE International Society of Bionic Engineering
Member of YATOO-i International Project
Founder of "FILMIM studio" 2005
Founder of "EVE republication" 2008

Art, at the lowest impact of a fearsome amount of frustration, reduces the harshness of mankind. This, even if it is for a moment, is commendable.

It was a long time I was interested in taking part in GNAP. It is the first time that I received an email contains information about GNAP. So I thought it's better to take part. just that.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/redescent-majid-masoomi-rad-2018-0.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/redescent-majid-masoomi-rad-2018-1.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/redescent-majid-masoomi-rad-2018.jpg
AlixRothniealixrothnie@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I am, primarily, a curator/producer, writer and researcher - my practice is community-based and surrounds the socially engaged - responding to place, and the urgent need for the realisation of alternative, and sustainable: economies, communities and futures. I am interested in examining art and ecology, the use of rural space, the commons and geopolitics. I intend to respond directly to place and space on a local level and simultaneously within the wider discourse at a global level.

I aim to work as exchange, and as a collective dialogue. The medium of my work tends to be: writings and small publications, documentary photographs, interventions, discussions, guided walks, documents of research... Much of my output centres around the ephemeral, is experience-led and performative, using public space as social function.

I studied filmmaking, followed by a Master’s degree in Modern and Contemporary Art: History, Curating and Criticism at Edinburgh College of Art. Currently, I am interning at Deveron Projects, in Huntly, Aberdeenshire, assisting the curator, and offering a critical voice to their programming. Deveron Projects is a community arts organisation with no gallery space, operating under the tagline ‘the town is the venue’, using it as the framework in which they work – to contribute to the social wellbeing of the town. I am also a member of Invisible Knowledge, a research group based at the Centre for Contemporary Art in Glasgow, and will shortly be the resident artist for Digital Artist Residency.

I have worked previously at a number of urban community garden spaces and community cooking initiatives. I also co-run a mobile community library from a garden trolley which visits and occupies public spaces, both a performative act and an alternative educational resource. I have had my texts published, both online and in print, and have worked for the Gallery of Modern Art (GoMA) in Glasgow and Hidden Door Arts Festival in Edinburgh, assisting with exhibition programming.

To me, art is not only of use in bringing awareness or stimulating dialogue on environmental issues, but can be used as a method in which to work, and can result in direct intervention and participation of communities to actively explore solutions or potentials. It can explore and critique the human relation to the environment, and offer alternatives.

Furthermore, the power of environmental/ecological art comes from its formation from a collaboration of disciplines - artists, scientists, philosophers, activists, architects.. who can collectively rethink our relation to the environment from an informed basis. Art workers are ideally placed to organise, reflect upon, and transmit these ideas. To me, art presented or conducted in the environment itself, can offer a directness that cannot be achieved in writings or words at meetings or conferences. The use of public or informal spaces brings the intended message into contact with the subject matter itself. Art has always driven social, political and environmental change, and will continue to do so.

GNAP-UK resonates strongly with a lot of my interests, in ecology, landscape, politics and the notion of, 'nature has no borders'. I am excited by the structure and programme GNAP-UK takes - I see that the time for silence and reflection would be incredibly valuable to me. Further to this, for my personal practice, I am particularly interested in this formation of a network for peer-based learning and support, and to have the space and time for experimentation, discussion and the testing of ideas. In the Autumn I attended a collaborative group residency in the Cairngorms, Scotland called Common Ground. I found the process of living, eating and discussing together incredibly valuable. I would be very interested in participating in The Ephemeral River, to meet likeminded artists and contribute to the dialogue on art/ecology and the natural world today.

Furthermore, I have an interest in water, both socially and ecologically. I would like to explore the idea of our use of water as public space, perhaps developing a performative guided walk, involving sound recordings, spoken word and written text to express my response to the river Dart, or ideas that have emerged from my research. I am intrigued by the idea of experimenting the ephemeral, and how this will manifest. Indeed, the idea of leaving no trace reminds me of the "take only photos, leave only footprints" ethos for responsible recreational use of outdoor space.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Individual-rhythmn-still-2.pnghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/dsc_0088.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_3679.jpg

My name is Albert Gusi (1970, Castellbisbal, Barcelona, CATALONIA). I am a visual artist who works from the territory, essentially natural one, but sometimes also urban one. My daily environment is highly industrialized and its scenery suffers from an unscrupulousness abuse. Going out becomes a vital need.

Territory, action and photography (documentary) are some of the ideas of my work. Most of the times, my artistic intervention projects are strategic incursions on the scenery where I feel strongly connected. My work comes and goes from territory, place, geography, maps and photography.

I am interested in approaching landscapes from a silent perspective in order to achieve an observation which leads to an evolution of a particular place throughout visual poetry, intervention, vandalism and above all humor. I identify myself with the weakness of the landscape, its constant transformation, its memory… and I propose another way of observing through a ludic involvement by a brief action which brings us closer to art and territory in process, lived and shared.

The last two years I have exposed: (Selection)

Intrusos, Andorra
Paisatge en joc, Museu Vida Rural, Tarragona, Catalonia
Xarxa Antimeteorit ,Biennal Land Art d’Andorra. Andorra
Index Natura, Centro de Arte y Naturaleza (CDAN) de Huesca, Spain*
Hinchables, La Arquería de Nuevos Ministerios, Madrid, Spain*
NAA4, Galeria Balaguer, WeekEnd Gallery Barcelona, Catalonia

Performance “Prohibit jugar a pilota al parc”, Festival Creació Contemporània, Lleida,Catalonia
Performance "Aúpa Anduña", Ochagavía. Programa Gobierno de Navarra, Spain.
Guinovart del llenç al camp, Agramunt, Catalonia
Objectiu Medacorba, SWAB Barcelona Art Fair, Barcelona, Catalonia
"Prohibit jugar a pilota al parc". II Encuentro de cultura y ciudadanía, Colegio Oficial Arquitectos de Madrid. Ministerio de Educación, Cultura y Deporte. Madrid, Spain
Col.loqui Internacional Geohumanitats, Departament Humanitats Universitat Pompeu Fabra de Barcelona. Catalonia

Evidently, the first step is the environmental consciousness of the artist, but this step alone is neither sufficient nor is it the most essential. The institutions, museums, art centres must ask themselves the question if whether an artists work is sustainable at an ecological level and whether it leaves a mark on the environment. Are the works ethically responsible towards the environment they exist within? If they are financed with public (or private) money do they take in to consideration the type of materials being used? How are they made? Where do they come from? How are they transported? What is the final impact of all this on the environment?

As I was saying, not only artists and museums should be a voice for environmental consciousness, the public should also demand more and use their position of 'cultural consumer' to act in favour of change towards a situation where the entire art world shows solidarity and responsibility towards environmentally friendly practices.

If in our domestic day to day we can apply these demands with regards to recycling, keeping waste to minimum, reuse of materials etc, why shouldn't we be able to recycle works of art? Why this obsession with the durability of works of art? Why can't we reuse the materials from our sculptures, installations, paintings, scenography...? Is the art market conscious of this possibility? Would artists accept the concept of their works expiring? Would collectors approve of the possibility of works transforming/disappearing? Should public institutions spend thousands of euros in art conservation? Is it not contradictory the use of conservation methods which involve modification of the work, rather than allowing the work to evolve until it eventually disappears? Is it not better to recycle than to conserve? These are my questions, without answers.

I will be brief in this section.

I discovered the project The Ephemeral River through a call for the Global Nomadic Art Project, an organisation which I follow with great interest since one year ago. It seems like a unique opportunity for the interchange of ideas and knowledge, in what appears from a distance to be a magnificent location.

I am very interested in the concept of the ephemeral in contemporary art and this call is an opportunity to present a project in an exceptional location where the capacities of the ephemeral and the artistic converge. I would like the river to become a space for experimentation, confrontation of ideas, exploration and investigation. In my daily environment I don't have the opportunity to contemplate large rivers, much less interact with them. To get close to the River Dart is a great opportunity, and to do it whilst leaving no trace at the end of the project, a fascinating challenge.

I want to take the River Dart on a trip through different spaces within the grounds where the event will take place. I want to take the river to the tops of the trees, lower it softly onto the furthest rocks. With it, create a path through the green fields. Create a small simulation of a mountain with the river... take the water and freeze it, so as to then be able to transport the river to every corner and leave it to interact with the weather, the geography, the people, etc. A silent project that is respectful and at the same time playful, which allows the poetic displacement of the River Dart to any corner of Dartington.

Only necessary infrastructure: a freezer where you can biodegradable waterproof bags.

Can some of my projects on my website: www.albertgusi.com
The three images that I attached correspond to the projects:
1: Intrusos (Intruders) 2014
A new look at the images obtained by trail cameras set around the Natural Park Alt Pirineu, Lleida, to track the local grizzly bear.

The 24 trail cameras installed in the forests of the natural park Alt Pirineu take more than 24.000 pictures per year with the purpose of monitoring the bears. Despite this, the images in which this animal appears are very few. Most of them show intruders –deers, chamois, fallow deers, wild cats, hares, squirrels, wild boars, horses… Intruders is a selection of the best images of this “salon des refuses”, that is, those images in which no bears appear and thus are rejected or deleted from the program.

2: Guinovart del llenç al camp (Guinovart from the canvas to the field), 2016
Copy on a 300:1 scale of artist Josep Guinovart’s painting on the stubble fields where he found inspiration. The accurately copied painting was Paleta III from the year 1979. The project was developed during the Art i Territori seminar organized by the Universitat de Lleida.

3: Aupa Anduña (Go, Anduña, go!), 2016
Intervention on a stretch of the river Anduña on the small town of Ochagavía on the Navarra Pyrenees. A giant 4.5m ball was rolled through the narrow streets of the village to the water and was thrown in it as a game, being held in place with ropes for a month.

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Intrusos_33.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/guinovart_02.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/aupa_Anduña.jpg

I'm a visual artist and researcher, working with photography, video, installation and urban intervention. I have published the books “Membranas de Luz: os tempos na imagem contemporânea” [Membranes of Light: times in contemporary imagery] (2011, Azougue Editorial), "Imagens Posteriores" [Posterior Images] (2012, Réptil Editora) and "Banco de Tempo" [Benches of Time] (2014, in partnership with artist Isabel Löfgren, edited by the authors), and participated in many collective others.
I had my first individual art show in 2003. Since then, I've done other individual exhibits and and participated in collective exhibitions in Brazil, China, Argentina, Colombia, Ecuador, France, Italy and Sweden. In partnership with artist Isabel Löfgren I developed the long term reserches Banco de Tempo/Benches of Time (exhibition, website and independent book, www.bancodetempo.info) and Mãe Preta/Black Mother(exhibition, website and publication, www.maepreta.net).
My work prioritizes moving photography and images and their potential interfaces, where the notion of time is one of the main pillars of my research.
Searching the way Time is given to see in the images is a constant in my artistic investigation. Since the beginning of the 2000s I have been developing works in which subjects such as acceleration, duration, drift, nostalgia and experience are stitched together, either in large photographic series, or in long-term surveys. They are works in development, generating books, exhibitions, texts that broaden the horizon of contemporary photography, oxygenating it with other knowledge.

I'm Brazilian, born in 1973 in Rio de Janeiro. I'm a Communication graduate from ECO/UFRJ, a Specialist in Photography and Social Sciences (UCAM/RJ) and a Master of Communication and Culture/Communication Technologies and Image Aesthetics (ECO/UFRJ).
Besides working with art, I was one of the founders of "Agência Foto In Cena" (1995/98) and "Ateliê da Imagem" (1999), a cultural space in Rio de Janeiro dedicated to research, reflection and production of images, where I acted as artistic director until 2013.
In January 2014 my little daughter Diana was born. I think motherhood changed my vision of the world and my art practice, and its reflect on the two long term researches I've done in partnership with artist Isabel Löfgren: Benches of Time and Black Mother.
I'm represented by Bossa Gallery in Miami, USA.

The relationship between nature and landscape has been treated in my researches, such as the series Nomadic Topographies, where I use water in its different states as visual matter in photographic and videographic constructions that embarrass visual perception, from micro to macro, in mobile, liquefied, fragile and impermanent topographies. As water is the most precious and wasted asset of our planet, I seek with this research to create powerful images where water is seen as microcosm and macrocosm, placed the relation of the spectator in a myriad of sensory possibilities.
In July 2017 I took part at LABVERDE Art Immersion Program in the Amazon where I explore deaply this work, with more depth and theoretical predicament of INPA's (National Institute of Research in The Amazon) cientists. However, based on the full temporal process
of becoming that I have experienced; on the information exchanged in lectures with INPA scientists and on the texts made available, I have arrived at new perspectives, still under research, particularly the series “Estudos Amazônicos” (provisional title), where I propose a revisiting of iconographic and bibliographical archives produced by travelers and thinkers who were responsible for shaping and transmitting what was to become common views on the Amazon, since our “discovery” by the Europeans, going through the Dictatorship years, to the Anthropocene epoch. These work in progress will establish a dialogue with the archives, as if they were my personal diary, in a contemporary reenacting of the practice of “annotating” adopted by travelers in the past, now in the form of videos and photographs.

I would love to continue to reflect and develop this series "Nomadic Topographies" that I mentioned above on completely different site like Dartington State. For me it's importante to think about art, ecology and climate change not only localy in Brazil and in the Amazon but to open the research for the impacts of our "Suspended River" (Amazon, Mar Suspenso) in other parts of the world.
The symposium Liquidscapes could be a wonderful opportunity to exchange artistic ideas globally and to have others perspectives for my work.

Bed: https://vimeo.com/242647605
Resilience: https://vimeo.com/240411446

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Sobrevida3_small.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/SemTítulo.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/EnchenteVazante.jpg

I'm a cross-cultural, post-national (Columbian/Swiss/Israeli/British), interdisciplinary-artist and filmmaker. My work is mostly visual, often incorporating figure and movement, with a poetic quality and a synthesis of live and mediated presence. It is often site-specific, based in 'natural' environments, and is intended to be immersive as well as evocative of hidden qualities otherwise unseen and unfelt. Having shot several high-profile underwater dance projects I have since trained and developed my own practice as a water dancer and mover. Progressing to apnea, I performed and filmed dance while free-diving in zero buoyancy. I’ve created underwater dance shorts both indoors and outdoors, ranging from pools to lakes to open sea. Water is my element.

I have a Masters (2007, cum laude) from Dartington College of Arts, having written my thesis on Jungian and archetypal psychology approaches to personal mythology. Initially training in computer science and systems’ analysis I then studied fine arts and later moved into consciousness and somatic exploration. I’ve taught yoga and Insight Meditation internationally since 1995, and have spent extended periods on retreat in both 'East' and ’West’. I’m trained as a Permaculture designer and have put my training into practice while living in a number of forest communities. Since the early 2000’s I’ve been deepening my movement exploration to include a wide range of contemporary dance, as well as choreographic practice. This blend of visual art, somatic practice, consciousness research and alternative use of technology forms and informs my work.

I took my first 'plunge' underwater during the 2012 London Olympics, when I filmed in Zaha Hadid's Aquatic Center olympic pool for an arts residency at London's Olympic Park. I then worked underwater with the English National ballet, creating immersive video for their promenade performances as part of London’s Cultural Olympiad. I’ve worked with many other prominent dance companies and renowned choreographers over the years. I was director of video for the Polish national presentation at the Shanghai EXPO as well as the Chopin bicentennial celebrations, creating large-scale projections for the symphony orchestra and contemporary dance performance. I’m an experienced filmmaker, producing, directing, post-producing and acting as director of photography on many films and on projects using integrated video. I’ve made art films and video-dance for television, some of which have been selected to and received mention at prominent festivals, including one collaboration with a space-walking NASA astronaut.

Most recently I worked as director of video on “The Landings”, a North Devon coast site-specific project by Stacked Wonky Dance, exploring migration and our perception of ‘Other’. I’m currently developing a live underwater dance performance in collaboration with a fellow water dance artist.

It is difficult these days to get away from the D.J. Trumps of this world, the reason being that such personalities and the apparatus behind them set much of the agenda for our news and the world’s economy and politics. Trump’s ‘Art of the Deal’ could be alternately and aptly titled the ‘Art of the BIG Deal’. This approach, which isn't a new one but one which is being honed and perfected for the digital age, is the art of creating hype around specific issues, hence diverting attention away from other concerns and setting the agenda to decide what is and isn't on the table at any given moment.

Art is very much about generating an impression and amplifying it, and a powerful 'image' could be “worth a thousand ‘tweets’”. In the same way that a political entity can embody and amplify the voice of self-interest and greed, so it falls onto others to embody and amplify an alternative, more holistic view, enabling other interests, groups, beings and entities that wouldn’t otherwise have a voice, have their say. With the rise of compartmentalised perception, post-truths and reality-bubbles I feel this is possibly one of the most important things one can busy oneself with today in terms of attending to the pivotal issues of our time. Such solutions necessarily need to be collective efforts that build on artist and transdisciplinary networks, moving away from the current hyper-individualistic, divide and divert socioeconomic structures.

As a former Dartington College of Arts student I'm well aware of Schumacher College's esteem and CCANW’s innovative approach to culture and environment. My acquaintance with E. F. Schumacher’s ideas stretches back to my time practicing Permaculture, living in forest communities, and the time when I worked at Gaia House meditation centre, not far from the college. I often attended the open talks at the college, and living on the axis between the Sharpham and Dartington estates I’ve learnt to appreciate the estate’s historical role in bringing together the arts, education, ecology and spiritual exploration. Nomadism is part and parcel of my life’s journey, having lived in six different countries and on four continents, and having worked internationally, and transdisciplinarity is something that as an artist, computer scientist, yoga and meditation practitioner, dancer and filmmaker comes naturally to me.

But most of all what calls me back to Dartington and this year’s “The Ephemeral River” GNAP is the Dart. The Dart is my soul river; from rocky Dartmoor down to the wide curves that wind their way to Dartmouth. As a DCA student I used to skinny-dip religiously down below the Hex building, come sun or rain, and now, whenever I return to visit the area I make a point of visiting the Dart to reconnect and submerge myself in her. It would be a joy and a privilege to deepen this relationship.

What draws me and binds me to this particular river has perhaps to do with my past experiences, and requires no explanation. I am drawn however to rivers in general and their ever-transforming quality. A strong and palpable realisation I’ve had in my meditations has been that of the ever-changing, transient nature of existence, encompassed beautifully in Mahayana Buddhism’s ‘Diamond Sutra’: “Thus shall you think of this fleeting world: A star at dawn, a bubble in a stream, A flash of lightning in a summer cloud, A flickering lamp, a phantom, and a dream.” Rivers and streams serve as an evident and palpable metaphor, one easily experienced when sat by the side of a stream and when entering its waters. It is too early to define the outcomes that will result from my participation but I envisage being inspired by the Dart, working physically in and around it, alone or with others, as a kinaesthetic exploration of these qualities.

Further, I’m currently contemplating German-based philosopher Byung-Chul Han’s notions of a burnout society and the loss of Eros, and motivated to explore what this could mean for artists and activists working in our current climate of constant distraction and diversion. I believe the answer to these issues is collective and beyond our individualistic self-motivated, self-actualising artist paradigm, requiring collaboration and a transdisciplinary effort.

Free Diving Dance Explorations, dancing at up to 15m below the surface of the Red Sea.
Dancers: Sasha Bezrodnova & Mario Blanco
Music: Excerpts from "Skin on Skin" by Andrea Rushton
Film © Dan Farberoff

Water dance in nature.
Dancers: Manuela Blanchard Russi & Collin Edina Leach
Music: "Opening Image" by Arve Henriksen
Film © Dan Farberoff

Immersive video for English National Ballet with Seven Sisters Group.
Presented with Mayor of London and London 2012 Festival.
Video by Dan Farberoff; © Seven Sisters Group and Dan Farberoff

I have not participated in a previous GNAP   

As an artist, I am interested repersonalizing political and environmental issues and the possibilities that exist in this transitional process. I use bright colours, conversations, and play to craft objects and experiences that transform challenging topics into pleasurable encounters. I begin each of my projects by amassing a research file of images, anecdotes, maps, objects, and stories about the topic I want to explore. I then deploy this information to help my work find a form that reflects the topic. For instance, when researching tar sand I realized most people had a hard time understanding how little bitumen was actually extracted from the sand. This discovery led me to create a mobile museum about oil that includes samples of tar sand, bitumen and downstream water that visitors can touch and smell. I endeavor to work with sustainable and recycled materials so my projects often have an everyday, domestic aesthetic that subverts the uncomfortable content of the work.

Recently, I have undertaken a number of hybrid projects that simultaneously function as artworks, educational exchanges, and research. By overlapping the various forms and objectives of these fields I generate more opportunities for different types of visitors to connect environmental issues to their daily lives. I am particularly interested in incorporating somatics and movement into these works as means to move beyond the epistemological limits of how data, art, and learning are constructed in the western world.

Allison Rowe is a Canadian interdisciplinary artist, educator, and researcher. She is a PhD candidate in Art Education at the University of Illinois at Urbana-Champaign where she is researching participatory art projects created by artists at museums in North America. Throughout her doctoral program, Allison has explored the intersections of creative practice and pedagogy. Her recent activities include; the instruction of art education and arts integration courses, an artistic collaboration with geologists from the Illinois State Geological Survey and the curation of Greeks for Greece, an exhibition and event series that probed the connections between American Fraternity ‘Greek Life’ and daily lives of the refugees in Greece. She is the recipient of a 2016-2019 Social Sciences and Humanities Research Council of Canada Doctoral Fellowship and the Kate Neal Kinley Doctoral Fellowship.

Prior to her current studies, Allison worked for 10+ years as a socially engaged artist, administrator, educator, and activist. In 2011 she completed an MFA in Social Practices at California College of the Arts and a BFA in Photography from Ryerson University.

Allison is based in Toronto—the traditional territory of the Haudenosaunee, the Métis, and most recently, the territory of the Mississaugas of the New Credit First Nation.

Growing up I spent my summers on my grandparent’s farm in Canada. I began my days with chores but once they were done I spent my afternoons exploring the trees, soil, and creek on their property. The love of the land that I developed on the farm was reinforced by the veneration of Canadian landscapes in popular visual culture—from the Group of Seven paintings held up as ‘Canadian art’ to the beer commercials on my TV. It was through this early exposure to the land that I first came to appreciate the incredible importance of the environment.

Yet, as a grew older, I also began to learn about the gap between the way land is discussed and used. Across the world, people like my grandparents make a living through farming, pulp and paper and fossil fuel extraction. Though these industries are economically important they also cause incredible environmental degradation. The potential consequences that our actions are having on the planet are so extensive, that it is hard for most of us to even think about, let alone try to stop them.

I believe that art is a critical tool for addressing ecology because it creates new ways for people to negotiate the gaps between landscape representation and use. Art transforms dry data and the daunting impacts of environmental destruction into poetic, embodied, visceral and tangible bites that easier for people to digest. The global inaction on climate change to-date is evidence of the urgent need to develop new ways of telling stories about our planet and create new visions of the future. I see art as a tool to educate, inspire, and reach new audiences who are typically excluded from environmental discourses so that we can plot a new, ecologically sound paths forward.

I am interested in participating in The Ephemeral River program hosted by GNAP-UK as means to learn, discuss and unpack water with other invested scholars in an environment that is uniquely attuned to local as well as global ecological issues. I am excited about the collaborative possibilities of the residency and eager to contribute my experience in participatory art, pedagogy and creative scholarship to the group. I am interested in using to this residency to learn from other practitioners and researchers whose expertise varies drastically from my own. If given the opportunity to attend this program, I will also strive to dialogue with the landscapes, gardens, waters, of the land and create art that responds to both historic and contemporary life in Dartington.

I will use this residency to build on my 2017 piece ‘Work Like A River’. In this project, I delivered an interactive talk that used the processes and histories of the Yukon River as a departure point for a collective, embodied consideration of what the river could teach participants about collaboration. At GNAP I propose to spend my time working independently and with others to learn about the River Dart through literature, conversations, interviews, and embodied explorations of its waters, mud, flora, and fauna. I will then use this information to build a somatically informed ‘curriculum’ based on the river. I envision this work finding its final form as a collaborative performance and poetic lesson plans that could be used by primary school educators in the Dartington area as well across the globe in other countries that have different river systems and experiences of water. For me, process is equitably import as the final form of an art project and as such, I consider the cumulative discussions, mini-happenings, picnics, bug catching and any other activities that take place throughout my time in Dartington to be of equal importance to the final work. I will document and disseminate my process through both online social media platforms and through ‘chain letters’ sent to my artist-educator colleagues across the globe who will then spread the my experiments to their communities. Perhaps most importantly, this residency will provide me with the chance to expand my conceptual frameworks, challenge my perceptions and ascertain new approaches to making, thinking and teaching about ecology and water.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Rowe-Tar-Sands-Exploration-Station.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Rowe-Again-and-again.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Rowe-Work-Like-A-River.pdf
LucyHeltonlucyhelton@gmail.comUnited States (US)United States (US)

My work imagines a future Earth where likely catastrophic events occur due to destructive and apathetic human behavior. The fictitious and prophetic landscapes subtly address contemporary environmental concerns, by offering a vision of the future that's both frightening and beautiful.
For my previous body of work, Actions of Consequence, I presented a future Earth that was void of life. My black and white photographs contain a visual play between the real and the imagined, and incorporate a variety of imaging strategies such as; panoramas, stitched photographs, and aerial imagery.
My new work now presents a more utopian outlook of the future as viewers are swiftly becoming desensitized to climate crisis depictions of the future. This time I’m interested in discussing matters relating to the eco-system, water pollution, the ice caps and water reservoirs disappearing.
My current artistic practice is to conceive, research, document, work, rework, map, remap, present. My work continually references technological invention as its the ultimate expression of humanity. As each technology teaches us something new about ourselves I attempt to map what is it to be human. More recently, I’ve experimented making sculpture, to be placed in the landscape and documented. I’m becoming interested in the philosophies of artists reshaping landscape, making work out in the land, and bringing physical land back to the studio. I’m also considering a more abstract way of mapping such as using my body to map or absorb the landscape, then rework, map, remap, once in the studio.

Born in London and based in New York, LUCY HELTON received her master’s degree in fine art photography from Hartford Art School, CT, in 2014. Rising from a necessity to express her personal anxieties and concerns about the environment, her first photobook "Actions of Consequence" was nominated for the MACK First Book Award 2014, shortlisted for the Kassel Dummy Award 2015, and The Anamorphosis Prize 2015. Her most recent book "Transmission" (Silas Finch, 2015) is a communication from our future to our recent past and it was shortlisted for the Paris Photo-Aperture First Book Award 2015. Helton has been immersed in photo book making and has participated in various book fairs and festivals in New York, L.A., London, Germany and France. In 2017, she attended two residencies in North Iceland and the Amazonas, Brazil, to continue making work concerned with the future of our planet.

I find art made about the environment cares about the natural world, the development of land, and its conservation. This type of art tries to encourage a new respect for the earth, its hidden potential, fragility, but also its power. Instigation to make this type of work usually comes from wanting to highlight the neglected, to make the invisible, visible, to bring the ignored to light. Sometimes an artist making work about the environment does so via the process of self-withdrawal, but we mostly show how it feels and looks, or could feel and look, to be in or on the land. A true work of art transmits the behaviors of the artist, so if we are driven by concerns for the environment, the work serves as a communication for this. Whether the work is displayed in a gallery, outside in the land, or on a screen, whether its representational or not, environmental art is defined by recognizing the earth as a unique home for humans, and all the other living and inanimate things that inhabit this place. It is imperative this line of thought and communication has a place within the environmental debate.

Earth is the water planet, containing 1.1 quadrillion acre-feet of water and more than 97 percent of it is seawater, which we cannot drink or afford to purify. Of the remaining freshwater on and near the planet’s surface, two thirds is held in ice caps and glaciers, and one third is in liquid form. This form can be found in underground reservoirs known as aquifers. They hold most of the world’s fossilized water, and can vary in accessibility and water purity. The remaining smaller amounts of liquid freshwater are above ground. The biggest amounts are found in lakes, soils and permafrost, then in atmospheric water vapor, and then in swamps, wetlands, and rivers.
Water is constantly moving, seeping through soils into ancient geological reserves, down rivers, into oceans, freezing, melting, and evaporating into the air and forming clouds to fall as rain again. If we are concerned with how much water we have in liquid form we should be aware of the planet’s water cycle.
Aquifers are our first resource as the amount of water they hold is huge. With current technology we can sink a well and easily extract their water. But wells run dry and pumping out an aquifer empties it for good, unless it is refilled by rain. The irony is many of the biggest aquifers are underneath deserts which hardly get any rain. These big ancient reserves along with the oceans and ice caps are part of the slow water cycle. The rapid flow of water evaporating from land and sea, forming water vapor, then clouds, raining to the earth and evaporating again is all part of the fast water cycle. During my residency at GNAP-UK I want to look at water of the fast water cycle. Fog, dew, and vapor to be exact. Via news stories and research, I’m noting inland seas and lakes are disappearing, and many rivers are dying or flooding. I believe there is a pending water crisis, and want to make work that looks to possible solutions.
Dew ponds are long forgotten ancient structures dotted across the English countryside. Originally created for shepherds to water their flock, they are about three feet deep and thirty feet across, almost perfectly round, and when empty look similar to moonscape craters. These shallow ponds flourish when nearby deeper ponds fail. Usually found on top of hills, they catch tiny water droplets in passing clouds and fog and encourage more water vapor to condense on the ground to form dew. One answer to our impending water crisis is to continue harvesting moisture from the air but on a much more useful scale. Last year I made a few pilgrimages to document dew ponds in Somerset and on the South Downs, and in my studio in Brooklyn, NY, began to make smaller futuristic renditions out of environmentally friendly materials. My aim at GNAP-UK is to construct a larger pond sculpture, install it in the landscape to document it collecting fog, dew, and vapor.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Video_Mapping_Flooded_Forest.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Amazonas_Rainforest.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Glacier_Ice_Comet.jpg

Mixed media is my psychological environment. I used to work with different materials including wood, stone, paper, fabric, others. Moment in time is what I always try to speak about. I’m creating not on material, material is creating by me. Atmosphere is my medium.

Mostly it’s combination of natural materials and human existence, symbolically depiction of life process. I’m researching intuitively symbolical way of expression and it’s influence on artist practice.

Almost all my recent artworks are installation. I try to combine fine art and nature material, find new connection between different media and implement painted artworks to installed material, receiving some different point of fine art understanding. Such combinations give me feeling of satisfaction when material, that can be find only in this or that specific environment, add to painted artwork, some kind of special combination - hand made work together with not of human making. Also research of light and shadows with different points of view that gives transformation of emotions. Something unpredictable, that appears with active part of increate material.

Every time nature shows way of expression, how and what material to use and every time it’s unique. Nothing can be predict in advance, intuitive symbolical way of work always inspire, opening new ways of expression.

How to combine past and future, what is time in our mind. Double vision in combination of time, energy and light is my main research program.

Every society have own vision of time feeling, my goal is to perceive and research.

International residential projects:

Montenegro. Project "Montenegro I feel you", in international Residency "Castello di Boca". Except me 30-40 artists were working together at the same time, but different projects. We gain an experience from talking and co-working.

Main idea was to take impressions from the outside world, transfer it to my emotional impression and fulfill with this combination artworks. Almost all project was created on the open air, with close connection to nature.

Continuing my idea in Finland Kulttuuri Kauppila international residency, I was working under inner vision. Video art met my searches with new way of expression but same feelings as on canvas. The heart of this project was to feel soul and spirit of Finland. I started to combine different art media to express the same idea but with new position.

Norway, international residency KH Messen: “Silence of light” project combines environment, psychological portraits and light. Due to combination of oil painting and installation with light I was able to explore light influence on material.

In Norway I discover connection of stone as nature material, and human existence as emotion. Work with light become more goal oriented. In Norway also was born social media project #ålviktv.

There are places where nature is especially rich and colorful, people who leaves there exists like in pearl. How can you see the pearl in this case if you leave inside? My task is to open this vision due to feelings, emotional and energetic fields. Human is undivided part of nature, none of this part could be able to exist separately and understanding of continuously treatment of each other is question of importance. My task as an artist is to show the deepness of human and nature connection.

Compound of collective energy of existence is what I’m going to explore, artists with water in their mind, idea and process with water in unison.

At the moment when you come to new environment your intuition start working with full potential, you begin to look with different eyes, you work with material that you never think before in such art way, you become able to double vision your mind. Intuition is on the high point of art investigation with unlimited potential of creation.

When I was thinking about the idea, from the very first moment it was - people, as we all are water.

Water is everywhere, connecting life. Water it’s what we are, union of soul and nature. I’m 70% water and you are 70% water. Art creators are water and in their mind is water.

Desire to open this pearl, where everyone could feel energy of life, of creating, energy of Dartington estate.

Soul is water and art is water. This is moment, that can’t be made in advance, it can be born only through feeling.

My project is material of life.

Philosophy of time and light is my project building material. I’m going to investigate question of time influence on environment and human being.

Little thread that combine my recent artworks is time feeling.

I’m not perceiving time like tangible, it's experience of changes in our mind and life. Changes gives us sense of time. Time is act of mind, of intellect, of perception, of intuition, of spirit, of remembrance, of desire. Time perception is wide and deep. Time is a process, unique adventure of our lives.

I feel that in new environment exactly Installation will meet my research feelings. Combination of nature materials with search of connection to nature, analyzing past and future of objects.

For totally mental invasion into environment I’m going to divide my time between exploring and studio work.

This project is research when nature add to it. Combination of natural materials and human existence, symbolically depiction of life process. Harmonious creation of a form of art in which people and environment merge into a single entity.

I work with human light connected to nature. Human is container, high point of existence. Usually if my work is without visible human images, you can still feel it’s presence even in inanimate nature. You are in nature, and nature is inside you.

Installation of merge, energy that will stay forever on piece, that accumulate art, atmosphere, illusion of life form connection with still form, organic unit of soul with nature.

Nature never stops, always in motion, in someone- calm, in others- wild. And how it will combine and turn, no one can say in advance or predict.

When I come to new country, nature gives me suggestions how to work and what to use. The most impressed place is, the most powerful combination of media I received.

Human exist in world that is full of symbols, everything around have symbolical meaning. When work intuitively, artist use symbols, create own unique world, where every element is not accidental and with symbolical meaning. Very often this symbols are not recognizable and seen from the first sight. My way of expression is to deep into own world, investigate symbols and work with hidden meaning.

Chose of England is not accidental, I’m searching places with powerful energy -to feel the influence and create with this power.

Dartington estate with it's life motion, energy of people and environment is exactly that place where life, time motion and light could be combined in right proportion.


I have not participated in a previous GNAP   
Antonija Livingstone livingstone.anton@gmail.comGermanyEstonia

At present I am invited as associate artist at Menagerie de Verre Paris 2018 activé in spring fall and winter as well as for a shorter appointment at Darling Founderie Montreal to present a durational performance work les etudes ( hérésies 1-7) . I am Estonian/ Canadian and over the years i am active between France, Canada and in Berlin. Via an intersection of plastic arts and performance practice I have come to make a series of feminist in situ collaborative installations and things made with Dance via queer methods. My process streams from a need for re- enchantment . Summer 2017 I was a laureate of Nos Lieux Communs Nomades and invited to create works for 3 different baroque gardens in France. The final gesture at the Potager du Roi Versailles was made via performance practice workshops with landscape architecture students of the Versailles school. My focus and criteria on sexuality and space/ a queer phenomenology for the situation brought challenge and wild play. I address and trouble The notion of presence : who / what bodies are activating or are included how in the ecosystems of of cultural spaces (in Europe. ) The business of the spectator ship I supplant with the practice of witness. I insist on the study or proposal as a propre genre of its own accord , the subtle, a minor key , a radical Tenderness a being in touch.

random list of potentially relevant: what and where :

- self taught performance / plastic Arts / choreography Montreal Berlin
- dancer / performer with Meg Stuart / Damaged Goods since 2002 Zurich Berlin Brussels
- director of & Trembling Ensemble interdisciplinary queer performance international Montréal Paris Berlin
- family business collaborator in placer gold mining operations in Yukon and British Colombia
- homestead collaborator : Petitie Rivière : Osprey Arts Centre : Snow Lake Keep :Nova Scotia
Hedvigsdal Stockholm Sweden .
- member Supernova interdisciplinary ensemble Berlin in concert with Sketches / Notebook Damaged
- commission from Festival Dautumn Paris and European tour 2016-2018 les études ( hérésies 1-7) in collaboration with Nadia Lauro
- gyest lecture and coaching at DOCH Sweden CCN Montpellier, MDV Paris, National Landscape Architecture School Versailles, Movement Research New York. KEM MOMA Warsaw.

Awareness is The tool of the Arts / the tool available to us agents of the Arts that we can sharpen and apply to contribute not only to a debate on environmental issues but towards generating new accords with what constitutes « the Environment » «  eco - logo / eco- nomy « 
The privilege of being Canadian raised in an itinerant way between urban and rural locales : the midst of old growth forests, exploited placer gold mining terrain of the North, in exchange with First Nations communities, as well as in elite culture capitals affords me a sensitivity and obligation to recognize the symbiosis and issues of balance at stake in human and non human rapport in the world. An artists capacity to enquire and perceive brings us To attend to a role of service : to gently address , for example, what has become the martial art of contemporary interdisciplinary land stewardship. Arts vocation at large encourages we be boldly and devotedly in a debate , and or in contemplation. To address ways of becoming conscious of how humans may be choreographed by thé constituents of an ecosystem and not merely be the bossy choreographers of a given ecosystem ( non human / human ) Poetic action in the frame of Politics of this nature seems neccessary.

It is my hearts desire to continue to face green problems. To be where vitality is at stake . After many years as an artist creating works for black box’s and white cubes it is my most fervent wish as artist to address and care for and exchange with others in all weather all terrain green spaces . To be worked by the environment to render new ways of making artistic work being in dialogue with different species and audiences. To be worked by the crisis of representation in art in a new context, new potential and address new means methods materials. To be in exchange with new community and culture. To work as an artist in the UK and address the potential of future advanced studies thereabouts.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/6186FD3F-733D-40E0-8D99-8B55F1331F65.jpeghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/36B1413A-9062-4AEF-9C78-F9DD17A87252.jpeghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/23A12186-7502-49D3-AFCC-1BFB8F38A88D.jpeg
GavinBlenchgavinblench@hotmail.comUnited Kingdom (UK)United Kingdom (UK)

My practice is an attempt to map my own contextual relationship to timeframes within the changing landscape of the edges of Dartmoor. Here I’m primarily concerned with the tension created between enclosed and open space. Focusing upon the essential components and contrasts that make up a specific place, I attempt to paint the distinctions between these states in their simplest form.

This inquiry demands an acknowledgment of my allotted time against a landscape possessing its own temporal aspect. Often boundaries laid down when we first demarcated tracts of land, are still visible today. It is an immersion into the places where civilisation butts up against wild space. The marginal space where those two states meet is what interests me.

My current painting practice was born out of the onset of my disability, (I have progressive MS) I drew and painted places as they became more inaccessible to me. Inevitably the landscape I love became a resonator for the emotions around loss; the boundaried constraints of disabilty juxtaposed with the wide expanses of the imagination. Prolonged periods in Arnhemland Australia, living with the Gumatj aboriginal clan, fed my understanding of wild space in relation to human presence.

I am attempting to connect to larger frameworks of place and time, as my physical engagement with the world diminishes and my approaching mortality becomes more apparent. The act of painting allows me to dance with these losses with more grace.

BA(hons)(1st) in Sculpture Bretton Hall 1994. Relocated to Edinburgh working as an assistant to Ian Hamilton Finlay and on community arts projects. Vision quest work in North Wales was followed by prolonged stays in North-east Arnhemland studying aboriginal art and music whilst adopted into the Gumatj clan. In Devon, worked as teacher for excluded teenagers with challenging behavior. Teacher training at Plymouth University and PCAD, worked as a Learning Strategy Consultant based at Plymouth University. Designed and taught a series of residential workshops on Dartmoor over several years exploring the connections between sound and landscape. Whilst at Plymouth was diagnosed with multiple sclerosis. Gave up teaching to pursue art full time. Since 2010 have been artist in residence at The Dame Hannah Rogers Trust, Seale Hayne. Taken part in a number of exhibitions in the south-west, twice winning scholorship funding for the Dartmoor Arts Project, twice a winner at the Marshwood Vale Awards, shortlisted for the Blackswan Arts award, the Dartmoor open, the Atkinson Millfield , Bristol City Art Gallery, Falmouth Art gallery, The Wilson Cheltenham and Poole Museum as part of the Alternative Visions exhibition. Also currently a member of Dartington Printmakers.

Art has a unique voice in the environmental debate. It feeds us in a way that science and information alone cannot, being inferred via a poetic consciousness that touches directly our need to connect to each other within our shared environment. Art picks up where language no longer serves us. It is imparted in a phenomenological even metaphysical way, reaching beyond empirical data that often is used to prop up flawed messages that we receive about nature and wilderness (both inner and outer) in our popularised culture; the Bear Grylls school of place or televisual survival of the fittest hegemony. European language has lost its mutually understood layers of metaphor that connect between individuals within a partaken identity (a language of tribal and geographical belonging), one that is inextricably bound to the natural landscape beyond a belonging to place; toward the 'shared commons' [Snyder1990:25]. Layers of metaphor that exist in aboriginal language keeping people connected to their environment as place and home are lost to us. When people feel a connection to the world around them in a deeply aesthetic way it becomes part of their relational context. Our appreciation and interactions evolve beyond a 'global economy' toward a form of planetary humanism. In our affinity for each other we realise that we are not “saving the planet” we are attempting to save ourselves and each other. Our planet and the quality of it is our shared experience. Here the deepest and most nuanced expressions of our reality as a culture can be welcomed in from the peripheries of the debate and enrich a more fulfilling discourse.

I have applied to GNAP because primarily I have lived close to and loved the River Dart for nearly 20 years now and feel deeply drawn to making an artistic gesture in order to honour it and get closer to knowing its specificity. This would be a unique opportunity to create value for me, with people taking part in what is being created and for my local culture. It would be tremendous to be able to meet and collaborate with other artists who lean their attention to the natural environment. Dartington is a place and community I love and want to contribute to as a neighbourhood participant and cultural activationist. I have been involved in one form or another with Dartington since I first came to Devon - I have played and taught traditional aboriginal music as a guest teacher at Dartington College of Art, was involved in the Human Reunion Project 2017 and am currently a member of Dartington Printmakers, an incredible creative resource. The map of the estate watercourses itself was inspiring – to know its terrain at a deeper level. I feel that using art to nurture a different kind of connection to and understanding of the environment is important – not only to share this, but also for it to enrich my own working practice.

My sensitivity to being in landscape has been central to my working approach both in Vision Quest work and in my art, and has been informed by periods of time spent in wild places around the world. Concepts of nomadism and ephemerality are two ways of working that I have been closely attuned to over the years in a number of ways. From the ephemeral quality of lost root bronze casting that I developed on my degree to taking part in Clan ceremony with the Gumatj clan in Northern Australia. Even my regular practice of drawing and painting the landscape of Dartmoor leave nothing behind apart from the marks on paper that I carry away. My Dissertation looked at the notion of the Nomad as explored by Deleuze and Guattari in 'The Thousands Plateaus' and its cultural implications in relation to the drawings of Antonin Artaud.

Disabled artists have an important contribution to the discourse around ways of being in the natural environment, highlighting the links between the physicality of the body and those of materials and topography. What happens to your awareness of the landscape when you cannot move through it? How does the dialogue between person and place work when given more attention and space to develop than contemporary culture usually allows?


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Gavin-Blench-Stoke-Fields-1x1.2m-300dpi.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/P1050970crop-300dpi.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/field-2-mixed-media-on-paper-300dpi.jpg
KirstenWehnerkwehner01@gmail.comUnited Kingdom (UK)Australia

My work focuses on people's inter-relationships with the animals, plants and natural forces with which they are enmeshed in ecological, cultural and imaginative communities. I'm interested in encouraging people to become more tuned to the lives, flows and journeys of the non-humans with whom they share places, with the aim of developing new practices of ecological care. This passion shapes my work to date as a curator, exhibition-maker and writer, and, into the future, as an artist-designer.

I'm currently developing site-specific projects that explore processes of cross-species exchange over time. These include: 'Stag Beetle City', an urban co-use space for people and greater stag beetles that will grow, evolve and decay over 3-5 years through the actions of human visitors and beetle inhabitants; 'Specimen', a video work based on image projections that momentarily return animal anatomical specimens to their places of actual and structural origin; and 'Oyster', a sculptural installation exploring the forgotten histories of Thames oysters that will interact with the river's tidal rhythm. These projects seek to dramatise a poetics of flow, adaptation and mutability.

My current practice builds on approximately 15 years experience as an environmental historian and interpretive curator, producing museum and digital exhibitions exploring relationships between people and their environments. This work focused on assemblage and interpretation across a wide variety of object and archival collections, with an enduring aim of developing new exhibitionary modes that emphasise place - as an evolving multi-species and non-human community - as a frame for building more ecological sensibilities.

I trained initially as a visual anthropologist (PhD, New York University, 2007), but I've worked predominantly as an interpretive curator. From 2011-2016, I was Head Curator, People and the Environment, at the National Museum of Australia, and from 2004-2011, a senior curator and content director. I led large-scale environmental history projects, developing collections, exhibitions and digital projects. Major research projects focused on the contemporary meanings of zoological specimens and Australians' experiences of environmental transformation.

As a public historian, I've written widely on museum practice in relation to the Anthropocene. Co-authored books include: 'Curating the Future - Museums, communities and climate change' (Routledge, 2017) and 'Landmarks: A history of Australia in 33 places' (NMA Press, 2012). I'm a Research Associate of the Sydney Environment Institute, and in 2015-16 was a Research Fellow at the Rachel Carson Centre, Munich.

In 2016, I left my job in Australia to undertake an MA in Narrative Environments at Central Saint Martins, University of the Arts London, which I will complete in June 2018. This shift is enabling me to develop a more independent design and arts-based practice, fostering ideas and skills long nascent in my practice as a 'day-job' curator and 'evenings and weekends' visual/sculptural artist.

Ecological crises are cultural, rather than techno-scientific, problems. Climate change, species loss and nature deficit have emerged through people's (particularly wealthy Westerners') choices about how to live in the world, with these choices expressing modernist ideologies that render humans separate from and entitled to exploit a 'Nature' construed as inert matter. Addressing environmental problems relies, as such, on cultural innovation, on new ways of being human that value non-human species and forces and reveal people's inter-weaving with the non-human world.

As a key site of cultural innovation, arts practice has a central role to play in addressing environmental issues. We need to 're-story' the non-human world and our place within it, finding meaning in the lives and agencies of that world. Artists' capacity to engage closely with their environment, its tensions and complexities, and to creatively explore how its forms conceal, express and can be poetically transformed is key to this process of embodied re-storying. Arts work opens out methods of bringing into view, hearing and touch the dynamic narratives of non-human Others, as they burrow up from the past, project across imaginative universes of the future or swirl across the globe and through our veins, exceeding our habitual compass.

Arts practices also foster reflections and re-imaginings essential to productive responses to ecological crises. Works, in both creation and dissemination, generate 'spaces' apart from our daily round. These spaces enable us to express how we feel about what is happening in the world. They become places where we might tell and make sense of loss, anger and grief at, for example, widespread extinction. And, arts practice can propose new modes of being in the world, whether this involves experiencing momentarily an acute awareness of a vast web of lives enabling our own, a community action or the envisaging of a transformed future.

The GNAP-UK callout invites creative practitioners to 'crack open their practice'. This challenge spoke deeply to me, as I'm currently in the process of shattering my self as a curator/historian and re-sculpting a more experimental, creative and felt mode of being. This shift evolved from my growing sense of dislocation from lived places, a desire to move away from more intellectualised, abstracted modes of responding to ecological problems and towards a deeply embodied, material exploration of dwelling in places. The GNAP's interest in ephemerality resonates profoundly with my current search fro a new paradigm. I feel that engaging with the GNAP participants, including the Dart, would enable me to take a huge step forward in this quest.

If offered a place at GNAP-UK, I believe I could contribute meaningfully to a shared exploration of the Dart and its questions of diverse human relationships to water, experiences of liquidity and immersion, and the shared site ecologies-histories of people and other species. As an anthropologist, I have good skills in engaging across and learning from cultural differences and I'm intrigued by the international scope of the program, as well as offering some experience in researching human-water relationships in the Australia-Pacific. As a researcher/ writer, I'm keen to think about watery, and particularly, river concepts, to ask how the Dart tells its own story and how words might capture it. As an artist/designer, my making skills are relatively embryonic, but I'm slowly evolving a practice that brings together words, assemblage and practices of image-making and installation. I'm not totally sure where this will all end up, but, I believe that the opportunity to participate in GNAP explorations of the Dart would contribute significantly to developing my enquiries into word/material installations that can dramatise and re-imagine human-non-human river histories-ecologies.

Before reading the GNAP callout, I wouldn't have described myself as a 'river person' and I'm not sure that I could rightfully do that now. I grew up in Australia, along the Molonglo River, a sluggish thread belted to create a pond, Canberra's Lake Burley Griffin. Through my work as a curator, I've assembled collections archiving the continent's irrigation practices, proposed exhibitions on the splendid Murray and hosted artist events exploring places across the Riverina watershed. But rivers in general, like the Molonglo, have moved relatively quietly in my imagination. It's been a shock moving to the UK and experiencing a world in which moisture permeates soil and breath, and the sound of rushing water filters up from beneath every London street corner. Responding to this quickening, I've started a few liquid projects - an iPhone-made video tracing the Thames through the city, sculptural elements about oysters and an installation concept responding to the intertwined histories of wood and water in south London. I feel, though, that I haven't made much headway yet. Days with the Dart, even its name fast and sharp, promises a welcome plunge into a more watery world and a chance to emerge, cool and dripping, to see where the droplets fall.

Cycle - Find At: https://vimeo.com/221572815 (Password = Thames)

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/WEHNER_-Oyster.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/WEHNER_StagBeetleCity.pdfhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/WEHNER_Placing-the-Nation-chapter.pdf
CherylTraub-Adlercheryl.traubadler@gmail.comSouth AfricaSouth Africa

Description of ideals and working methods.
1. That the work is felt and seen. Heard and listened to. Sensed and challenged.
2. That any referencing is beyond the personal and highlights environmental and societal change and transformation.
3. That it is not harmful to the environment and communicates the complexity of the natural and spiritual world.
4. Within it there is a sense of higher purpose and that the meaning is aligned with a communal spirit.
5. That the offering be sacred and that the practice of doing and learning is shared with others.

The performative and installation collaborative work includes Poetry, Dance, Photography, Sound and Video Projection.

When asked what medium she uses as an artist, the answer is simply; whatever medium is required to communicate the present idea most effectively.

The works listed below are some key pointers to a creative process that is diverse and responsive.
First SiteSpecific in LandArt - Installation - Ancestral Robe-Washing. South Africa
Blue Box Project in Fez - 'Lifna Adam' / Artisinal collaboration. Morocco
Residency in Lisbon - Roundabout lx - Pilgrimage & Pavements. Portugal
Afrikaburn and Burning Man - Geodesic dome - collaborative and performance work. USA & Karoo SA
Alliance Française - 'Analogue V' - Public Gallery
Performance - 'What the Body Remembers ' Cape Town
McGregor Poetry Festival - Poetry and Installation
Secret Studio - Performance - 'Drawing the Line.' - Platform in Kalk Bay
Thupelo & Greatmore Studios - Woodstock - workshop and exhibition
Stellenbosch GUS - workshop and exhibition.
Solo and Group exhibitions.
Represented by private galleries in Cape Town and on the Garden Route, South Africa.

Artists often find the unexplored angle, a way beyond a dead-end; or an entry point through a new gateway, connecting previously disconnected dots.
The creative medium gives us permission to think and discover a truth.
Historically, artists have not created in a collaborative way other than guilds. But in order to find solutions to environmental and humanitarian issues, we are now poised, in a time where scientists, environmentalist, technologists and artists are able to work together, finding a means to communicate and a way of rethinking the present and the future.

If environmental data can be analyzed and engaged with holistically, through the artists point of view then we are able to explain aspects of thinking through visual or auditory information. The artist Katie Paterson who has recorded the sounds of a glacier melting. Through sound and her connection to the nature, she is able to share these findings in a non-scientific way.

The responsibility of making art goes beyond an economic paradigm, transmuting the currency of power into the currency of sustainability, beauty and meaning; impacting society in a meaningful way.

When GNAP visited CapeTown for the Stories of Rain in 2016, I participated on the periphery and hosted a group of artists at my home for a meal. What struck me was the camaraderie, energy and the infinite possibilities within a temporary collection of artist. Not only do they experience a new country through a specific lens, but collectively their experiences gather creative momentum that is amplified in a group.

The language and accessibility of the United Kingdom is a good option for a South African artist. It is also an opportunity to examine the English colonialists landscape critically and empirically. The contrast and similarities to Southern Africa and a possible global meeting point for commentary on ecology, environmental change and also the perceived beauty of that particular Dartington landscape.

Later this year, Residency Project in Cape Town that I am working on will be completed. I would like to utilize this
opportunity to find connection for new artists residency projects in Cape Town.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Huis.-Singular-rectangle-for-a-poet.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Tholand-Tseke-Finding-a-Way.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Gardening-with-invisible-spades.jpg

Ukraine based, monumental painting artist. Graduated from the National Academy of Fine Arts and Architecture. Fine Art. Bachelor degree. This year was studying in Zagreb Academy of Fine Arts.

Member of the National Union of Artists of Ukraine.

As an artist who began with monumental painting I’m fond of ancient techniques. Analyzing of past knowledge gives us new possibilities for understanding future.

During the residential periods I always try to familiarize myself with local views, characteristic features of region, perceive techniques and technologies that lay in basis of national and modern art.

Due to combination of ancient and modern techniques, My main searches are about to find and create image with spirit compilation, as every separate material could heighten image vision with different way.

Four aspects, that are important for my work:

-depiction with new way;

-searching and understanding of national peculiarities of art;

-creation with strong national spirit feelings;

-contact with local community

My monumental project - The icon "Christ Pantokrator" was directly elaborated for the Sovereign tier of the iconostasis the Monk Theodore Church in Ostrog. Rivne region. Icon was implemented in the spirit of Volyn school of icon painting (The folk icon).

Other project was created conjointly with group of monumental painting artists - iconostasis with modern and contemporary ideas made in the memory of artist M. Storogenko”.

Recently, in Norway, KHMessen artist residency, I was working under the project of landscape series made with hand press.

Project “Spirit of Montenegro”, was made during the residential period in Castello di Boca, international artists residency in 2016.

On my account four curatorial projects - plain airs and exhibitions in Ukraine

Curator of the Exhibition dedicated to 25 -Independence Day with a support of the National Union of Ukrainian Artists in "Gallery of Arts", Kyiv, Ukraine. Gratitude for organization and participation.
Curator of 10 days plain-air in Sedniv art residency " Horse yard" for students from NAFAA, Chernigiv region.
Curator of two weeks plain-air for students from NAFAA in Sedniv, Chernigiv region. Residence of National Union of Ukrainian Artists.
Curator of Sedniv plain-air art exhibition in Kyiv with a support of the National Union of Ukrainian Artists.

My main point of environment debates is work with emotions, as feelings are among the most powerful resources for nature preservation.

As an artist I want to transfer the impression from the outside world, and transfer the emotional impression on a canvas. Colorful impressionistic vision of the diversity and beauty of the region at different times of day or season is what I am passionately fond of.

The most inspiration for me is opportunity to contact with ancient history by means of my art.

Due to my art I try to attract attention of society to preservation of cultural heritage (environment,ancient buildings, native people).

Working in the open air I try to convey the impression as accurately as possible. Material is no important, the main thing is to charm the audience withe landscape and nature.

The main purpose of my work is to transfer the beauty of nature and human existence on canvas.

I try to inspire people with me art and provoke desire to visit and see places that I put on canvas. My work is not huge but still very important. If my at inspire even one person to keep nature - it will be enough.

Time, energy and light - main points of collaboration research project with my partner- Iryna Vorona.

Interviewing combination of color and light -it’s magical unity, that carry on national wisdom and history of culture building with ancient philosophy depiction.

For researching such specific medium as time, I have chosen natural material - wooden board. Wood is one of the natural unique materials that exist a long time before human appears. From the beginning and to now days, this material receive an important role in people’s life. And the same part is devoted to light.

Idea of project is psychological connection of nature materials with light. Due to intensity of combination with light, we will receive inner light of art, it’s soul, hidden potential. Possibilities of changes are unlimited, some kind of increate effect, when art show it’s own spirit.

Composition of different kind of wood material, special sized panels in right proportion of intervals with light according to idea, - is what I’m going to explore.

I would like to research local environment in order to depict the most important specifics.

Colorful vision of the diversity and beauty of the region at different times is what I am passionately fond of.

I’m in my high belief that England is more then right place where question of time should be explored, mainly for its own time, where past and future is combined with such energy.

One week is the best period for work under new project in new country. During this period first impression growth to deeper vision that goes together with inner understanding, it gives an opportunity for wide connection, for soul perception, that appear after first impression.

Chance to gain an experience while working in Dartington estate means new project that will discover new edge of art vision.

Main goal, in edition, is to show my art

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/from-a-series-of-project-Norway.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/from-a-series-of-project-Norway-2.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Thoughts-2016-oil-on-canvas-150x110cm.jpg
RebeccaBurrillrebecca.burrill@aol.comUnited States (US)United States (US)

As an artist/researcher I plumb the deep interfacing languaging that is Nature, art, and human. This process first came about as a dancer and educator investigating natural learning. What I discovered is the movement-sound bases for all communication and learning, beginning in utero for us humans, and linked to deep evolutionary patterns of intelligence.

This deep non-verbal, movement-sound based languaging is fundamentally aesthetic in quality and process. That is, it is based in the feeling-emotionality that arises from all movement-sound experience—the psychobiological—from which the image based imaginative, analogical, and metaphorical processes arise.

As a movement based artist I seek to have, as well as teach and artistically direct, an experiential encounter with this deep interfacing languaging that intrinsically connects Nature, art, and human as kindred. I work through structured improvisation, allowing for the encounter in the present for each individual to explore. Often the unfoldment of the motor-sensory-perceptual-feeling base for art making also includes visual art and oral poetry. End results are often informal ceremonially oriented performances—ceremonial in the sense that they are a group (community) creative process with a spiritual recognition of the kinship of art-making and human relationship with Nature.

Languages of Nature Languages of Art teaches the fundamentals of body gesture as a language to be found naturally within humans as well as in the gestures of Nature. Through exploration of movement as language and immersion in a Naturescape, an informal structured improvisational dance piece is group created and performed. Ocean dunes, woodlands, inland waters, Cape Cod, USA.

Sea Fronds is a structured improvisational dance piece emulating the ever motional flow of sea fronds swept by coming and goings of tides “fraught with haphazard antagonisms fitting into brief moments of ecstasy” and unison of gesture. Fleet Moves Dance Festival, Cape Cod, USA.

With Pond is a dance performance of deep bodily and sensory-perceptual immersion in pond through movement in relational languaging with water, wind, edge plant life, and sounding local creatures. Fleet Moves Dance Festival, Cape Cod, USA.

Tidal Harmonics is an explorative dance process-performance in which dancers emulate core aspects of the complex tidal dynamics of outer Cape Cod, inclusive of sun and moon cycles, Atlantic Ocean rotary tidal wave, and Maine Gulf Coastal (and therefore Cape Cod) rotary tidal wave. Fleet Moves Dance Festival, Cape Cod, USA.

Since my creative and teaching approach is to facilitate experiential consciousness of the kinship of Nature, art and human, it is my sense that this process is at the very foundation of a shift from the anthropocentric to the ecocentric, from which environmental priorities and Nature Rights are grounded. Personal encounter through the arts is open to the unknown through an immediate, transforming relationship. Grass roots Nature Art projects belong to the individuals engaged in the praxis of discovery and deeper engagement with Nature, which can engender moral and ethical positions that guide individual/community in establishing an ecocentric lens through which to orient social values and structures for action in service of Nature rights.

Art making organizes meaning though authentic encounter with the unknown—Nature—from which we can identify a deep kinship of belonging and reciprocal stewardship, inclusive of both the sublime and the horrific. This prototype for processing the deep meaning of life and belonging is the ground from which to meet the environmental, ecological, and climate change debate.

There are several reasons that I have applied for GNAP-UK.

I am interested in the work of Jan Van Boeckel in relation to my own.

I attended programs at Dartington and Schumacher College in 2016. During that time I made contacts and a plan to return to the UK to teach my work through a workshop tour. The Ephemeral River (dancing, speaking, singing, laughing) is a right fit inspiration for me to return to the UK and begin putting the pieces of that plan into motion.

Since my work uncovers—makes experiential—the core of art-making as the deep intersubjective interface of humans and Nature, GNAP-UK 2018 seems a worthy project for me to involve myself. I appreciate the spiritual quality and the practice of working in harmony with Nature that is understood by the YATOO way of making Nature Art, since that is the orientation of my relationship in art-making.

My intention as a Nature Artist and educator is to be a part of grassroots projects that work to inspire wider and deeper understanding, experience, and practice of human relationship with Nature, with the intent of changing societal consciousness and vision, at all levels of our now class structured systems. I understand that arts-experienced eco-centrism as a right modus operandi can effect an egalitarianism throughout all aspects of, and across, human society. This is supported by the social justice agenda and philosophical tenets of GNAP-UK (in historical association with Fabianism).

Also I am a watery being. I was conceived on a buff overseeing the Cape Cod Atlantic and spent my childhood in the ondine currents of the sea and inland waters. As a dancer I can attest to my friend David Abram’s comment: “Ondines (or Undines) being a most appropriate tutelary spirits for those persons given to the Dance.” Astrologically I have an abundance of planets and sensitive points in water signs. Three of my structured improvisational dance choreographies—With Pond, Sea Fronds, and Tidal Harmonics—are water pieces that practice an altered consciousness of immersion within the state of being of the natural phenomenon being danced.


I have not participated in a previous GNAP   

I am a pianist and composer currently based in Vantaa, Finland. A lover of music but also of nature, philosophy and stories and myths from around the world, my approach to music is close to storytelling. My working methods combine composition, improvisation and experimenting with different sounds. Recently I have started working with a producer in a project titled Suvanto, with influences from jazz and electronica. I am interested in combining acoustic and electronic instruments as well as recorded sounds and electronic soundscapes.

In my current projects I also explore the connections between music and other art forms. I have especially wanted to collaborate with artists whose work is closely connected to nature, for example in the form of environmental art. I am also interested in working and producing music in different environments. One of my current projects is an exhibition with Takamaa artist collective. The exhibition will be situated in an old mine and it will feature sculpture, video and music/sound. I started working more with recorded sounds while living and studying in Reykjavik in 2016.

I have explored the musical globe while performing with musicians from Egypt, Cuba, Spain, Cape Verde and more. Besides performing with different groups I have worked across disciplines, doing cross-disciplinary performances with a sculptor, a visual artist, a dancer and an actor. I am a member of the artist collective Takamaa. The collective was formed in spring 2017 by sculptor and environmental artist Jenni Tieaho, visual artist and photographer Anni Hanén and myself. In our collaborative projects sculptures, images and music all weave their unique parts into the shared story.

I have mostly been working in Finland, but I have done many performances abroad. I am the founding member of Helsinki-based jazz group Kokko Quartet. The group has been performing in Finland and abroad since 2010 and it has released two albums, Like a River (2013) and Orient Express (2016). In May 2015 I took part in an artist residency in Iceland. The residency was a part of the first-ever Saga Fest music and arts festival, bringing together artists and other creative individuals from around the world to gather at Stokkseyrarsel farm. The artists-in-residence created original works of art around the festival’s themes of vulnerability, sustainability, community and transformation.

As an artist I am only beginning to scratch the surface of all the different possibilities of working with environment related themes. However, I have read about different topics such as ecopsychology, anthropology and (Finnish) tree mythology. I have also read many philosophical writings about environmental topics. I believe that artists have enormous potential for example in expressing philosophical or scientific ideas in a poetic language that can speak to us on a different level. I have stated that “the magic of art is in its power to make ordinary extraordinary.” This is one of my attempts to describe what the different art forms might have in common. Regardless of how you might describe them, art in its different forms has its unique qualities. It can reveal a different way of seeing and being, in comparison to the consumerism we are surrounded by.

Recently I have been mostly interested in areas such as ecofeminism, and exploring my own cultural roots. I haven’t really viewed art as a tool for making for instance a political statement. Perhaps the underlying message can be even political, but I believe that an artwork must grab the audience’s attention first by its aesthetical qualities, before any questions it might attempt to raise. Using its own language, I believe art has also the ability to promote for example awareness and empathy and it may even radically shift our perception. One concept that I want to promote also through making art is the idea of being “with nature” instead of being “in” or “out.”

I found out about the project only yesterday, but I was very much interested in the themes and the possibility to meet other artists and possibly researchers during the project. I am interested in the dialogue between art and science, or perhaps more accurately said between artists and scientists. Having experienced an artist residency in Iceland, also very much focused around a specific location and the stories of people from that region, I found that experience very inspiring.

I believe this project would provide again another opportunity for experimenting with different ways of making music, perhaps also collaborating with other artists. I also related to the river theme, it’s one element that has been present in my compositions and somehow it always seems to have a specific spiritual or symbolic meaning. The spiritual relationship with water is something I could see myself exploring also during this project. Also landscape and soundscape are of specific interest to me. At the same time I like to be playful and I have used for example water as a concrete musical instrument too. I would be happy to be inspired by the project’s location and the people taking part in the project, seeing what ideas that would produce.




I have not participated in a previous GNAP   
ScottBrownmrscottfbrown@gmail.comUnited Kingdom (UK)United Kingdom (UK)

My art is about environment, landscape, and us. For many years writing was my main creative outlet, but these days I mostly make sculptures and images. What hasn’t changed is my use of walking to initiate new pieces of work. I’ve always been interested in processes of creative engagement outdoors, and my own physicality has always been central to this. It helps me shift from relatively static and analytical states, towards those which are more fluid and intuitive. Many other things also influence my approach, from neolithic monuments and postmodern parks to environmental science and folklore. I’m also greatly indebted to the literary and artistic work of other people with similar interests, but making my own art is also about finding my own voice, and the search for that generally starts near home. The attached pictures result from such journeys into the landscape, when at some point I've felt compelled to pause and make something. Any topographical feature may become the locus of this activity: a nearby hedge or wall; the local streets, fields and woods... Led by circumstance and process far more than any preconceived outcome, what happens next usually involves identifying or creating a sculpture and then making images of the scene. I employ simple forms, structures and devices like catalysts to aid these transpositions. They enable my creative activity and carry functions such as composition, counterpoint and disruption, which become vital to the emergent artworks, without assuming any dominant figurative or abstract purpose.

Apart from a piece of creative non-fiction I wrote about the Kentish coast, published several years ago, I've not presented my work to the public before. A lot of my recent sculptures may still be found in the landscape, slowly rotting and dispersing, but I've never publicised their whereabouts and doubt many people have come across them, even though I'd guess there are around 100 sites now in Oxfordshire alone. Taking part in GNAP-UK would be an exciting and much wanted shift into a more public facing role.

For me personally, those moments outside engaging with the world through creative activity are extremely valuable, but I'm also interested in sharing my experiences and inviting further discourse on the subjects they invoke. My art doesn't begin and end with me making a sculpture in the woods or photographing rocks in a field; it's not solely possessed by those events and those objects in those places, nor by any words and images resulting from them. It exists in a system of activity that has roots in those things, and, I hope, continues to propagate itself and become part of broader conversations. I believe creative activity represents a fundamental quality of our human relationship with the outside world. The arts don't only characterise the way we perceive and describe our surroundings, they can also be used to influence and determine them. This creates a kind of feedback loop, enabling us to keep interacting in increasingly complex ways. The significance of this in respect to developing our understanding of environmental issues such as climate change is profoundly inspiring, and empowering. Creativity will be at the heart of any effective response.

The ideas behind GNAP-UK resonate so clearly with my own creative practice, reading this call-out has inspired me to start taking my work to the next level. As an artist, I've spent several years exploring my approach, but now is the time for me to start being more active in sharing what I've done and contributing to the bigger picture. As well as the opportunity to mix and possibly work with other people on this project, I'm also extremely excited by the prospect of taking my practice to the Dartington site. I'm very curious about the way people compartmentalise and personalise geographical knowledge, and large country estates carry a lot of power in this respect, as do rivers. For my main job I work in the environmental sector and use river catchments to organise data, projects, budgets, and much more besides. Through GNAP-UK I'd like develop this into an artistic enquiry about the way a river catchment can characterise and influence human behaviour, local knowledge, and sense of place, both in the catchment as a whole, and at smaller sites within it - in this case the Dartington estate. I propose devising a series of creative activities that invite others to expand upon the concept of catchments in this respect, and which would also result in a number of sculptures that would gradually manifest, relocate and ultimately shift towards dispersal during the course of the event.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Catsham-Bridge_Scott-Francis-Brown.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Pinsley-1.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Tar_Scott-Francis-Brown.jpg

My installations are taking place in nature, are produced with natural elements, most of the times on the subject of environmental protection. Sometimes I consciounsly prepare for a work related to a given environmental problem, otherwise I mostly create upon a spontaneous instinct that reflects an answer to a certain surrounding atmosphere.
Nature, in its own slick way, is simple. Yet, it is this simplicity that doesn’t show itself directly, rather we must guess it after appearances we can only decipher when we stripped our egos and have become humble enough.
Just when it’s not “me” and not “now” what matters, but a global dialog for planetary greater good.
Nature becomes bigger in face of a technologized world and for me becomes more clear how organic shapes, curve lines, perpetually mobile impressions are the novelty, the ones that assure space for a future population which we should care for, protect and take further.

"Reka adapts to a wide variety of environments. His method involves a kind of instinctive archeology that seeks to express thoughts from within the environment - so his work gives a lot of space, creating unique fusion between Nature Art, place-specific creation, formalism and design, all on the conceptual ground." (Ungvári Zrínyi Katalin - Art Historian)

Reka Szabo
(born in Lazarea, 1986 September 25, Hungaryan nationality)


2018 Kunsthalle – Budapest HU
2017 Transylvanian Art Center - Sfantu Gheorghe RO
2017 University of Fine Arts Oradea RO
2016 “Natural Gestures” Vigadó Gallery Kezdivasarhely RO
2015 Tein - Sfantu Gheorghe RO


2017 Yatoo International Artist in Residency Program – Gonju South Korea
2017 Global Nomad Art Project - Eastern Europe - Lazarea RO
2017 “The Golden Thread” International Artist Residency – Suri West Bengal India
2017 Internatonal Land Art Symposium - Khomdara West Bengal, India
2017 International Print Triennial Krakow, Poland
2017 Pulzus International Contemporary Art Camp, RO
2016 4th Graphic Art Biennial of Szeklerland RO
2015-2016 Geumgang Nature Art Biennale, Yatoo - Korea
2015 “Living Spacs” International Nature Art Camp “NapTelep” - Olasztelek RO
2014 3th Graphic Art Biennial of Szeklerland RO
2014 5th Croatian Biennial of Illustration CRO


2011-2013 Master Degree
Partium University of Fine Arts, Oradea - RO, graphics - visual communication

2008-2011 University
Partium University of Fine Arts, Oradea – RO, graphics department
Hungarian Academy of Fine Arts, Budapest – HU, printmaking department

Excessive of the nowadeys visual experiences implies that ecologic and environmental problems are also commonly present in the visually contaminated environment. This dynamic spreading phenomenon can be referred to as the visual stress in the language of the age, which characterizes our world, determines our emotional and emotional life, our behavior, in short, our relationship to the world.

The river simultaneously represents the Universal Opportunity and the Flow of forms, the awesome energy, the fertility, death and renewal. But the living river's motive (like many other parts of nature) ceases to exist, while formally the water becomes a motive for the consumer society.

Art must take responsibility for visual education, have to take care at the real meaning of the nature, and try to show other perspective to follow.
In order for this guidance to be successful and effective, the artist have to speak at the language of the era, is timely, adapting to the accelerating rhythm that characterizes the communication of today's people and the technique of knowledge transfer.

I applied for GNAP-UK because I believe that together we can change people's attitude toward to nature and that we have to work together, we need to jointly point out where we are now, where we were and where are we going?. As artists from different cultures, I see a great opportunity to speak in a common language, the languages of the art, for a global good.


I have participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Belvedere-Korea-2017.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Wood-nest-Transylvania-2017.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Recapture-2016.jpg
BruceHookebruce@bghooke.comUnited States (US)United States (US)

I am a photographer, performance artist and sculptor. In graduate school I made artwork related to geology and the natural environment, including a large-scale ceramic sculpture in and over a stream. The water eroded away elements of the sculpture, revealing the erosive power of the stream. For many years now, however, photography has been my primary artistic medium. Many of my photographs involve placing myself in the image, usually in natural or semi-natural settings, but often in incongruous ways that raise questions about power, authority, masculinity, and the human relationship to nature. My work also addresses issues around gender, nature and art. As a subject for art the nude figure in nature has almost always been female. I seek to push back against that history and more importantly to interrogate the myths behind it; myths that in part shape how we relate to the natural world.

In addition to still photography I have also been exploring time-lapse sequences that explore a deeper, quieter relationship with nature, such as lying still, coated in mud for an hour, while the mud dries in the sun, with an image made by a camera every minute.

Another direction I have been exploring recently is something I call "site-specific photography". I make photographs of myself undertaking some action and then display the photographs in the location where they were made, thus offering the viewer a new perspective on the space surrounding them, rather than on some remote location as is more usual in photography.

As an undergraduate in college I was a fine arts major but I also took many classes in geology and especially geomorphology, so I bring to my art-making practice a deep knowledge of natural processes.

In addition, for over a decade I put in many volunteer hours helping to clean up and restore an urban river near my then home. This work exposed me to many of the practical issues facing our many polluted and often stressed rivers and it also brought me into close, regular contact with a river, something I've always enjoyed. Ever since I was a small child I've been fascinated by rivers so this was only a continuation of that story.

I have made an extensive study of the evolving human relationship with nature, reading many books and studying many artworks related to this topic. This question of where we've been and where we are going in our relationship to nature is a central question in my life and work.

Making art is in integral part of my life. My work has been shown in various galleries in the United States. My photographs have also appeared in multiple issues of "Dark Mountain".

Art can tell stories that bring people into a more personal relationship with the environment, and it can help us more clearly understand how the natural world is changing and what we are loosing. Art can also document and reveal what exists now and it can tell stories about possible futures. It can even delve into real and mythic pasts to reveal something about our present and future.

Art can also reveal natural patterns and processes that would otherwise remain hidden from most observers. By making the invisible visible art can help bring about a deeper understanding of the natural world around us.

Art can also inquiry into and reveal the beliefs that have brought us to where we are today. These beliefs are often so deeply ingrained into our thought patterns that we are not even aware of them. For example, for over 150 years it has been common in the Western world to see wild nature as beautiful and as closer to god than cities. Most of us are not even aware that it was not always so; that once, not so long ago, mountains were seen as ugly and cities godly. Seeing god and beauty in the wilderness has led us to protect isolated natural areas while destroying large parts of the planet, believing that protecting nature meant protecting wilderness. Climate change is teaching us how wrong this myth is: nature comes right along with us when we return to the city. Rising seas inundate the cities and the wilds alike. Pollution travels in the air and water, reaching every part of the planet. Art can help us probe and reveal our implicit beliefs and it can help us find new ways of relating to and thinking about the natural world.

I view The Ephemeral River as an extraordinary chance to interact with other artists working on issues around nature and the human relationship with it; to share stories and ideas and ways of working, and to be inspired by each others work and ideas. I'm particularly interested in meeting artists from other parts of the world, so we can share and learn from each other and consider how different cultures have approached the question of the human relationship with the natural world. Even between the closely linked cultures of the US and the UK I sense that there are important differences in perspective on these issues that would make for interesting conversations.

I would also very much welcome the opportunity to make work in the environment of the Dartington estate and the surrounding landscape; a setting quite different from my familiar home landscape. I would hope to deepen the stories I'm telling about the human relationship to nature and continue my explorations of how that relationship is changing and must change. The location of the Dartington estate next to the River Dart and the focus of this GNAP on rivers and water feels particularly interesting to me. As noted in my biography, I have a long-standing interest in rivers. They are central features in shaping many of the earth's landscapes, central features in many of the stories various cultures tell to define themselves, central features in so much of human history, central to many contemporary issues (and crises), and central features in so many different types of artwork. I am very interested in being involved in a dialog about rivers, art and nature.

I would also hope to continue and share my explorations into the how ideas around gender and nature have influenced our relationships with the natural world. Rivers and water have been seen as feminine by various cultures. What implications does this have? How does this relate to the long history of men seeking to dominate both women and nature? I would be very interested in talking with other artists and thinkers about these questions so we can see them more clearly and consider what to hold onto and what to release.

In some ways I see this as a chance to get back to my roots and thus continue my journey, via my love of rivers, my fascination with the stories we tell about our relationship with the natural world, and my interest in bringing art into the conversations about the environmental crises we are facing.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/BHooke-The-Flood.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/BHooke-Bathing-Beauty.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/BHooke-Stepping-Out.jpg
Sophiavan Ruthsophia@animatearts.netNetherlandsAustralia

My work dances between artistic practice and research and I have a deep passion for both. I am interested in what embodied artistic practice can bring to decision making processes. I facilitate sessions aimed at helping people tap their intuitive wisdom when faced with a complex problem. I work with a creative methodology called InterPlay (more below) as well as meditative practices, often with a little theory of complex systems science thrown into the mix. There is an emphasis on playful practice – play being such a natural way to explore complex dynamics.

I actively keep up to date with the literature in fields related to my work. I regularly attend conferences both on complex systems science and arts-based practices including arts-based research. I have downloaded around 200 relevant articles over the last few years and read and taken notes on 78 of them to date. I have written approximately 12,000 words on what I have found, parts of which I have adapted for my blog posts and workshop handouts etc.

I am particularly interested in what role the body has to make in sense making and how we can use our bodies better to help us sense what a good next step may be at any given moment. I often describe my work as 'systems sensing' rather than 'systems thinking'. For me, it is not the quality of the artistic output that is important, it is the richness of the artistic process and what insights we gain from it.

I have an MSc in Holistic Science from Schumacher College where I studied complex systems science, and I am also an accredited InterPlay leader (a playful, creative practice involving improvised voice, movement and story). During my masters degree I noticed how much my InterPlay experience was helping me make sense of complexity. I have since gone on to found my own business offering workshops and trainings aimed at helping people handle complexity with more ease and wisdom.

I am also a shiatsu therapist and practised and taught for many years in the discipline of Zen Shiatsu. Finally, I worked for 10 years in Australia as a community engagement consultant where I helped design and facilitate large scale collaborative design and decision making processes. This experience has given me a wealth of first hand knowledge of how to work effectively with real world complex processes. I am originally from Australia, but currently based in the Netherlands and you can find our more about me and my work at www.animatearts.net.

I work on the premise that engaging in embodied, artistic practice gives me access to a wealth of intuitive knowledge that I can't access through rational means. As I started to better understand complex dynamics it became abundantly clear to me that rational methodologies alone were not sufficient to solve complex problems such as ecological issues or climate change. Complex systems scientists agree that such problems are inherently unpredictable to any science we know today and therefore it is not possible to use rational methods alone to develop definitive solutions.

It makes sense to me that, as we have evolved in a complex world, we would have developed intuitive ways of processing complex information. I believe body-based knowledge to be a form of knowledge that can handle complexity and believe arts-based practices can help us access it. The InterPlay practices I use tap our organic 'body wisdom', as well as engaging play as a 'natural' way to learn more about a complex problem. I am not the only one to think this way, we also see organisations such as the Presencing Institute developing their practice of Social Presencing Theatre as a way of exploring professional challenges across diverse fields (to name just one other example).

I know the Dartington Estate well, having lived at Schumacher College for over a year in 2007/08. I would relish the chance to reconnect to this beloved landscape, and this was my initial (totally selfish) motivation to apply I must admit.

I am not entirely sure that I fit the profile of the kind of person you are looking for, as I am not a professional artist, nor a scientist who works with water. However, as I read your call for participation I spontaneously started imagining what I could offer and get from such an event and became inspired enough to apply. I would like to respond to the question of why I have applied by simply sharing these imaginings.

One of the lines that most inspired me to apply in your call for participants was “Creative practice is at the core of the project, but so is the conversation between art and science.” I imagine opportunities for a rich exchange of ideas over what role the arts can play in tackling some of the most pressing problems of our times, hence providing me with peer support (as this is how I see my work already) and a forum to share, explore and challenge the ideas I have formulated to date.

I would very much like to offer an InterPlay workshop (or possibly more than one) to other participants if they are interested. I am specialised in working with people with no artistic background and feel such a workshop may be most relevant to non-artist participants, but would also offer some artists a chance to move out of their own discipline should they wish to join. Further, InterPlay builds community quickly and deeply in my experience and would allow us to exchange in rich, embodied and non-verbal ways. I also feel that the improvised visceral responses that arise in InterPlay practice fit the ephemeral theme well. I may also like to take the opportunity to experiment with my own in-the-moment responses as a leader by creating the workshop on the spot in response to what participants are wanting to explore – paying attention to what is trying to happen rather than what I think should happen.

Finally, I became excited at the thought of having time with the river some quiet space for reflection. I imagined myself using my own work time to consolidate some of my writings, particularly focussing on those exploring relationship between the arts and sciences, and saw myself taking advantage of the library facilities on the estate in this endeavour. I would value the opportunity to document people's responses to any workshops I run on water as a case study in my writings. I hope that this may be able to make a contribution both to my own body of writings and the documentation that comes out of the project.

 I have not participated in a previous GNAP   
GeoffDunlopgeoffdunlop@gmail.comUnited Kingdom (UK)United Kingdom (UK)

"The same stream of life that runs through my veins runs through the world."

Some time ago I placed these words, from the Indian poet/philosopher/political activist Rabindranath Tagore, on the Home page of my artist website*. I too believe that all is connected, that as humans we are integrated in the flow of existence whether we choose to be or not … held in place by invisible forces. Those same forces that hold together everything, or pull it apart.

Specifically, my work as an artist is guided by the concept of FLOW, a ubiquitous scientific principle but also a philosophy of life. I seek traces of the compelling patterns flow creates, a physical phenomenon so fundamental that I find impossible to imagine existence without it. And I am fascinated too by the intangible FLOW, the flow of time, ideas, knowledge, histories, beliefs and identities.

As a maker of things, my starting point is invariably an image -evidence- yet I seek to create within the viewer a feeling, an event, an experience, the start of a conversation. As an artist curator, I seek to share this process with other makers and performers, to extend its reach, enrich its language.

Currently, I am working to deepen my relationship with FLOW through collaboration with scientists and creative writers. I am also opening myself up to another kind of collaboration, with chance and change - using the ceaseless movement of air and light as media, along with pattern, colour, texture and mass.

* http://www.geoffdunlop-artworks.com/

Godmother Winnie bought me artbooks every birthday and Christmas. That set the pattern for life. As a teenager, I was heading for art school but somehow lost the taste for education, with no-one around to pull me back. Fortunately, I became a journalist on local newspapers, then onto a national newspaper in Central Africa, then The Times. By chance, a good education.

In my mid-twenties, I sacrificed the opportunity to become a foreign correspondent and instead had the extreme good fortune to start making films all over the world, firstly at the BBC and then for international broadcast. I was given the opportunity to explore -in some sixty countries- the themes of identity, belief, power and its abuses. I was privileged to work closely with people of the distinction of Edward Said, Simon Rattle, Mary Kelly, Joseph Beuys … to name just a few. I made many films with and about visual artists, some of them shown in establishments of the distinction of the Tate and National in London, the Met, MoMA and Witney in New York and the Pompidou in Paris. Eventually, I had to do this art thing myself. A compulsion.

A few years ago, I attended a conference at Dartington entitled, I think, Art+Ecology. I well remember a session in which a materialist/rationalist /fundamentalist in the audience attacked the slippage of some contributors towards romanticism. This outburst triggered something in me. I complained to the assembled company that the Romantics were always getting it in the neck but that they still had something profound to offer in our debates about humankind’s corrupted relationship with the natural order. I said that I could think of no greater expression of love and respect for the awe of nature than William Blake’s "The Tyger". The philosopher/ecologist David Abram, who was on the panel that day, declared that he was just about to make the same point.

I have since become especially fascinated by another Romantic figure, Samuel Taylor Coleridge. Like a select number of his contemporaries, he was aware of the dangers inherent in the “progress” being manufactured at the turn of the nineteenth century. He turned to politics, polemics and journalism to warn of these dangers, coming close to being beaten to pulp by his opponents’ agents and, even more worryingly, almost getting arrested for sedition. At the same time, he was creating fantastical, bejewelled anthems to the preciousness of nature, most famously "The Rime of the Ancient Mariner". He even planned for a while to lead a band of brothers and sisters to set up an idealised community in the backwoods of the revolutionary republic of the USA.

What impresses me most about Coleridge is that he did not divide life into discrete units. Along with fellow poets Wordsworth and Southey, his close friends included the revolutionary scientist Humphrey Davey. Coleridge believed that passion and imagination were needed to make the world a better, kinder, more reasonable place. So do I.

For much of my life, I was something of a nomad. Not a nomad by culture or tradition, but nevertheless someone endlessly on the move. I would shift from to place to place constantly, on a larger journey that had meaning for me, a purpose. Of course, in my pocket was a British passport and a corporate credit card. In the room I slept in there would often be piles of metal boxes, containing camera, lenses and shooting stock. I had no camels to feed and water, no seals to catch, no kangaroos to hunt down, but I did have to constantly move on to the next oasis, or source of supplies. In my case, it was information I was seeking or an interesting sequence of events that I could film or a key interview.

On my journeys, I discovered that actual nomadism in most of the world has become a fading memory. I once filmed Tuareg and Wodaabe musicians singing songs of regret for the passing of their desert life. And I more than once drank Black Label Johnny Walker in the company of Gulf princes, who were musing on the joys of what remained of nomadic culture, in a vast woollen tent almost hidden by the giant 4x4’s that were parked alongside.

Today nomadism is mostly a state of mind – perhaps a flexibility of thought, a desire to read the surrounding environment with concentration and respect, a lightness of tread on the land and a desire to learn some fragments of ancient wisdom. If I do have the privilege of settling for a few days and nights beside The Ephemeral River, I would come with the intention to learn new ideas and forge new friendships. I would make the most of the opportunity to concentrate on my surroundings and to attend closely to what is there to see, hear, smell, touch.

I would be happy to contribute to other people’s projects, and to invite some people to contribute to mine. I wuild like to develop an ongoing project in which I introduce large panels to a landscape defined by a river or a lake. Some of these panels would carry a translucent image drawn from the river – translucent so that each panel changes appearance with the movement of light and the time of day. The other panels will, literally, mirror their surroundings, and each other. I intend to suspend the panels from a line of wire, close to water. Each panel would have a single wire of its own, so that it can hang and spin with its neighbours.

If time permits, I would like on one still evening, close to sunset, to invite people to share their thoughts about the river and its meaning to them, an impromptu gathering beside the twisting panels. We might also join in a shared reading from Alice Oswald’s magnificent poem “Dart”, which is in large part a collection of voices of people touched by the river.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/4-FLOW-Aust-diptych-131-.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/7-FLOW-Avon-22-jpg.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/FLOW-Translucent-Air-Utopia-Dystopia.png
CarrieFoulkescarriefoulkes@gmail.comUnited Kingdom (UK)United Kingdom (UK)

I am a poet, artist and researcher working across media including photography, performance, sculpture and installation. My practice encompasses works on paper through to collaborative and process-driven projects that seek to explore patterns of relationship between human beings and the natural and built worlds.

Engaging systems theories and ecological approaches, my work aims to challenge linear narratives of cause and effect, to unpick prevailing modes of thought that limit us and exploit the environment, and to posit alternative methods of relating to nature and each other based on respect, trust and care.

My current work often takes the form of site-specific installations and sculptures that in turn feature in solo and collaborative performances and impromptu improvisations. I am an associate and ally of the Natural Beekeeping Trust, a UK charity advocating sustainable approaches to bee husbandry. My current independent research is focused on permaculture as an embodiment of an ethic of care.

I am intrigued by systems and the ways in which all beings are interrelated. It’s my belief that an understanding of our essential interdependence is needed in order to help us to re-orient ourselves and to perceive ourselves as guardians of the earth and each other, rather than consumers and competitors.

My work references minimalist, conceptual and environmental art traditions. I count among my many inspirations: Japanese haiku, John Cage, the writings and land art of Robert Smithson, the paintings of Agnes Martin and Hilma Af Klint, and the art of Louise Bourgeois, Eva Hesse and Joseph Beuys.

My work as an apprentice beekeeper and agricultural researcher informs my practice, and I am particularly interested in the relationship between pollinators, landscape and people. In 2016 I participated in an international sustainable beekeeping knowledge exchange programme in the UK, Holland and the Republic of Macedonia, funded by EU / Erasmus+.

During this past year I have participated in two international artistic residencies, supported by a research and development grant from Arts Council England. I have focused on site-specific installations and performances with an ecological theme. Notably, three of my major projects – Source, Cusp / Piece for a Frozen Lake and River Poem – have emerged in response to bodies of water. River Poem (2014) utilised sound recordings made in and around the river Thames.

Most recently I participated in the Bee Time ecological residency for artists in Spain, which culminated in a public exhibition and performances at NMAC Foundation for Contemporary Art.

I hold a BA in Philosophy from Columbia University and MA in Poetic Practice from Royal Holloway. I am interested in hybrid combinations of poetry, visual and performing arts, philosophy and ecology. My work has been exhibited in Italy, Finland, Spain, Germany, the UK and the USA.

In 2015 I accompanied a group of international beekeepers to visit German artist Günther Mancke at his home in the artistic community Weissenseifen in Germany. Mancke is an accomplished sculptor, anthroposophist and natural scientist. Over many years of observing bees in the wild, he noticed that they prefer to build rounded honeycombs at some height and found it odd that the hives we choose to put them in are cubic and on the ground. This observation combined with his artistic vision and knowledge of materials led him to create a new hive for the bees – the Sun Hive – a spherical, woven hive that can be suspended from a tree or a frame. This hive seeks to represent the natural form of the Bee and offer a home in keeping with its natural preferences. It is also an object of great aesthetic beauty. The Sun Hive to me epitomises the meeting place of ecology and artistic practice.

In permaculture the first step in any design process is to simply observe. Agricultural practices are modeled on local ecosystems. You can also practice permaculture in your city flat – by paying attention to the products you consume and the waste you generate, your means of transport and your tone of communication with others. In my view there is a blurry distinction between permaculture and artistic practice – both can become intrinsic parts of your life, orienting your actions not only in the garden or in the studio but in the world at large.

For me, I consider the arts to contribute meaningful shifts in perception and modes of relation. Informed by research and mediated by intuition and feeling, I am most interested in the intersection of arts and science – viewing both as creative processes rooted in imagination, logic and innovation.

I feel that the GNAP-UK residency, with its location by the river, would provide me with a unique opportunity to further my creative work on the theme of water, and to continue my research into the intersections of sculpture, performance, poetry and collaborative processes. I would welcome the opportunity to engage with others with similar research interests and would be open to collaboration. I thrive in environments that foster peer exchange. In the past years I have lived with chronic illness that has limited my mobility and increased my focus simultaneously. I dedicate myself as fully as I can to my creative practice, which is deeply intertwined with my daily life.

I wish to develop my ability to sit with difficult questions, without any guarantee of answering them. There is a Buddhist saying that the hardest part of meditation is getting yourself to the cushion. I feel this is true in many areas of life. The hardest part is getting started. Like most artists, I often face rejection and financial hardship. However, my difficulties in recent years have been a catalyst for me to examine my values – not only what I do (because sometimes I can do very little) but also what I think and feel, how I relate to others, how I speak.

Your residency seems a perfect fit for my research interests. During my two weeks with you, I would work on developing live performance, a relatively new medium for me, in and around the river. I may involve sculptural interventions / photographic documentation and poetry. I am currently enrolled in movement classes, exploring Butoh, Alexander Technique, Feldenkrais and Somatic Movement. I would be happy to share my knowledge of these practices with my fellow residents and / or in a public workshop. I believe the body has knowledge and wisdom that we can access when we start to free ourselves of our rational mind and inhibitions. This would be a unique chance for me to experiment, with the freedom of not needing to produce a finished work, embracing process, chance and the changing moods of the river.

I’ve practiced tai chi and yoga for many years, and have lived in Buddhist monasteries in India and Japan. Meditation is my means of connection. In tai chi there is an emphasis on fluidity and yielding. Yielding is not the same as passivity. Yielding enables you to retain your strength – you do not battle against the wind and water currents, you work with them. I envision a series of kinetic sculptures being activated by the elements, a performance that is open to chance, that instead of being scripted is motivated by this dialogue between human beings and the river.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/C-Foulkes-La-Invitada-2017.jpeghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/C-Foulkes-Piece-for-a-Frozen-Lake-2017.jpeghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/C-Foulkes-ALL-BODIES-ONE-BODY-invite.pdf
CasparWalshcasparwalsh@hotmail.co.ukUnited Kingdom (UK)United Kingdom (UK)

I am an author, journalist and poet. My work has largely been about finding a way out of addiction (multi layered), out of PTSD and into a life of my choosing, a clean, loving and healthy life rather than a life of drugs, prison and death. I am inspired by landscape in pretty much all of my artistic work. I have set up a charity where we connect as a tribe/community, exploring our stories through myth. My work is a lone pursuit and a way to connect to human beings. I used to feel safest with wild nature, the non human realm, but now, through poetry and photography and community, I'm coming back into my skin and into my tribe.

Published author - 4 books
Radio docudramas - 2
Radio short stories 2
A filmmaker -3 short films
A journalist (columnist for the Guardian and Observer, Resurgence and Ecologist, Positive News)
Set up an environmental arts charity on Dartmoor UK (I live and work locally). Working with addiction recovery. We invite participants to engage in the landscape of Dartmoor to find reflection, meaning and healing through story and community. We use a water based ritual connected to a myth I've written specifically for the programme to enable a transition from one life stage to the next. Story arising from the land and water is central to our work and the creativity that flows from it.

All stories, all art, arise from the earth at some point. Inviting individuals to connect to the landscape through story (myth, their own and others) can create an entry point to the natural world that is accessible and understandable to the individual on the individual's terms. And from here a dialogue about climate change, what we can do and how, can begin or deepen. From a positive connection to landscape and myth (and there is always at least one positive to be found) we can discover more of our own story through the mirroring of our lives and in turn learn to trust in the earth, the stories and ourselves - more. As we step further into landscape, the mirror to our internal world through myth and nature can become clearer, our personal stories more defined. As our personal relationship with the environment through story deepens, with guidance, we discover that we are part of it, always have been. With grace, our deepening love of the natural world can reflect back our original love for ourselves. As we grow to care more deeply about ourselves we in turn are inspired and galvanized take greater care of our environment and the impacts we have on it, individually and collectively. I have witnessed this time and time again through our work with Write to Freedom. And it started with me and my own experience, my own story, my own myth.

An artist friend suggested I applied based on my background in the arts and environmental education. I want to explore my practice as a poet and filmmaker more deeply. Free of the constraints of commission and deadline. To free myself up and find as true an expression of why I am here and what I want to do (need to do) next. To find meaning through my writing and film making that helps generate an even deeper healing energy. To free up a stagnated energy in me at present. And from that freeing up to bring my work into the world and to be able to survive off it as a symptom of the work rather than a reason to do it. To feel less alone as an artist - writer. To find other souls who share the journey. To give and receive support. To immerse myself in landscape in a new way. A deeper way. And to find freedom in that.

Film poem on homepage

Website for the environmental arts charity I founded

Website for my memoir 'Criminal'

I have not participated in a previous GNAP   

My research combines drawing and painting with the expressive possibilities related to the primitive resources: wood, stone, metals and casting techniques. Along my path the poetic of tradition echoes in the research on multimedia, writing, graphics and CAD: a bridge to contemporary technologies for a dialogue between sign and languages, an endless and wide open path between the codes of the matter, the intellect and the spirit, around the pin of the creative act.
Through my intervention I promote a direct relationship among material and incorporeal-ephemeral phenomenologies: I absorb and represent the imaginary offered by the processes of transformation to return the vision to the matter in a perceptible dimension. Mostly the attention is direct to the treshold dimension, to the border areas scanned by the different phases of artistic action: i use a strong interdisciplinary approach for the measure and the comparison of the key moments of the creative process, I research congruences and composition from different angulations beyond the formal and environmental differences to which I expose myself, along the path that from the vision arrives to the real phisycal space. A mapping work on the binary of the matter’s transformation and the parallel existential transmutation, as if the focus on universal aspects of, action, function and effect would allow to grab and traslate the void between the single passages, the indefinable from the edge of the threshold, the infinite between a breath and another.

Having my first art training along painting ateliers I attended at Scuola Libera del nudo at Venice Fine Arts Academy, in this period i studied and practised screenprint at Fallani Studio in Venice: I have always had a high regard of training at the workshops, working directly in the places where art happens; over the years I have attended and worked, experiencing sculpure techniques, in wrought iron workshop of an old master, in stone quarry, in construction as a wood builder.

About last three years art in nature:

The Golden Thread, Art camp, Siuri, West Bengal
Az Ugaron, Land Art camp, Opusztanszer, Hungary
naTHURart, Land Art happening, Weinland, Zurich CH
Yatoo-i International Project, Art Residency program, South Korea
Mirror+light+shadow, Land art symposium, Komdhara, West Bengal
Earth & Sculpture Symposium, Abetenim Arts Village, Ghana
Aeson 2016, Arts in Nature, Isonzo River, Italy
Land art Biel-Bienne 2016, Biel, CH
12 Artist Land Screenprint, coordinator, workshop and exhibit, Fallani Studio Venice and Alte Krone Gallery Biel. CH
Land Art Neuchatel, land art happening, Neuchatel, CH
Statement 2016, CircoloQuadro, Milan
Present Art Festival, Shanghai
LARTBB 15, Landart happening,Biel-Bienne, CH
Triennale CH, Grenchen CH, xilo and screenprint

One of the most important areas of action in which art can play a significant role in environmental issues is the transposition of scientific topics and research from an aesthetic and emotional point of view. Shaded by a thousand inconsistent or non-existent conceptual speculations, the environmental problem today needs as never to be sensitized by the art channels to reach and move the global feeling. I think it is very important to get rid of every romanticism as an end in itself in the representation of the environmental issue but above all to be as coherent as possible in our daily conduct to environmental issues: only by a coherent attitude an effective message can be born, we are speaking about Nature, that is truth and that want to be only narrated or conceptualized by truthful inspirations, otherwise nature art I think it may be pleasantly decorative but I also think that sadly does not work..

Kindly reported by a Yatoo mail, the Gnap Uk call switched on my interest for the particular attention that is asked in deepening the topics about the ephemeral and the symbolism of water and river dimension in their originary meaning and value. My research about ephemeral is strictly related to the concept of inevitability and to the process perspective, where the time factor is not seen like a succession of seconds or minute or hours, but like a flow, a continuum, of actions and reactions taking place in the process itself such in a not divisible phenomenon. The similitude between this personal concept and the idea of river as a space where in one single infinite moment, an infinite present, are occurring countless events, phases and times turned on once more my enthusiasm in partecipating at the event. Also the particular mention about meditative activities worked so nice on my diposition.

TessaGrundontessa20@mac.comUnited States (US)United States (US)

My work references a range of influences from the topography and history of a place and its ever-changing environment; the shifting and increasingly polluted tides to the effect of man on the landscape, to man himself and the shared visual language of natural forms.

I work with an amalgam of different materials and artifacts relating to specific geographical locations. I use local maps, beeswax from nearby hives (literally a distillation of a place and a moment in time); pigments drawn from the mud, various colored earths, vegetation, rust and charcoal. I look for inspiration and materials in the landscape whether in the woods, abandoned places or building sites, using debris found along the strand lines of estuaries, riverbanks and marshes, from the source of a stream to where it meets the ocean through places both rural and urban. I collect sounds, images, data and objects. With these materials I create work that embodies a sense of place - totems of landscapes that resonate with me.

Artist on Board with SailBritain & University of Exeter. Environmental study of waterborne micro plastics. Interdisciplinary art and science. Cornwall coastline, UK
Royal Geographical Society UK/#Explore Conference: Presentation and discussion of work and interdisciplinary residency with SailBritain. UK.
Brooklyn Navy Yard (BLDG92). Visiting Artist, ongoing collaboration.
Art.earth at Dartington Hall/Schumacher College. “Trees & Topographies” 2 person show with Hannah Fletcher. Curator Richard Povall, UK
Artist on Board with Ninth Wave Eeua. Environmental exploration of Hudson River (via canoe) investigating positive change in environment & community.
Art.earth & CCANW Invitational Exhibition, Devon, UK
Central Booking Gallery- “Plant Cure”. Medicinal Plants: Installations & paintings.
Black Swan Arts Open. Selected by Dea Vanagan: Hauser & Wirth Somerset; Gary Sangster: Trustee Arnolfini; Stephen Snoddy, New Art Gallery Walsall.
Field Projects Gallery - “String Theory”. Curator Charlotte Mouquin, Chelsea, NY.
Battersea Arts Centre. Artist in Residence - Ongoing restoration, UK.
DUMBO Open Studios & Exhibition, Brooklyn, NY
NARS Foundation. Open Studios Invitational
Central Booking Gallery. “Week of Protest” Exhibition, NY

Wave Hill Residency, NY
SWALE & Biome Arts Contributing artist on Floating Food Forest Project, NYC Waterways.
Water + Art (Pioneer Works). Collaboration compiling data on international artists working with water (with Eve Mosher & Sarah Cameron Sunde - ongoing)

I believe art can make the invisible visible and the impenetrable penetrable.
Art can pose questions, reveal truths, use and illustrate data, advocate for natural resources and affect policy.

I have been fortunate enough to be involved with a number of projects and arts groups where art and community engagement was the medium through which we were able to reach out to a wider audience to provide a more accessible way into environmental issues.

For example, I have had the rewarding experience of being a contributing artist on Mary Mattingly’s SWALE, a floating food forest built on a NY gravel barge traveling NYC’s waterways. Swale came about as it turned out to be illegal to grow food on public land but not on water. We moored off areas known for food scarcity & worked with local community groups to address this fact. Swale and the local community were able to initiate a change in policy and after a year the NYC Parks Dept started a program where communities could legally grow and pick food in NYC public parks.

I am also an artist in residence with Sail Britain, part of an interdisciplinary crew made up of, this past summer an architect, two scientists involved in water sustainability on land and plastic contamination at sea, an oceanographer and climate strategy consultant, a freelance writer and sustainability professional, an environmental social scientist and myself. We saw that fundamentally our work was inspired by the same issues, and that the combination of both artists and scientists produced a far more creative and explorative environment than they felt they experienced with purely scientific endeavours. BWe found that by encouraging an interdisciplinary approach to research on land and sea alike, our work can achieve a much more meaningful impact and reach a far wider audience.

As an artist engaged with landscape and environment, particularly river systems, the opportunity to be in residence at Dartington would afford me the time both physically and emotionally to immerse myself fully in the landscape and history of the Dart. It is a river I have wanted to explore deeply for a long time. Although I live in NYC, I have spent many hours on Dartmoor exploring it’s landscape and various streams and their sources. The Dart is a magical river to me and to be able to explore it’s many characters, its banks, meadows, hidden and dark places and to be able to sit with it, stop and contemplate it’s changes, it’s movement and memory and to have the pleasure and challenge of making work is thrilling. I hope to be able to collaborate with the other artists, explore the cross pollination of ideas and see where that leads us.

Before I knew of this opportunity, I had started talking with the scientists I worked with last year on Sail Britain. I am planning on exploring the Dart from source to estuary, collecting sound recordings, samples from the mud, the water and when possible the beeswax to analyze what pollutants are introduced at what points along it’s course. This possibly could be something initiated during this residency. Both scientists are based in Exeter.

The images in the submitted images show distillations of place for the Plant Cure exhibition. I made Tinctures of Place, using medicinal plants from places that I felt to be healing in themselves for various reasons, Physic gardens, particular long walks, my mother's garden, friends' gardens. I would consider Dartington to be one of these healing places. It could certainly be an aspect of the work there to research the healing plants along the river and teach others to make tinctures from them.

Video/Sounds of dusk falling on Tolcarne Creek (micro-plastics present) Even though incredibly beautiful, this place is polluted with micro-plastics.

I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Samplings-Plant-Cure-Exhibition-GNAP-UK-Application.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Medicine-Cabinet-Plant-Cure-Exhibition-GNAP-Application.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/In-Memoriam-Admirals-Row-NARS-Open-Studios-GNAP-Application.jpg
MirandaHowardmirandacatherinehoward@hotmail.co.ukUnited Kingdom (UK)United Kingdom (UK)

I am a Cornwall based dance artist working with outdoor and site-based movement and dance theatre using ideas and techniques around contemporary dance, sustainable practice, internal and visual imagery, music, and somatic practices.

It is really important for me that my work as an artist is part of a wider social, cultural and natural ecology. I am active in local environmental groups. I work outdoors a lot. All except for one of my professional performances have been at least partly outdoors and/or site-based. In any site I ask questions rather than impose my own answers - where/what are the borders between us and the outside world? How do we affect the world around us and how do our bodies respond? What are the layers of memory and experience which have led this body and this landscape to their present form at this point in spacetime?

A well as creating and performing dance, I teach dance and music to children and adults. Teaching, creating and performing are all important aspects of my work which inform each other. My practice is always inclusive and aims to bring enjoyment and understanding of the moving body to anybody without the traditional hierarchies and exclusivity that still exist in the dance world. I am also currently training in CranioSacral Therapy, finance manager for a dance company, and mother of three children.

My university education started with studying International Relations and German, wanting to save the world. A need to move and create led me to change path to Dance with Visual Practice. I moved to Cornwall and had two children, then returned to university as a mature student to study for a BA in Choreography at Falmouth University (First Class Foundation Degree in Dance and a 2:1 for the Choreography BA).

I have performed with dance and theatre companies such as Cscape, Rogue Theatre, SpinDrift Dance Company, All Seasons Story Makers, Botanic Dances in many wonderful outdoor spaces – in the woods, in gardens, by the edge of the sea at the Minack Theatre. Other work has included piano teaching, website design, accountancy and administrative roles. I have had many years of experience teaching dance to all ages and abilities in schools and public classes. After having another child I am rebuilding my practice, my career and my body. I am currently training in CranioSacral Therapy, Finance Manager for Exim Dance Company CIC, teaching adults and children’s dance classes, and I have started Sling Disco (babywearing dance) and Newquay Dance Collective, a professional and community dance company.

UNDERSTANDING The arts offer another way of communicating environmental issues that can provide a means of engaging people who might not relate to scientific reports and academic writing.

AWARENESS The sensory and aesthetic responses of artists to an issue, and of audiences to art, offer a phenomenological approach to developing awareness of the state of our surroundings. A felt sense of any changes to the environment can be more powerful and immediate that one that is purely cerebral. Connections can be made between seemingly unrelated ideas or people whereas science and analysis tend to separate things and look at them in isolation.

HOPE AND CREATIVE SOLUTIONS The arts can offer positivity and hope by finding beauty, moments of inspiration and tenderness, wild spaces inside and out, and ways to imagine a sustainable future in a world that can seem uncaring and bleak to anyone who cares about and notices the environment.

My own experience has moved from an academic outlook towards having a far greater understanding of the natural world on a sensory, emotional and spiritual level through my dance practice. Previously I understood and researched the issues on a conceptual level, but more and more I feel the environment in my body and with my senses. I breathe the air and notice if it is clean. Smells, colours, terrains resonate in my body and change my movement.

As my artistic practice has deepened I have made changes. These include buying only second hand, eating organic, vegan food, travel by public transport/cycling/walking whenever possible, not using supermarkets, using green building techniques and renewable energy, growing our own food, breastfeeding, using cloth nappies, using natural and non toxic materials.

The Ephemeral River project is the perfect opportunity for me to bring together the most important aspects of my practice and to have an incredibly valuable space and time to focus and learn and create. Living in Cornwall has given me a wonderful natural environment to work in and a supportive dance and performance community. The chance to broaden my horizons and collaborate with a group of international artists across disciplines would enable me to deepen my practice and bring fresh ideas back home with me.

For a movement artist the ephemeral nature of the project and the goal to leave no trace is particularly relevant. Dance is an ephemeral art form, improvisation especially so. The impossibility of recreating exactly the same movement event in space and time is a magical and sometimes infuriating part of my work. I want to explore further whether it really possible to leave no trace – even without artefacts and objects every movement and experience creates a change in the body.

A kinaesthetic, body-focussed approach to ideas of rivers and water has so much to offer to a project such as this both in terms of sharing processes and ideas with other participants, and engaging and communicating with audiences. I have been working with fluids in the body, and shaping currents of energy in and through the body as part of my training and current practice.

I work a lot by the sea so working with river ecology would be a chance to use that knowledge to compare the differences between one type of moving water and another. I first came to Dartington aged 11 months old and the area has been part of my life for many reasons. Swimming in the Dart feels to me like being in a completely different substance than swimming in the sea – a softer touch and a calmer rhythm. My work with CranioSacral Therapy and music has brought me an awareness of touch and of rhythms which informs my dance practice and my connections with all living environments. Working by and with the river would give me a way to integrate and deepen this.

The Ephemeral River is a way of working which fits with my ethic of sustainable arts practice. I can travel there by train, it is sustainable with my family life which is hugely important as mothers are too often excluded from in depth arts practice because of practical and logistical difficulties.
The process by which I create movement is what defines any end result, this is especially important to me when teaching or leading other people in a project as I don’t believe that art needs to be created which exploits or damages people or the environment. Being part of something which supports these values and will help me learn more about how to live and work sustainably.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Landscape-movement-response-collage.jpg  
PetraRegentpetrar@icloud.comUnited Kingdom (UK)United Kingdom (UK)

I work with stones, earth, wood, water, and found objects, combining photography, text, drawing, ceramics, print and land art, to explore “the spirit of place.” I am fascinated by the impact of time and human history on the fabric of the natural world.

Here are a few examples of my work:

Chance brought me to a beautiful Red Oak stump. Each annual ring represents an accurate record of a year's sunshine, preserved until the tree returns the stored energy sequestered from the sun, back to the earth. "Red Oak, 79 Years" celebrated each year of the oak’s life, creating a hand-burnished life-size print on Japanese paper.

In 2014 I attended the “Soil Culture Symposium” at Falmouth, as I was using the natural pigments recovered from an abandoned red ochre mine in Gloucestershire to create my own ink. This led to a project where I asked members of the public to send me "one square inch of earth" with a note saying where the earth came from, and what it meant to them, literally mapping the emotional relationship we have with the earth beneath our feet.

I walk the same woodland path in all seasons. “Catalogue of Seasons” is an attempt to capture the fleeting transience of time, by constant layering blurring, and erasing.

Stones fascinate me, as they are formed by the action of wind, water and fire upon the earth itself. "Stones I have Known" is an personal portrait of different stones that "found me".

I live in Bristol, and grow organic vegetables on my allotment where I can escape the city. My first degree was in Zoology, and I have worked as a wildlife filmmaker, so the natural world informs my practice since I made a career move and completed an MA in printmaking at the UWE, Bristol, two years ago.

In 2015 I won a British Institution Award at the Royal Academy Summer Exhibition, and have exhibited at the RWA, and Royal Scottish Academy Open Exhibitions, Wells Art Contemporary and Black Swan Arts in Somerset and Art Gemini Prize and National Open Art Finalist Exhibitions.

Last year I participated in a collaborative performance piece on the theme of stones and the River Avon at The Create Centre in Bristol.

In 2014 I won a Pushing Print Bursary to pursue my project "One Square Inch of Earth" creating an emotional soil map of Britain.

Last Year I spent a month in Lisbon on an artist residency with Zaratan, where I traced and recorded the wear of time and human feet upon the cobbled pavements.

In 2016 I explored the impact of time on ancient olive trees with Terre Vivente artist residency, south of Naples.

Now more than ever, the visual dominates. In this increasingly digital world, narrative and emotions are driven by image, more than argument.

Yet at the same time, people have never been more distanced from the natural world, in all its complexity and real encounters with mud, thorns, cold, and a three-dimensional world that dwarfs and humbles.

For many children, images of imaginary creatures on an ipad, and real animals, are indistinguishable. Children are literally losing the vocabulary of the natural world – the ability to identify and name an oak tree or a primrose.

I believe that it is a natural human instinct to make things and play: to interact with physical things, such as water, stones and branches. To make marks using our hands, guided by our eyes.

For this reason I believe that the artist is in a unique position to short-circuit this link to the natural world. By making things – out of found objects, drawing, or by using their body in performance, artists remind us that the world exists beyond a two-dimensional screen.

Scientific facts about threats to the environment often bring a sense of passive helplessness and despair, or fail to engage the emotions.

By re-interpreting these narratives in completely new and unexpected ways, the artist can often illuminate or simplify the science, and bring an almost visceral understanding and even provide a sense of agency and hope.

I would love this opportunity to explore some of these themes - of movement, transience, and currents. Water being a shift-shaper - within the bounds of life, it can be the pure universal liquid solvent, or become air and cloud, or a crystal lattice of ice, or snow.

I welcome the chance to engage and collaborate with others, sparking ideas and energy.

Water is the bringer of life and death. It is purifier, and forms the essence of ritual and spiritual cleansing.

Water has taste, sweet, brackish, bitter.

We are only just learning that in order to avoid catastrophe, we must let our rivers run free, allow them to seep and flow into water meadows, meander and follow their own path, creating oxbows and tributaries. The worst thing we can do is attempt to impose our will, by dredging, corralling, and channelling:that way lies the great flood.

My background in science informs my work as an artist and writer, enriches it and gives it context.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Shelter-I-.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Annual-Rings.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Catalogue-of-Seasons.jpg
OlafLeirosolafleiros_94@hotmail.comUnited Kingdom (UK)Norway

I am a 23 year old Norwegian theatre-maker and performer, and have been studying at the University of Kent since 2013. Since then I have co-created GOLKK Theatre, a multinational physical theatre company based in Canterbury. Our first show was a an immersive site-sympathetic piece in a forest, which encouraged audiences to care for nature and humans alike.

My research focuses on the embodiment of landscape in connection with the runic alphabet Elder-Futhark, offering contemporary responses to them rather than a historical re-enactment of them. By focusing on specific elements of landscapes through the runes, I aim to re-awaken audiences’ perceptions of the sites. Whilst the core of my practice looks at movement and theatre responses to site, I incorporate photography, sculpture and film-making into both the devising process and final product. This work has generated the start of a performance practice i call runic-walks. I also conduct workshops with students to explore site-sympathetic/specific work. My site-specific work is currently inspired by Mike Pearson’s writings and Richard Long’s artwork.

Studied Theatre and Drama in Norway at collage level. 
Acquired a Bachelor Degree in Theatre and Drama and a Masters in Physical Acting at University of Kent respectfully. 
Dissertation project: Performing Norwegian Landscapes, Embodying Runes. This project aimed at creating a performance which actually ended up becoming the start of a performance practise. 
Peeking in the Portrait (2017-ongoing) - GOLKK Theatre, a physical theatre performance looking at photography and human behaviour. Performed in the UK and Paris.
Samaweo Sikko (2016) - GOLKK Theatre performed in the UK.
Playing Identities - Performing Heritage a two year project, working with theatre makers form countries such as Lithuania, Romania, Catalonia, Italy and Britain with the show Walk in My Shoes performed in the UK and in Italy.
Coming of Age (2015) - Moving Memory Dance Theatre Company’s celebratory performance at the Roundabout Theatre, Winter Gardens, Margate.
I have worked with Professor Paul Allain and Frank Camilleri on their project Physical Actor Training - An A-Z, which will be published in 2018 on Methuen Drama Online.

Art can give people a new perspective of nature that, say a conversation or debate could not generate. It can focus very specifically on for example a species of animals or insects in a certain environment that you never otherwise would notice. Art can thus inspire and make us understand why we need to behave in a way that is accommodating to that site.

It brings new people into the debate. People that are never concerned with or aware of the environmental issues nature face today might be subjected to it because a film or art piece that is exhibited in a gallery, or shown in a cinema. Such an example is The Ash Archive, an exhibition of artwork at the University of Kent that concerns itself with the ash dieback in the UK. Something I was not ware of until the project was brought to my attention due to a lecture at the university, before the exhibition was created.
By bringing art to the site you can better create a reaction or new desire to debate environmental concerns. It is also one way that art can engage people emotively. By creating art that is placed at a site which the audience might be familiar with. They might live in the area where the artwork is placed or the artwork might draw forward memories of experiences that they might have had with nature that now is in risk of being destroyed.

As my performance practice is in its early stages I always look to collaboration. To work alongside other artists and others that creates a focus on transdisciplinary work I aim to further my own knowledge on the environment and how we approach art when viewing it and creating it.
I get so excited and creatively engaged by looking at images of the Dartington estate and the River Dart. Having the opportunity of being a part of the project is about the artistic work but also the opportunity to experience these sites.
My love and strong passion for landscapes derives from growing up in Norway where I learned to respect and care for nature and thus I have become an environmentalist that creates work that is ephemeral. When creating sculptures I use what the site gives me to create the art and rarely bring manmade objects into the site. This also means that the site itself will in some respect develop my art, be that by decomposition or natural growth. Much like nature itself I aim to create art that is to be experienced in the moment however I feel I have much more to explore and to be inspired by which GNAP-UK seems to give.
GNAP-UK not only seem to generate art from, art surrounding, art within or about sites/landscapes and the environmental debates that comes with that, it also seems to generate an event for artists to share and connect with each other. Sharing ideas is something I value a lot within the arts as to thrive as artist we must give, receive and share in order to become more skilled and better artists as well as people.


I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_2123.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Screen-Shot-2018-01-29-at-23.53.07.pnghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/IMG_0127.jpg
ChristineCoopercooper.christine@gmail.comFinlandUnited Kingdom (UK)

I am a relational artist, performer, storyteller and musician from Wales, with a particular interest in community and place-based research. I like to explore the connections and ecologies all around us, piecing together fragments of old stories with tales of the now to create immersive worlds that illuminate these connections. Sometimes a world is created from a stage, and the audience enters with their own imagination (eg The Battle of the Trees); sometimes the performance is participatory and the audience is invited to co-create with me (eg A Seaside Holiday at Home).

I am currently engaged in studying for a second MA, in Folk Music, in the Sibelius Academy, Helsinki. My research here explores elements of trance, ritual, and altered states of consciousness in the context of European folk music. I am working towards a final piece that will take the form of a ritualistic performance / performatised ritual. For this, I take inspiration from the Finnish tradition of epic singing and kantele playing (where performances would last many hours, or even days, with the performer in a trance-like state), Finno-Ugric shamanism, and Polish folk music with its wild spinning dancing. I will also explore how native British tradition might meet these. In addition to music, I also study a number of bodily practices as part of the MA, including butô, body-mind centering, the Alexander Technique, and holistic improvisation.

I grew up in Pembrokeshire in West Wales, and I carry that landscape of cliffs and sea with me wherever I go. I have toured with respected Welsh folk group Fernhill since 2004. In 2009 I was invited to perform at the Smithsonian Folklife Festival on the Mall in Washington DC. In 2010, Blodeugerdd: Song of the Flowers, an album I co-produced and featured, on was awarded the Independent Music Award for Best Album in the World Music category, the judges of which included Tom Waits and Judy Collins. I have twice won the International Welsh Celtic Fiddle Competition.

In 2010 I was awarded an MA in Arts & Ecology from Dartington College of Arts, with Distinction. The performance I created for that MA, The Battle of the Trees, has since toured in six countries, and received Arts Council funding for a tour of Welsh woodlands in 2014, returning it to the landscape that inspired it. The piece was shortlisted for two British Awards for Storytelling Excellence in 2012: Best Adaption and Standout Storytelling Performance.

I have been commissioned to make interactive performance installations by Portsmouth and Worthing Theatres and Huddersfield Contemporary Music Festival.

There are innumerable ways the arts can contribute to the debate around these issues. Here I will mention the way that is most related to my current research.

I believe that ritual, and the altered states of consciousness associated with it, are vital to support our spiritual selves, so neglected in our modern "age of reason". I believe that the downgrading and downplaying of the spiritual aspects of life, and their replacement with a purely utilitarian rational approach to resources, are a major reason for our descent towards climate chaos. We must re-establish a sacred connection to ourselves and our environment, and re-learn alternative ways of knowing, in order to live in better relationship with the systems that sustain us. I create rituals and performances that help me do this, and it is my hope that they may help others too.

I spent an all-too-brief, but very important and formative year on the Dartington estate when I studied for my MA Arts & Ecology there. An opportunity for me to revisit the landscape of Dartington in the real world, as I have visited it often in my mind, would be very valuable to me. A return to Dartington would also be filled with thoughts of Nel Stevens, my fellow student, housemate and friend during that year, who has since died. Nel loved to swim in the Dart, and working with this river would inevitably be shaped by memories of her, and would be an opportunity to honour her.

I would also value the chance to come into contact with artists from other cultures, who I may not otherwise have the chance to work with. As someone who lived in China for 18 months in my early twenties, I’m particularly interested in the chance to collaborate with East Asian artists.

As part of GNAP-UK, I can imagine creating a performance/ritual with the river as an active partner. I may gather local testimony about the river if there is time. I may created lists to use in such a ritual; lists of species, for example, or field names describing the river’s journey. I may sing to the river, or dance with it, or make offerings to it. In memory of Nel, I will certainly immerse myself in it.




I have not participated in a previous GNAP   
Ann-MarieFAIRBROTHERanimafair@yahoo.co.ukUnited Kingdom (UK)United Kingdom (UK)

I create art objects, interactions or events as territories through which we can explore that which is deeply human in us at the interface between our inner senses the wider world we inhabit. In “Last time I saw you my legs turned to jelly” I cast my legs into agar jelly which cultured what was in the environment taking on the look of lichens covering an ancient gravestone and then shrinking over time into petrified legs like an ancient relic.
Artworks are set on a course then opened to processes relinquishing the outcome and inviting the unexpected. Time plays a hand.
In ‘Burning Time’ I cast a labyrinth from a 3000 year old rock carving in Cornwall into tin to make a time piece based on an ancient Chinese incense clock. The tin labyrinth acts as a press to lay a trail of incense in ash that burns for the course of a day. Time becomes scent leading us into our limbic brain and memory centers, an invitation to deep time.
A salt anchor that waits for crystal bonding cast in Newlyn from an anchor as big as me, the piece is called ‘Hold On’.
Clay footprints trace the underground river to the visible surface of people’s minds in London, bringing the subterranean to light.
Drawing a day , a place , a walk picking a selection of plants from a walk, a wood and distilling to draw the essence of that time and place.

I am a natural born psychogeographer having studied a Geography BSc before becoming a sculptor’s apprentice where I learnt mould making and bronze casting. I was invited to join an artist’s collective called Escrapology, specializing in making work from found and recycled objects with whom I exhibited and ran community projects and exhibitions. I completed an MA in Art by project at John Cass in 2003 developing more deeply into my own work.
I was chosen for a studio at The Borlase St John Wells Trust in Newlyn Cornwall.
I have exhibited various gallery and non gallery places including in an abandoned greenhouse in Sprinfield Park London , Trinity Bow Wharf, Cell studios Dalston, London, The Curve Garden, The Old Schoolhouse Clapton festival, Trewenere Studios, Newlyn Gallery, Borlase Trust Porthmear, St Ives.
I have completed a training in cranio-sacral therapy that involves developing a deep awareness of the body , subtle awareness of qualities, tensions, and bones , a new dialogue. I am keen to use the same skills in deep listening and witnessing in my engagement with the environment through artworks.
I make work using various materials , site specific or relational to place , often temporal interactions, installations and occurrences.

In this time of a deeper development of technology we seem to be becoming more removed from our tangible understandings, our intimate connection and communication with the natural world of which we are part.
Art can shed a light on what is unsaid, unheard or forgotten or not yet known, and be part of awakening us to the largess of this animate world.
Art can be a bridge to keep overgrown paths open that could be lost forever.
And as we hurtle ever forwards into the unknown art can shed a light on where we are heading and where we are treading.
Perhaps even acts of art can shift the course of events through their very existence, through a dialogue that is unique. And maybe we need that now more than ever as our lives become so insulated from the deeper patterns of nature. We need this for our evolution, our health and wellbeing in this ever changing world.
As our environment continues to be stressed and depleted in so many ways and the fellow life forms that we share the planet with are often under threat I think it is paramount that we rediscover and explore new ways to discourse with all that is other than us, to expand our understanding, empathy, hone our perceptions. We need to develop and share this language especially as so much diversity is diminishing. Artists have the advantage of having a diversity within our approach which can keep our dialogue more spherical than linear. As we have dominant forms of thinking addressing the problems we face solutions may become narrow, it is vital to have the wider creative field involved and to remain open to new ways of thinking, experiencing, conversing and new solutions.

I have an ongoing dialogue with rivers having studied the river Lodden for my BSc dissertation in investigating the effects of a sewage outlet on the health of the river using invertebrates and other analysis to decipher the river's wellbeing. I became fascinated with the surface patterns of water in a photographic project. I have cast Ice hearts embedded with objects exhibited melting and have used water fro the sea , the Thames , spring water in Ice Cores.
I work with temporal materials and natural processes and am fascinated with relationship to place.
When I read the brief several threads interested me including immersion and sacred.
I was enamoured by Victor Schauberger’s studies of the patterns in flow through a river and especially in his sending his consciousness down stream to learn how the river works that led to his discovery of how salmon lept upstream .
I cannot be sure how he did this but I am interested in exploring this idea and seing where it leads to.
When I was in Tibet many years ago I met a lady praying at a sacred lake and she invited me to join her in dippind an object or immersing it as she hummed her mantra. Offerings and ancient traditions of this land also intrigue me. Work could evolve out of these things.
I have applied because I am keen to be having this conversation, this dialogue . I want to immerse myself in this landscape and open up a space to experiment and create with the river and the likeminded people involved. I want to be part of this conversation.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Burning-Time.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Drawing-a-walk-22-Castle-Horneck22jpg.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Salt-Anchor-Work-in-Progress.jpg
TimNorristim@timnorris.co.ukUnited Kingdom (UK)United Kingdom (UK)

I am an artist that works in the natural landscape, predominantly in public outdoor spaces.
I enjoy looking for my palette of materials found in nature. Especially when visiting new space, new techniques and aesthetics can arise and evolve.
“I have always had a passion for the outdoors and this often not only provides me with the inspiration, but also the setting for my artwork. My sculpture aims to encourage a sense of interaction: either by sitting within, clambering over, or wandering through and inside.
I am very interested in the source of my materials and the meaning or history they may contain. Our landscapes are filled with the history of their making either geologically or in the wake of industry
and occupation. What’s left behind is a unique blend of nature and industry, one influencing the other. The materials and processes I use seek to continue that relationship.
I enjoy the instictive dance between sculpture and landscape and find the process to be an all-encompassing process for my mind and body.

Tim Norris is a freelance Artist. He has been working professionally since 1995
He studied Sculpture at Canterbury school of Art.
He was awarded a student Bursary at Kings wood with Stour Valley arts in 1994
in 1996 Tim was awarded a residency at the Grizedale forest. Since then Tim has travelled throughout the UK Creating works in the landscape using natural materials.
He has made works for Councils, Community groups, Forestry commission, The National Trust, The National theatre, , National gallery, Architects and Private individuals
He has regularly taught sculpture at schools, colleges, community groups and in the natural landscape.
In 1997 He created a sculpture trail on Kilvey Hill in Swansea with the help of local people, The ‘lookout’ on The Irwell sculpture trail in Manchester the longest outdoor art trail in the uk,. He Led the guiding vision for the National cycle path Sculptures from Didcot to Upton in Oxfordshire. 2004
In 2013 Tim took part in the Environmental Art Biennale at I park, Usa
This led to projects in Germany , Sweden, China and recently Yatoo’s sculpture park in Korea
Tim is currently working on acommission for Whitstable in Kent at his studio on Wimbledon Common.

The arts can most definitely contribute to the environmental debate, both by drawing attention to and to stimulate debate and experimentation.
Art is a visual language and can communicate across the world.
As an individual artist there is still much to do. There are dilemmas created in my practice due to methods of manufacturing and transport to name a few.
At this stage awareness of the problem still needs to be embedded in our culture and strategies will need to be in place to lessen the problem and learn to cope with a different world.
By choosing materials that are from a sustainable source. Using products that are less harmful to the environment and promoting them as a positive feature.
Sustainable installations, considering the decommissioning of work in the future, what will be left behind after the work has gone

I became aware of GNAP while working in Germany and have followed their work via Facebook.
In 2017 I was able to take part in The Geumgang Pre biennale organised by Yatoo , Gongu, South Korea. I have followed the photos of recent GNAP projects in europe and found them very inspiring and I loved the varied and delicate approach to art in nature.
I relish the chance to spend time making art that does not have to last, using only available materials in contrast to my public work, this would be very exciting. I find the ephemeral River title intriguing and very Inspiring and I can imagine a host of works flowing from my connection and response to the water , ecology and landscape. At this stage I have no fixed ideas but would like to embrace the process and follow my instincts.
I am also very keen on the group context of the GNAP and am excited by the approach that is being taken by the CCANW , particularly the science and natural ecology connections.
I value the opportunity to share time with other artists who share similar interests and make new connections and learn new skills
I have followed the work of CCANW for some time but have not had the opportunity to make contact until now.

 I have not participated in a previous GNAPhttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/the-journey-Copy.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/Habitat-Copy.jpghttp://ccanw.org.uk/wp-content/uploads/vfb/2018/01/neural-nature-Copy.jpg