Art That Have Evidence of a Cultural Shift in Outdoor Recreation

Artists

John Hemsworth & Peter von Tiesenhausen

Artists' statement

Nosotros felt that this was a time to familiarize ourselves with the site. Non just the geography or topography or the plant and brute life, but the essence and feeling of it – it'southward time and spirit. The best style nosotros felt to achieve that was to exist actively in it, permit it run through our fingers, and feel it, lift it, carry it and place each scattering with considered intent. In the end the place is considered instead of beingness an offhand gesture or an imposition from outside. Our consideration of that site was the most evident correct after it was completed but if it is successful will become less and less then over the coming seasons.

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Artists

Davide Pan & T'Uy'Tanat Stop Wyss

Artists' statements

Chewx Ma Hal7h! Siyam, Siya! T'Uy'Tanat, Kwi En Snas! Cease Wyss, Ni7amin! Greetings Of import People Chewx Ma Hal7h, Ta'a's!Xapayay! Ptakwm! T'aka7ay! Skw'eʼ kwech'! Greetings Grandmothers! Cedar! Ferns! Salal Berry! Huckleberry! This piece of work represents so much that is honey to my spirit, listen and blood. This state has not heard our language being spoken here for several decades, other than the rare moments where those who notwithstanding retain the linguistic communication come and speak it. To walk this land, this site, and to share the linguistic communication as I acquire it, through the guidance of our Young People who accept been gifted with growing up with their Elders, has been an astonishing office of my journey farther into my culture. Through the plants and the language, I am learning to walk with more humility and with grace. My relationship with our songs and stories has become a deeper and more meaningful part of my on-going human relationship with this identify, and with the many hamlet and gathering sites I encounter on my journey through Xway Xway to Kanaka Ranch. K'Ayatcht'N! I hold my hands up to y'all, plant spirits! - T'Uy'Tanat Cease Wyss

The great value of simplicity has been brought to the chantry in this collaborative experience: Working with basic tools and the ability and strength of nature to emphasize the importance of language and culture. Working with Cease has been, and will continue to be, a learning experience. Learning about the by and nowadays of this land and trying to understand and evaluate our identify in it. It is a privilege to work on this project in the jewel that is Stanley Park. - Davide Pan

Ecological response provided past Jarrid Jenkins, Public Programs Managing director at SPES

Concerns from our perspective:

1. Any transplanted plants should come from close by, merely should not come out of the nearby blowdown area because they are the next generation becoming established in that area.
2. If possible, transplanted plants should come from areas of high density of that species so that in that location is less affect. Whatsoever removed plants will ultimately leave disturbed soil–a potential site for invasive plants to take concur. Information technology would exist cracking if we could negate this even by shuffling some fallen leaves over the disturbed areas and make sure there's no blackberries lying effectually that might get shuffled in with the mess. They've been causing a lot of problems for united states in the restoration areas with seedlings everywhere.
3. Cutting the bark will not have any significant damage, except the increased rate of decay, which would be pocket-sized. Information technology will exist interesting to run into how the carvings provide micro-habitats for mosses etc.
4. Cutting the bawl may have implications socially, as information technology may encourage others to practise the same on other stumps or living trees. Role of this will be negated by the prophylactic vests, office by the obvious artistic attributes of the site when completed.
5. Any soil or rotting forest should be thoughtfully removed to cause as little of an impact as possible to the area.
6. Rotting wood should merely exist removed from the forest floor after carefully checking if it is the 'roof' of a small mammal burrow, or the home for a salamander. Dry, less-rust-covered pieces would exist amend than wet, rotted ones that may contain eggs etc.
7. The benefit of this projection will be that the stump will get a jump outset at being a nurse platform which it ultimately would become one twenty-four hours. We expect forrad to seeing what happens with the woven portions as they age, especially to see what colonizes those sections.
8. Information technology will be interesting to meet if there are any inquiries into what the carved words mean from people who stumble over the piece.
9. You should prepare yourselves for the questions, comments, concerns and potential scoldings you lot'll receive from people concerned or interested in what you are doing. These interactions themselves might provide some very interesting insights into different people'south values with regards to the park, the trees, the wildlife, the cultural perceptions and histories etc. We'd exist interested in hearing most whatever notable conversations.

It seems to usa like this project is itself very sound. Our main concerns are obviously more so nigh public perceptions of earthworks, carving in the park and of the origin and procurement of the plants you promise to employ.

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Artist

Shirley Wiebe

Artist's argument – Uprooted

Devastating storms that dramatically altered the mural in 2006 led to the creation of an art residency opportunity hence this outset work is an expression of gratitude to the park and all of its living systems. I was drawn to explore off trail higher up Lost Lagoon where the damage is radically evident. There are a number of uprooted cedar copse, their massive root wads exposed. The expanse appears startlingly primordial and reveals a barbarous chaos both unsettling and magnificent.

Ane root wad in particular attracted me. Overhanging flaps of moss-covered globe had formed a niche-like infinite and at its base was a pool of vivid light-green water. The surrounding expanse was covered with fallen branches made up of intricately delicate twigs, probably the outermost tips of the uprooted trees. I was captivated by the contrast betwixt these branches and the fiercely severed root wads; the light skeletal airiness contrary the dense masses of darkness, all role of a whole.

Searching for a means to pile upward the branches, I recalled the metallic spike system for collecting phone letters on pieces of paper, and I felt pertinence to the clan of these branches as messages. I embedded a long straight bough vertically in the pool of water so randomly stacked the braches over peak to build up a slender form that occupies the niche like a shrine. This simple gesture brings together the extremities that previously formed a mature living entity. It was a surprise to step back and come across how the curved branches and the space between them somehow creates a sense of whirling motion and energy. I was reminded that all matter contributes to new life and growth, and that creation and devastation are part of a continuum that is constantly at play.

A sudden and strange weather system passed over while I worked. What began as a gentle rain turned into an intense downpour, beginning followed by hail and so a blizzard of snow. Disoriented by the whiteness, I completely lost my way back to the trail. Although it was miserably uncomfortable it was too thrilling to briefly experience this lack of knowing where I was or how to return anywhere.

Ecological response provided past Robyn Worcester of SPES

Considering there are few areas where root wads were not tipped up, these are now a very valuable resources for wild animals and we should do all nosotros can non to disturb them.

If this site is used and work will proceed nigh a root wad, perchance a sheet of plywood covering the soil where she will be working (and walking back and forth) would protect the soil from too much disturbance. It should exist removed when she is not working.

If the root wad itself is manipulated, Shirley should behave in mind that she is making it unsuitable as a winter wren nesting site. Also, if the mineral soil (hanging in the root wad) is disturbed or removed information technology volition reduce the colonization of specialized plants such as goblins gold moss, licorice fern and fungi.

If she is removing woody debris, rocks or other materials from the forest flooring, she is reducing the habitat that is utilized by modest wild animals. Wood and other materials should merely be removed/moved from areas where they are plentiful.

Artist's statement – Fringe

My creative process is fuelled by a marvel to explore and notice what is around me, in a seemingly meandering search. Ideas brainstorm to form through chat with others, inquiry, interaction with the country and an investigation of materials.

Much of my recent work incorporates synthetic or manufactured materials juxtaposed with nature. The Stanley Park art residency presents a challenge for me to make use of solely natural and/or biodegradable affair. As a mode to all the same bring well-nigh contrast, I chose an architectural site rather than a purely idyllic setting for Fringe. The stonework bridge at the archway to Ravine Trail had long been obscured with ivy until nearly five years ago when park staff decided to remove the heavy vines. The stateliness of its design struck me, particularly as it comes into view through the forest. Light from the inlet imbues it with a mysterious glow and presence. The span shelters Beaver Lake Creek, a passageway used past fish, wildlife, and humans, so information technology functions both every bit roadway and underpass. Information technology is the underside that I am drawn to for this ephemeral installation.

My concept for the residency is to explore the social and physical relationships that have place in this wood within a city, and how they continue to shape the park. Horses have had a role in Stanley Park throughout its history, and before this land was named. Horse-fatigued tours continue to offer visitors a more than leisurely tour of the park, and the Vancouver Police Department patrols the trails on horseback to keep the park safe. In conversation with groomers at the park stables, I learned that birds regularly perch on the backs of horses to pluck pilus for lining their nests. I became intrigued with the thought of utilizing a cloth that could exist appropriated by other species.

Horses embody a ability that is harnessed through cooperation rather than domination. The preference to work with horsehair is based on its tactile and symbolic qualities. I piece of work from a premise that materials are laden with pregnant, but like in dreams, association is embedded within layers of personal experience. Long white hair may maybe conjure up wizards, mythology, white knights and fairy tales – and the rusticated bridge, a medieval castle. The dangling forms announced every bit natural phenomenon; icicle-shaped stalactites that hang from the roof of a cavern, formed from the dripping of mineral-rich water.

A friend mentioned Jean Barman's book Stanley Park'south Undercover: The Forgotten Families of Whoi Whoi, Kanaka Ranch and Brockton Point when nosotros talked about the potency of place in the memories and stories held. Barman'south volume contains references and drawings of Burrard Inlet and two ancient settlements that existed in that location for generations prior to the tardily 18th century. Beaver Lake Creek falls roughly betwixt these shoreline villages once known as Whoi Whoi and Chaythoos.

Fringe is outspread and apron like in construction – a garment of protection by definition.

 Fringe disappeared sometime in belatedly January 2009. Created equally an imperceptible piece of work, the horsehair was placed in the landscape as an organic cloth that could be scavenged by bats and birds and observed over time equally it deteriorated. In a park heavily impacted by people, the procedure was disrupted when Fringe was physically removed. The cotton fiber ties were cleanly cutting, perhaps an indication that the work is now fulfilling an alternative purpose elsewhere.

Ecological response provided past Robyn Worcester of SPES

The ephemeral work you are describing would not have a large negative touch ecologically, and I retrieve that aside from birds being able to apply the hair for nesting material, there are not many pregnant positive impacts that I tin remember of.

The only negative ecological impacts I can foresee is that Ravine Trail is probable used by bats and birds equally a travel corridor (from Beaver Lake to the seashore), and if the equus caballus hair is blocking the archway to the underpass they may experience restricted by it. From your description, it seems like this might be the case as it is eight feet wide. Too, since this riparian corridor is one of the most ecologically sensitive areas of the Park, I would like to run across that at that place is as lilliputian disturbance washed to the surrounding environment as possible during the installation.

This sounds like a very interesting fine art installation and I am grateful for existence allowed input on this project.

Artist's statement – Hibernators

I was in search of a site for an envisioned series of soft sculptures when I first became aware of the behave pit during a survey walk. The enclosed physical surround was formerly function of the Stanley Park Zoo until it closed in the mid 1990s. An adjoining building has been converted into a demonstration salmon spawning hatchery that is managed past the Vancouver Aquarium. Situated in the middle of the park, the pit now appears utterly battered and in precipitous contrast to the meticulously landscaped surroundings. Nature is already reclaiming the area – vines claw their way up from the moat beneath while a massive yew tree extends its branches overhead, and various root systems determinedly penetrate the barricading concrete wall.

Earlier in the summer I had discovered a material chosen BioNet that is beingness used every bit part of the massive Prospect Indicate reconstruction. I learned that BioNet is the trademarked name for a biodegradable erosion command blanket fabricated upward of shredded coconut fibres stitched with jute. After some experimentation, I worked with a sewing procedure to create various amorphous shapes that I stuffed with wood chips from the park. The forms, entitled Hibernators, are quite malleable and capable of bold lifelike and emotive postures.

I had observed that park visitors still interruption to lean against the bear pit railing hopeful of something to run across. In a parallel process to the restoration of Stanley Park, Hibernators is intended to revitalize the zoo through an intervention that draws attention to its potential equally a viewing phase or theatre. A transition betwixt what was at that place and the future. The forms collaborate with each other and the site in a drama that is subject field to the viewer'south interpretation.

This installation is a result of collaboration with various individuals from the Parks Board, the Stanley Park Ecology Society, the Vancouver Aquarium, and a private contractor from the construction site who originally donated the BioNet. Each phase was facilitated with hands on assistance, from the delivery of wood fries that arrived at the art studio in the park, to the individuals who helped carry the forms into the pit. For me, the finished work is akin to the flow at the terminate of a judgement.

The acquit is one of the concluding true symbols of the central, natural world, and many ecologists believe that how humans answer and protect their lands and their futurity volition be the nearly honest depiction of how serious we are nearly preservation of our environs and the natural resources within it.

Ecological response provided by Jarrid Jenkins, Public Programs Manager at SPES

Information technology doesn't announced to us that there would exist whatsoever negative ecological implications for the materials you have chosen in the site you have identified. One caution on our office is to make certain that yous do not end up using whatsoever BioNet material that comes pre-seeded with whatever seed mixes that could have root and innovate new plants to the park. It will exist interesting to run into what kind of life (plant and wild) that takes advantage of the new habitat you lot'll exist creating in an almost arid environment. Nosotros're wondering how the materials might be useful to animals looking for nesting materials besides—similar to your Fringe piece.

And as I shared with you lot on our walk when locating the site: the opportunity to contrast "natural" materials with that concrete space is very exciting, especially on the grand calibration you have illustrated in your proposal. The "local" organic forms on display will contrast nicely with the imported wildlife that were originally housed in the enclosure.

So, to conclude, we have picayune concern ecologically well-nigh the impact of this piece because of its location other than ensuring that the BioNet doesn't come pre-seeded.

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Artist

Tania Willard

Creative person's argument

Influenced and inspired by branching structures and the symbiotic relationships expressed in structures and organs like roots, rivers, arteries, and the placenta, this slice explores these associations and how they link to culture, community, land and life.

Drawn to areas of the park I hadn't yet explored, I started downwardly Cathedral Trail and was immediately struck by the amazing root systems overturned during the storm. Looking at the root systems, I was struck by how they resembled the branching of vessels in a placenta and how they themselves are organs facilitating many of the same functions for life as the womb and umbilicus. My partner and I had just had our showtime son, Skyelar, and when I looked at this root organization I felt information technology equally if it was a part of me; I felt the land through to my cadre.

In Ethnic concepts of land, language, storytelling and culture are all closely intertwined with the land itself. As a person of mixed Aboriginal (Secwepemc Nation) and non-Aboriginal heritage, I am also very aware of Vancouver and Stanley Park as the unceded territory of Musqueam, Tsleil-Waututh and Squamish peoples. I wanted to relate to this state and to requite cheers for all the beauty that I have enjoyed hither in the traditional domicile of the Coast Salish peoples. There are so many stories in this country, Aboriginal stories before this country had English names, animate being stories, stories of change, of upheaval and stories of nascence and survival out of that upheaval; stories of transformation.

In learning more nigh the park in the initial orientation with Park Board staff and Stanley Park Environmental Society input, I was amazed to learn about the hidden parts of forest ecosystems like mycorrhizal fungi and how this fungal organism connects the whole forest and cycles nutrients betwixt plant species and more. This vast network under the surface of the earth is like the blood vessels of the wood. Having recently experienced pregnancy, I was moved to think of how continued we all are through these types of symbiotic relationships all around united states. Indeed, in contrast to ideas of "survival of the fittest" and life as competition, there is a weaving of symbiotic relationships through every part of our world from female parent and kid down to micro-organisms in the earth.

For this piece I worked with a large, upturned rootball with an exposed root system. I stripped a layer of bark off of the root system to create a higher contrast and emphasis on the roots. Although the tree and root system are dead, the rootball itself has created new habitat. While working with it, I was awed past the new roots shooting through the soil on the underside of the rootball. Life is sprouting all over, stimulated past the destruction of the windstorms, ferns grow around the base of the rootball equally well as patches of growth in the soil that is nevertheless held together by the roots. Suspended vertically like a wall, creating this view of the forest we do not normally get to see.

We are exposed to the mystery of life hither. We are all connected to the land in some way or some other.

Ecological response provided by Jarrid Jenkins, Public Programs Manager at SPES

Tania Willard had originally proposed to paint a stump well-nigh Siwash Stone with carmine ochre:

I am proposing to paint the vertical area of the stump with crimson ochre mixed with a natural carrier oil ( fish oil, olive oil, or if that is also much of an impact, I tin can use water). On the surface of the ochre I want to pigment a design from the petroglyph rock with beeswax. This will let the image to exist mostly invisible at starting time just announced after rain when the background ochre is washed away. The ochre capped with the beeswax stays for a longer time, then this layer will fade besides. The rain, such an essential part of a West Declension woods, is a part of this piece as it will reveal another layer of the piece of work in time.

Jarrid Jenkin's response below is based on that original proposal. When the stump Tania had called turned out to be culturally modified (cedar bark had been harvested from the tree at some indicate, near likely past First Nations people), the stump could no longer be used for the art project. Tania and then institute the rootball on Cathedral Trail that became Birth. Below is the chat that took place between Jarrid Jenkins, Tania Willard, and Anna Nobile, Community Arts Programmer for the Vancouver Board of Parks and Recreation.

Hello Tania,

With regards to the piece you've proposed:

This sounds like a nice progression from your earlier questions well-nigh materials and potential impacts on the environmental of the tree. We are however fine with the combination of ochre and beeswax painted on the exposed surface of tree you have identified. The materials themselves aren't worrisome and again we'd similar to comment on how interesting information technology volition be to meet if any animals, insects, birds etc. brand use of the beeswax in whatever fashion. The only concern we would have most the beeswax surface handling is about the corporeality of surface surface area being covered— if the whole affair is covered so that limits the admission by insects and/or other animals that would otherwise take advantage of the exposed surface of the tree. It sounds like y'all are non planning on covering the whole expanse so this shouldn't be too large of a concern.

Another business we wanted to mention was with regards to treating the same large expanse with an oil that might end up as rancid or attracting animals to the site. We're really merely raising these points more out of curiosity than anything equally there is no "related study" that might warn us virtually the affect an oiled surface might accept on the local environmental. We think it will somehow touch on forest-boring insects and possibly birds (woodpeckers, etc.) but mostly with regards to access versus a health risk, although I approximate nosotros tin't say for certain that at that place would be no health gamble, especially if the oil does become rancid. On the other manus, peradventure the oil would be fine equally we head into cooler weather condition, and more than than likely its high calorie content will exist bonny to some insects. Another interesting consideration.

1 final concern: Is the stump shut to the trail? We can't tell from the photo merely it would be awesome if the public had a chance to view it. I'chiliad certain it is but we couldn't tell from the photos.

Cheers,
Jarrid Jenkins
Public Programs Manager

Tania Willard, in response to concerns:

1. I am not intending to comprehend a very large expanse at all with the wax, only one or two designs and only solid lines maybe an inch think, no existent filled in areas.
2. In terms of oil: yes I wasn't sure about the oil but I can also apply h2o. I idea using salmon oil would be interesting to see what happens to it and also this is sort of historically what ochre was combined with for pictographs, but I am fine to use h2o really, information technology will speed up the washing away procedure, I recall.
3. The stump is very close to the trail and it is in that immigration area. Its totally observable, its right there.

It is at this indicate that the stump was identified past Brian Quinn, Supervisor of Stanley Park, as culturally modified. He notified Anna Nobile, who spoke to Tania by telephone. Tania and then proposed the same treatment for a rootball on Cathedral Trail.

After conversations with Brian Quinn, Guy Pottinger (Acting Foreman, Stanley Park) and Jarrid Jenkins, Anna sent Tania this email:

The ground around Cathedral Trail is wetter and muckier than the college ground y'all had previously chosen around Siwash, so in that location will be more than touch to the soil as you walk around and compact the basis. You may be asked to lay down boards to walk on. Working on a ladder in this type of soil volition be difficult, maybe even a niggling dangerous if the basis isn't level and the ladder has to be balanced on a board. You will definitely demand someone to help you, especially to steady the ladder. There volition be more impact to the soil, plants and animals/insects of the rootball, even if you scrape abroad/disturb the soil of the rootball as trivial as possible. The ochre would have to be mixed with water in this case, non oil, every bit oil will have a greater affect. Its unclear how close to the trail the rootball is. At that place has been some stated concern that if the rootball is too far off trail, the art piece would encourage people to walk through this environmentally sensitive surface area to get a closer look. It'southward hard for us to tell from the photos, so I'one thousand hoping the rootball is shut to the trail.

Tania responded:

[The rootball] is right abreast the trail, non off trail at all. I don't think I would demand to employ the ladder every bit I tin accomplish well-nigh of the area I need to work on. Laying down boards is fine. It is a very brusque distance— similar four anxiety or less between the trail and rootball. I would only be cleaning the clay away from the very tiptop surface of the root ball which is mostly clean of clay anyway, I but desire to make it a bit clearer and then the ochre will show upward, depending on the color/texture maybe I won't even need to strip it. Maybe I tin can simply make clean and paint with ochre.

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Source: https://vancouver.ca/parks-recreation-culture/stanley-park-environmental-art-project.aspx

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