Artist Suze Woolf reports from Carkeek Park, where "Tree Futures", her contribution to COCA's Heaven and Earth IV:Rootbound installation underwent a to her most unwelcome change. Read more about it in her post Art Installation or Litter? Her writing, and the comments triggered some thoughts.
Matter! Gallery owner Jo Gallagher in Olympia. In the Netherlands I belonged to Taller Amsterdam (as in Tallèr Montevideo, founded in 1963 by a.o. Hector Vilche), an artists collective. We re-cycled our materials for theater performances, production after production, giving new life to matter, and presenting new insights to new and familiar audiences.
Performance art often presents viewers and creators with an opportunity to perceive the change(s) that occur(s) over time. Documenting the change of meaning, as change occurs is an art form in itself.
What's happening with Suze Woolf's installation is interesting. For a viewer/ witness not invested in the initial production, not stuck on/with a certain perception, but rather one welcoming the drama and psychology of change, the body and soul of this installation is not violated, but merely developing into something else, new matter.
In my imagination I see the sequence of work gloves tied around a tree trunk, alien objects for sure, next, piled on the forest floor, next hung high in the tree, next, perhaps pinned on a line strung from tree to tree ... Who knows, this may become an interesting photo essay, another matter all together.
As for the person who first made Woolf's installation disappear, and the one (or same) who is responsible for the artist seeing her work "reduced"' to litter, knowing that Suze Woolf's "deep anxiety with climate change on wilderness" triggers a large part of her portfolio, might have made a difference. Or would [wood] it?
This work by Judith van Praag is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License