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Playing with place: Looking back on Sau Pines

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by Aaron Asis, Making in Place artist

Back in May, Sau Pines was created to celebrate the spirit of the Pine Grove — as part of the Schuylkill Center for Environmental Education’s Making in Place exhibition — which featured the work of 14 different Art in the Open artists.  

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The installation itself consisted of a series of visual tree wraps to highlight some of the unique environmental characteristics of the Pine Grove.  A series of matching colored timbers were also distributed throughout the Pine Grove to activate visitor interaction within the context of the broader landscape of the Schuylkill Center throughout the season.  And the universal consensus is that the work was both well received and well used all summer!

During Olympics Week, the 6 & 7s and 8 & 9s had a fort building competition, using the art to create structures judged by the counselors on aspects such as durability and aesthetic. The pink pieces were useful and added color to the otherwise earth toned forts.” -Summer camp counselor

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However, it is important to note that Sau Pines was also created as a bit of an experiment, to explore considerations that reside somewhere between environmentalism and interactive installation.  In it’s conception the installation was designed to encourage interaction as a means of engagement, but it was always the hope that the installation might also inspire curiosity as a means of inquiry and (subsequent) increase in environmental awareness.  Four months later, it has been a delight to see, talk, and hear about the activity in the Pine Grove this summer and to witness our hopes, validated through testimonials from summer camp staff at the Center like these…

The kids absolutely loved using the [Sau Pines] sticks to build. They were continuously imaginative in their play…and would often ask what the pink bands around some of the trees meant.”

“The kids have been playing with the piece in Pine Grove all summer.  They sometimes ask about the art installations (the doorway, tent structure and decorative rocks under the trees), including the one in Pine Grove. We always tell them that the artist is trying to make them think about the way that we treat the Earth.”

07_ImageAs result of all this feel-good reading, I am extremely pleased to write that the Sau Pines numbers will remain in the beloved Pine Grove though the end of the year, to continue to inspire playful creation and ongoing inquiry and engagement!

A more personal note, this project resonated very closely with my own creative mission which tends to focus on creating work to facilitate access, increase awareness, and highlight lesser-appreciated environs — because at the end of the day, these characteristics are at the root of stewardship and these sensibilities are at the core of all things related to environmentalism and general environmental considerations.

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Thank you the Schuylkill Center and to everyone who worked to ensure Making in Place would be such a success. I am grateful for having had this opportunity to explore the potential of art to incite creative interest, inspire environmental inquiry, and increase general awareness in the Pine Grove.

About the author

Aaron Asis was born and raised in New York City and spent most of his childhood exploring its neighborhoods, its people, and its streets. Over the years, theAaron Asis_C1se explorations have escalated from an experiential curiosity in urban conditions to an intellectual fascination in promoting spatial awareness within them. This fundamental intrigue has become the foundation for his creative work, concentrated on the understated aspects of our built environment and using art to highlight various relationships, within an everyday urban context — at the intersection of city agency, community engagement, and public access.

Ghosts and Shadows

Shadows in the Forest

By Christina Catanese, Director of Environmental Art

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Marisha Simons attempted to catalog human impact upon the environment in her installation, Ghost Forest. Ghost Forest was part of the show Ghosts and Shadows from September 6th, 2008 – January 2nd, 2009 presented in partnership with the Center for Emerging Visual Artists and guest curated by Warren Angle.

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Simons was one of the artists selected to produce site specific installations because of their work’s poetic sense of place. Each artist set up a dialogue with the natural and human constructed landscape at the Schuylkill Center’s Second Site location, Brolo Hill Farm, a once working 18th century farm. Artists mined specific references to place and sensations of past and present. Simons’ resulting airy tapestries flowed in the wind, reminiscent of plants and animals that once thrived before human impact on the environment. Ghosts and Shadows was the first exhibition to be presented at the Schuylkill Center’s Brolo Hill location.

Of Ghost Forest, Simons wrote in the exhibition’s brochure:

“I have created a visual representation of a selection of endangered and extinct plants and trees, and I invite the viewer into a forest of ghost plants: translucent silk panels that move when the viewer walks past, delicate images floating above the ground, no longer planted in the earth with a subtle epitaph sharing the plant’s history.

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My hope is that the viewer will experience Ghost Forest by walking amongst the trees, spending time with the images in an imagined place where once they might have dwelled, and engaging emotionally with the idea that each of us have options about the impact that we make upon the environment with the daily choices that we make.”

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Plants and People Connect through Art

Photo courtesy of Vaughn Bell

Photo courtesy of Vaughn Bell

By Christina Catanese, Director of Environmental Art

Most people know that we rely on plants for the food we eat and the air we breathe, but the interconnections between plants and people actually go much deeper and are more nuanced. Scientists continue to discover the complexities of how plants take in and respond to information, even communicating with each other through underground networks and chemical signals.  Human systems powerfully influence plant communities, locations, and health – and they also exert a powerful influence over us.  

Yet, despite the intricacies of the plant-human relationship, plants are often overlooked, even compared to other aspects of the natural world. Studies have demonstrated and revealed the concept of “plant blindness,” in which many people literally don’t see plants at all, as they become the equivalent of ecological wallpaper.  We surround ourselves with representations of plants (they are all over our interior decorating, and certain kinds of plants are elevated in our traditions around holidays and significant milestones), yet we have little connection with the plants themselves, knowledge of their qualities, or their significance in our lives.

The Schuylkill Center’s fall gallery show features artists who explore the relationships between plants and people and the places they inhabit and move through – revealing and encouraging these oft overlooked anthro-botanical relationships.

Ellie Irons Invasive Pigments project investigates the origins and uses for plants that are often uncelebrated or even reviled – the plants we call weeds or invasive plants. Irons has been creating watercolor paint from the wild plants she finds near her studio in Brooklyn, and her watercolor maps help show the way these plants have moved globally in response to human systems.

Rachel Eng makes the connection of our reliance of plants not across space, but across geologic time. In unfired clay, Eng rendered plants from the Middle Devonian period in the Appalachian region that we know today as Marcellus Shale gas, then photographed them in Pennsylvania landscapes threatened by Marcellus Shale drilling. These foreign, extinct plants remain with us in the coveted form of natural gas, yet are rarely part of that highly politicized conversation.

Vaughn Bell’s Metropolis provides an immersive view of a representative sample of the Schuylkill Center forest, yet provides a wholly new perspective on these plant communities. Rather than looking down on the plants, or up to the tree tops, Metropolis puts the viewer at eye level with plants, equalizing this physical relationship. This shift in perspective allows for a more empathetic connection, seeing the world from a plant’s vantage point. The experience is multisensory, however – the dramatic smell and humidity change drives home just how much plants shape their own environments, and shape us.  Metropolis’ form alludes to a city skyline, further connecting the ecological and urban systems that tend to be considered as separate.

The Environmental Performance Agency (EPA) is a new artist collective named in response to the proposed defunding of the U.S. Environmental Protection Agency. Deploying yet subverting the trope of a government bureaucracy, the group engages in a variety of practices centered on plant/human relationships, with urban weeds as mentors, collaborators, and stewards.

The artists in Anthrobotanical help us to see plants more clearly, and more in connection with ourselves.  Scientists have discovered the mechanisms by which stands of trees merge their roots to share nutrients and resources,  to modulate and protect against extreme weather conditions –the community becomes the priority over individual competition.  We may do well to remember the extent to which our own roots are tied up with plants.

Please join us to celebrate the opening of Anthrobotanical with a reception on September 7th at 6 p.m. Enjoy light refreshments in the gallery and a guided tour of the exhibition. Anthrobotanical  will be on view through December 9th.

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Redefining School

by Nicole Brin, Assistant Director of Early Childhood Education

Preface: The past 7 years teaching young children have taught me more about myself, our education system, and human nature as a whole than I could ever have imagined when starting out. The most recent 4 years spent teaching with the Schuylkill Center Nature Preschool have broadened my views of what is possible in the world of education and led me to the next step in my professional journey. As I move out of the classroom and into the role of Assistant Director of Early Childhood Education, I hope to learn, share, and advocate as much as I can for progressive, “out of the box” education. Demonstrating that quality learning can happen in a variety of different ways.

As many have said before – in order to build a better future society that so many people desperately want, we must start with what we are teaching our children.

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I was good at school. In fact, I might even go as far as to say I was an ideal student. I sat quietly, paid attention, and spoke when I had the answer to the question being asked. I did my homework and tested pretty well. My grades showed that I was a hard worker who stayed out of trouble. It seems unlikely that many of my teachers would remember who I was, and I’m not sure I remember all of their names either.

Now let’s think about this in a slightly different way…

I was good at “school.” In fact, I might even go as far as to say I fit the mold perfectly. I understood that adults knew more than me, tried hard to comprehend everything, and didn’t mind keeping most of my thoughts in my head. I had limited free time and was able to memorize and repeat the information deemed important.  My personal identity was not yet developed. It seems that my teachers prepared me with the work ethic and compliance needed to succeed later in life.

This is not entirely a bad thing…

I learned to read quite well, write intelligently, and do enough math to get by day-to-day. I was aware of the many uneducated in our world and knew that I was fortunate to receive the education that I did. I was and continue to be, thankful.

However, shortly after finishing my 17th year of formal schooling, I was amidst a personal crisis. Feeling rather stagnant, I was lacking true passion. I was unsure how I fit into the adult world and was struggling to find a career that was a good match. I was educated by modern society’s standards, but I wasn’t truly happy.

Little by little change is coming. I work to understand more about who I am as a person and what parts of this incredible world interest me. This is still ongoing, but my overall happiness is a direct testament to its success. And so, I began thinking; What if we could get today’s children to this place a little quicker? How could this benefit the wellbeing of society?

What if today’s education looked a bit more like this…

discovery_nb_4-21-16I am good at learning. In fact, I might even go as far as to say it is an ongoing discovery process. I figure things out, consider many different perspectives, and question everything while looking deeply into why. I’m finding my passion and sharing it with others. I am going to make the world better because of it. It seems that embodying these qualities in pursuit of knowledge may be one of the truest keys to life.

A playground for artists, Part I

By Christina Catanese, Director of Environmental Art

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Part of the Schuylkill Center’s mission is to use our forests and fields as a living laboratory; for the art program, that means that we provide opportunities for artists to use our site as an place for experimentation in their artistic practice – which can some times look and feel a lot like play.

In fall 2010, the Schuylkill Center presented an exhibition called Ground Play in partnership with the Nexus Foundation for Today’s Art.

In Ground Play, The Schuylkill Center asked six artists (Susan Abrams, Nick Cassway, Jebney Lewis, Michael McDermott, Leah Reynolds, and Jennie Thwing) from the former co-op to respond to the history and physical space of its Second Site (Brolo Hill Farm) in a show from September 19th – November 28th, 2010.

Second Site, known historically as Brolo Hill Farm, was at one time an active farmstead, and includes an 18th-century farm house, barn, and remnants of a plowed field once used to grow feed hay for livestock. For the show Ground Play, Nexus artists considered both the agricultural and cultural conditions that might have existed on the site when the farm was active, and examined through their installations the implications of those dynamics in today’s environmental climate.

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For Light & Paper, Susan Abrams installed large plant photographs in the windows of the abandoned farmhouse at Brolo Farm.  The fourteen photographs mounted in the boarded up farmhouse windows focused on small and often overlooked aspects of the Brolo Hill Farm site and play with scale by making the images much larger than life.  The photographs were in sharp relief to the more abstract pulp-painted handmade paper works she also installed, which not only interpreted the site but also incorporated materials gathered there.  

Abrams used natural materials found at Second Site as subjects in the photographs and as ingredients in her handmade paper.  The paper works will weathered and changed over the course of the exhibition adding nature as an ongoing component to the art. She approached this singular environment by examining many of the small details, often unnoticed, yet essential to the landscape, then enlarging them to a human scale, inhabiting the house, as they do the Schuylkill Center’s site.

Leah Reynolds presented The Combustibility of Hay and Farmer’s Lung, a large work hung on the side of the old barn at Brolo Farm. The title and imagery refered to the fungus “Aspergillus furnigatus” which grows in baled hay and may cause it to spontaneously ignite (the Brolo Farm chiefly produced hay).

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In general, fungi are crucial to the recycling of nutrients within ecosystems because they break down organic matter (they form networks connected by tubular branches called hyphae).  This particular fungus may also cause a disease known as “Farmer’s Lung” when the mold spores that it produces are inhaled in an enclosed area such as a barn.  Reynolds’ piece covered the face of the Second Site barn with acrylic-coated fabric, giving the impression that it has been inundated with a large and virulent fungus.  Reynolds playfully tackled this topic with bright colors, transforming the barn into a giant art object. Editor’s note: Reynolds’ work is also on view as part of our summer 2017 exhibition, Making in Place, on view through August 12!

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Nick Cassway’s In the Woods responded to Brolo Farm with a group portrait series created by computer cut reflective vinyl.  The title refers to being dislocated, either physically or psychologically; feeling out of your element, vulnerable, over your head.  The 36 drawings are separated into 3 “acts”: the enticement, the partaking, and the repercussion.  Collectively, these images were meant to form and emotional tapestry; there is no singular narrative thread.  The pieces used the language of road signage – the shapes, stature, and materials – to literally become “warning signs” scattered throughout the landscape.  The drawings were made using computer cut black reflective vinyl (traffic engineering film) mounted on matte black painted aluminum panels and for maximum effect were intended to be seen at night via flashlight.

Editor’s note: Images from Ground Play were also featured in our wall calendar for October – stay tuned for a blog post in early October covering the other three artists in this show!

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Naturaleza por dentro

Por: Eduardo Dueñas, Lead Environmental Educator | For an English version of this blog post, see here.

Siempre me encantaron los olores, colores y sabores de los dias. Yo era un nino inquieto que le gustaba levantar piedras en el patio de mi casa para ver que sorpresa me esperaba. Ese mismo nino que corria afuera cada vez que llovia para poder oler la tierra mojada.

Un nino que durante los partido de futbol le gustaba chupar pedazos de cesped y tirar piedras al rio.

Desde muy temprana edad me interesaron las plantas y los animales, gustos que me llevaron a explorar muchos lugares y conocer personas increibles.

Despues de estudiar sobre los procesos de la vida, no me quedaron dudas que la naturaleza hay que respetarla y llevarla por dentro.

Es imperativo para el bienestar de todos que los jovenes crezcan sin barreras fisicas o mentales sobre la naturaleza. Asi se convertiran en sus protectores para siempre.

Durante el transcurso de mi maestria pude estudiar a fondo las repercusiones de las acciones humanas sobre la naturaleza, dejando en claro que nuestro estilo de vida no solo destruye nuestra salud sino tambien todo lo importante que nos rodea.

Es por eso que en mi tesis final plasme la necesidad de replantear la forma de como aprendemos y de como percibimos nuetro entorno.

La educacion por ende sera la unica esperanza para cambiar el mundo y poder dejar un verdadero legado para las generaciones futuras.

The Schuylkill Center for Environmental Education es una organizacion pionera con mas de 50 años de experiencia en la porteccion y conservacion ambiental.

Me siento feliz de trabajar en un lugar como The Schuylkill Center donde se comparten y desarrollan muchas ideas sobre la comprencion y proteccion de nuestro medio ambiente. Los programas incluyen jovenes y adultos de diferentes edades, procedencias, razgos etnicos y niveles educativos.

Mi oficina es en el bosque con los ninos donde ellos juegan y exploran libremente. Durante algunas caminatas dibujamos, recolectamos plantas, hojas, semillas, raicez y hacemos te de algunas de ellas, otras veces arte o  escribimos  observaciones en su hojas de trabajo. Me gusta sentir que soy bienvenido en este lugar y ver en mis estudiantes el curioso niño que solia ser.

Eduardo DuenasEduardo Duenas es un Educador Ambiental que trabaja para la organizacion ambiental,The Schuylkill Center. Primero se involucró con el Centro como voluntario antes de trabajar a tiempo completo en programas educativos como; lecciones para grupos guiados en el SCEE, al igual que programas después de la escuela y programas comunitarios. Eduardo Tiene una formación en estudios ambientales, con un máster en Gestión Ambiental y Desarrollo Sostenible. También tiene experiencia como maestro de aula y le encanta trabajar con niños de todas las edades.

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Nature from Within | Naturaleza por dentro

By Eduardo Dueñas, Lead Environmental Educator | Para una versión en Español de este post, por favor ver aquí. 

For as long as I can remember, I have always loved the scents, colors, and surprises of each day.  I was a curious child who always liked to pick up rocks in the yard of my house to see what surprise awaited me underneath- a colorful beetle, a squirmy worm, or a family of ants. That same curiosity drove me to run outside everytime it rained to feel the rain and smell wet earth.  I was the curious kid who would suck on blades of grass and throw stones into the river during a soccer game.  From a young age, I was interested in plants and animals- passions which led me to explore many new places and meet incredible people working for positive change, ecological awareness, and conservation of our fragile planet.

After studying biology, I was left with no doubt that we must respect nature and carry nature within us.

It is critical for the wellbeing of everyone that children are able to grow up without physical or mental barriers removing them from nature. For some children and communities, it can be difficult to access natural areas or to find ways to connect with nature on a daily basis.  When we help children to spend time in nature and understand the environment around them, they can become protectors and champions of our natural world.

In earning my master’s degree, I had the chance to study in depth the repercussions of human impact on nature – from unsustainable urban development to monoculture farming.  It became clear to me that many modern lifestyles impact our own health and the health of the natural world around us.  Because of this, I chose to focus my Master’s thesis on the need to readjust the way we learn about and perceive our surroundings- the natural world.  I believe that education is our strongest hope to change the world and leave a positive legacy for future generations. As Baba Dioum said “”In the end, we will conserve only what we love, we will love only what we understand, and we will understand only what we are taught.”

I feel lucky and inspired to work at a place like the Schuylkill Center, where every day we share and develop ideas about understanding and protecting our natural world. I love that our programs include children and adults of all ages, backgrounds, and ethnicities – like our after school programs with urban schools in Philadelphia, our outreach programs with Latino communities, and our family-friendly education and volunteer programs -like toad detour- for all ages.

Today, my office is the forest, where I work with children to guide them as they play and explore freely.  During hikes, we draw, collect plants, seeds, or roots to make teas, sometimes we make art, or make notes about what we see in workbooks.  It is fulfilling to me to be able to support a love of nature in my students, I see in them the curious kid I used to be.

Eduardo DuenasEduardo Duenas is an Environmental Educator at the Schuylkill Center. He first became involved with the Center as a volunteer before working full time with guided educational groups at the Schuylkill Center, after-school programs, and community outreach programs. He has a background in environmental studies, with a Master’s degree in Environmental Management and Sustainable Development.  He also has experience as a classroom teacher and loves working with children of all ages.

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Red-tailed Hawks at the Franklin Institute: The Benjamin Franklin Parkway as Wildlife Habitat

By guest contributor Christian Hunold, Associate Professor, Department of Politics, Drexel University

In the spring of 2012 I stumbled across a community of amateur naturalists who were drawn to Philadelphia’s Benjamin Franklin Parkway not by the museums or the cultural events, but by a pair of red-tailed hawks nesting on a second-story window ledge of the Franklin Institute. Grid Magazine had requested some pictures of the hawks, and so I spent one sunny afternoon in late May photographing the half-grown chicks huddled on the nest at the corner of 21st and Winter Street.

I recall feeling a little bored: where was the fun in shooting urban hawks? How could birds habituated to humans, like the city’s ubiquitous pigeons and geese, be at all interesting? And the noise and stink of the unrelenting traffic assaulting my senses from all sides made me think that Center City was the last place on Earth anyone should be asked to photograph wildlife. The only bright spot was the beautiful early evening light I had to work with: at least my images of the chicks weren’t going to be the worst anyone had ever taken, even if the awkward half downy/half feathered look they were sporting at this age did not scream “charismatic megafauna.”

fledglingsAnother year would pass before my previously separate lives as a wildlife photographer and as a scholar of environmental politics merged around the topic of urban wildlife. May had come around again, and I decided to visit the nest one afternoon. The hawks were once more raising three chicks. This time, I caught a glimpse of one of the adults trailing the Institute’s roofline along 21st Street before it was briefly obscured by the building. Moments later it cleared the roof and, set off against the golden glow of the late afternoon sandstone façade, delivered the bloody remains of a squirrel to the nest. While the other parent fed chunks of meat to the three hungry chicks, the successful hunter flew to a nearby plane tree, where it cleaned its beak and talons.

Now this was not boring! On subsequent outings I got to know the hawks as well as some of the people who watched them. I knew the Franklin Institute’s online “nest cam” had attracted a popular following around the world. But I did not at first appreciate the extent to which the hawks’ travels through the city were being monitored on the ground. The hawk watchers – middle-aged, more women than men – were not so much bird watchers as dyed-in-the-wool hawk fans, intimately familiar with the birds’ daily habits and life histories. I learned they had named the female bird “Mom” and the male “T2,” short for “Tiercel 2” (he was the female’s second mate since the hawks had nested at the Franklin Institute.) When the chicks fledged in June I was there with my camera to document their early forays to nearby trees, buildings, and monuments. I’d gotten hooked.T2_Hunold Continue reading

Naturalist’s Notebook: The Missing Sponge

By Andrew Kirkpatrick, Manager of Land Stewardship

If you take a walk along Smith Run, coming up Ravine Loop below Penn’s Native Acres, the hillsides where the beeches, oaks and maples grow show signs of distress.  The structural roots of the trees are visible at the soil line when they should be tucked away cozily wrapped in the warm blanket of leaf litter and organic rich soil.  Instead, because of exotic invasive earthworms, which can be observed by scraping away the thin layer of leaves on the ground, the roots are exposed and left to fend for themselves in all of the elements; freezing winter winds, driving rains, and blazing sun.  If you look up, the impact on the trees is apparent.  Bare branches and diminished canopy reveal their stresses.  The trees are dying.  

In healthy, undisturbed forest soil, we would discover a universe of fungus, microorganisms, bacteria, and insects thriving. All of these elements facilitate the healthy growth and development of plant roots. The vast root mat matrix of the organic horizon (the top layer of healthy soil) in the forest acts like a gigantic sponge that collects water when it rains and holds it in storage for trees to use in the drier months of the year.  

However, in highly disturbed areas like the Schuylkill Center, the organic horizon of the soil is absent. Soil horizon is a technical term for the classification of the cake-like layers of soil.  The organic horizon is missing here because hundreds of years of agricultural use have long since removed the original rich soil and left mostly thin, mineral soil at the top of the profile.  In fact, parts of our property were in farmland almost until the Center’s founding in 1965. The forest has not been able to redevelop the O horizon as it might have otherwise, largely due to the activity of invasive earthworms.

photo by Julia Aguilar

photo by Julia Aguilar

Invasive earthworm and castings

Invasive earthworm and castings

The invasive earthworms are much larger than our native ones, tunnel deeper into the earth and voraciously devour the leaf litter that would accumulate annually in the fall, break down over time to replenish the soil, and rebuild the O horizon.  So what is left is a loose accumulation of worm castings on a destabilized base that washes away into our streams every time it rains, carrying many nutrients with them.  And when the dry times of the year arrive, the trees have no reserve of nutrients to draw upon.  Instead our forest is stressed and vulnerable to attack from pests and diseases that it would otherwise be able to fend off.  

Planting Fox Glen_5-20-17 (10)20170516_115508We can address these problems by improving the soil and providing the roots of trees with a healthy environment to grow and develop.  In our Fox Glen restoration site, as we planted new trees we covered the ground around them with wood chips to help the roots retain moisture.  The wood chips will break down over time and add to the organic content of the soil.  

If we want our forest at the Schuylkill Center to survive climate change and the increasing stresses that come from an urban environment, we must help it to be as resilient as possible by replacing the missing sponge.

About the author

photo by Heather FowlerAndrew has a master’s degree in landscape architecture and ecological restoration from Temple University.  He hiked the Appalachian Trail from Georgia to Maine in 2005-2006.

Photo by Heather Fowler, WHYY

An excerpt from this piece was published in our summer newsletter in June 2017.

(Un)Natural Perspectives

By Christina Catanese, Director of Environmental Art

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Works were exported from the studio and given a new life outside for Out of Bounds, a show presented in collaboration with The Center for Emerging Visual Artists in 2012. From June to September that year, work was placed against the backdrop in which it was inspired by – the natural world. Some works were recreated and recontextualized, while others played with the natural elements, giving the viewer a new perspective on the familiar landscape.

Curated jointly by the Schuylkill Center’s then-Director of Environmental Art, Jenny Laden, and CFEVA’s then-Director of Career Development, Amie Potsic, Out of Bounds renewed a partnership between the organizations that continues today.

The exhibition featured seven fellows and alumni of CFEVA’s Career Development Program, a 2-year fellowship for artists.

Caleb Nussear played with mirrors, layering the visual experience of the woods.

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Susan Benarcik transformed wire hangers into large dewdrop like sculptures that hung near our Visitor Center.  

Editor’s note: artist Oki Fukunaga also utilized hangers in his sculptures as part of our summer 2017 exhibition, Making in Place, on view now!

Ana B. Hernandez’s fabric sculptures added a bold pop of color while suggesting fungal growth on decaying logs.

Brooke Hine’s white anemone-like ceramic forms enlivened tree stumps more subtly.

Mami Kato’s work was installed in our Fire Pond, and was inevitably surrounded by duckweed, a floating aquatic plant.

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Scott Pellnat’s giant boat gave the feeling of being trapped in the woods, far from any navigable waters.

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Darla Jackson’s “Birthday Party” enlivened our indoor gallery space, as a way to welcome visitors and mark the 25th anniversary celebration of the Schuylkill Center’s Wildlife Rehabilitation Clinic.

Out of Bounds allowed us to play with the boundaries of the natural & “un”natural by seeing familiar forms recontextualized to suit various environments both in & outdoors, sometimes using synthetic materials to imitate forms found in the natural environment.