I applied for the BCSC residency because as an environmental artist the landscape is like my canvass, my material or my rehearsal stage.
In direct relation to environmental surroundings, I operate directly within an ecological system as opposed to the neutrality of a ‘blank canvas’ studio. For me, the world is a shared habitat.
Being here allows me to be in a physical relationship with the mountains, immersing myself for two weeks in this particular environment to develop a visual, physical, sensory connection. Through moving, we can reintegrate parts of our self and become a part of our environment.
I believe that the relationship with nature can induce feelings of peace and contentment, of security and coexistence within. I see humans not detached from landscapes but amidst.
I am looking outside of the window of my little cabin in Bogong village, listing to the sound of the wind and the river and the songs of the birds, writing this blog. It is peaceful.
Over the last five days, I have done several tracks and focused on my body moving in this particular environment.
Our bodies potentially provide the reference points for the perception of our surroundings. Our bodies are constantly changing and transitioning like the rest of the natural world. Our bodies are in constant response to the environment.
Living in a city or even just sheltered from our surroundings, I believe we tend to forget about this important connection.
We are almost overwhelmed with data showing a world under threat. As an artist I deal with events and situation that concern me in a performative way. Devastation of nature, abusing of natural resources and estrangement form the environment are problems that humans are facing in various degrees in all parts of the world. The very performativity of contemporary culture has done ecological damage to land and community.
It is time to re-embrace our love for and fear of the natural environment and in so doing maybe we can find deeper and more engaged ways to love and to protect the world around us?