EcoCraft: Nurturing Sustainability in Artistic Practice

I've embarked on a deliberate path to minimize waste and ecological impact while fostering creativity and innovation. This commitment to sustainability was catalyzed during my participation in an artist residency PADA in 2022, where I began exploring the possibilities of creating art from waste materials.

At the residency, I experimented with various techniques to reduce waste in my artistic process. For instance, I repurposed discarded items such as wood and canvas left behind by previous residents. I also adopted environmentally-friendly mark making practices such as creating natural pigments for dyeing fabrics and utilizing wood burning techniques that minimized the need for additional materials.

Building upon these principles during my MA studies, I further refined my sustainable approach, particularly within the realm of woodworking. Spending significant time in the woodwork studio, I primarily worked with discarded furniture, transforming overlooked pieces into new works of art. Embracing a fusion of craft and art, I deliberately employed handheld tools instead of machinery, prioritizing a tactile and sustainable approach to woodworking.

My pursuit of a sustainable artistic practice has been characterized by a continuous exploration of innovative techniques and materials, guided by a conscientious effort to minimize waste and environmental impact of my work. Through this journey, I have cultivated a practice that not only embraces sustainability but also celebrates the inherent beauty and potential of discarded materials, demonstrating the transformative power of art.

The Impact of Space on Artistic Evolution:

My experience at the PADA artist residency in 2022 shaped my artistic evolution, underscoring the pivotal role that space plays in creative expression. As a fine artist specializing in crafting exhibitions and installations inspired by the fictional stories I write, I found myself irresistibly drawn to the derelict industrial estate that housed the residency.

Inspired by the rugged landscape and the remnants of past industry strewn throughout the estate, I delved into the creation of a body of work centered around a fictional character named Bud. Born from the essence of the space itself, Bud emerged as a conduit for channeling the emotions and narratives embedded within my surroundings.

I traversed the industrial landscape with the keen eye of an urban explorer, uncovering hidden treasures amidst the refuse. Echoes of "Stig of the Dump" reverberated through my mind as I salvaged fragments of discarded furniture, shells washed ashore from the nearby beach, and wildflowers reclaiming their territory amidst the industrial decay.

Bud, portrayed as a resourceful crayon factory worker with a penchant for crafting elaborate headdresses from found objects, epitomized the spirit of ingenuity and resilience amidst desolation. His character mirrored my own creative process, as I transformed discarded waste into works of art, infusing them with newfound meaning and vitality.

In retrospect, my experience at PADA underscores the influence that space exerts on artistic evolution. Embracing the narrative potential of space allows artists to tap into a rich tapestry of experiences and emotions, fostering a deeper connection between art and its surroundings.

Ultimately, my exploration of the industrial estate and the character of Bud exemplify the dynamic interplay between space and artistic expression, highlighting the transformative potential of our physical environments on creative practice. Through this lens, we gain a deeper appreciation for the nuanced relationship between space, narrative, and artistic evolution, shaping the landscape of contemporary art.

The Impact of Craft Mentor Relations on Artistic Development

During my MA studies at Falmouth University, I devoted a significant portion of my time to the woodwork studio. Here, I not only acquired new skills but also fostered meaningful relationships with the technicians.

Through this journey, I gradually realized the influence that my interactions with the technicians had on my work. Their guidance transcended mere technical instruction; it affected the theme of my work. Song lyrics found their way into the titles of my pieces, and shared values emerged naturally. We uncovered common experiences; for example, each technician had worked with individuals facing severe learning disabilities, mirroring my own encounters with autistic children in educational settings.

It's worth noting that most of these technicians were middle-aged males, while I, a 25-year-old woman, stood in contrast. This dynamic added depth to our exchanges and enriched the mentorship experience, echoing the relational aesthetics theory proposed by Nicolas Bourriaud (1998 Bourriaud). Bourriaud emphasizes the importance of human interactions and social context in contemporary art, a notion that Ty resonates deeply with my own experience in the woodwork studio.

Craft served as a bridge, breaking down intergenerational barriers and facilitating the formation of meaningful relationships.

Rethinking Authorship: Woodwork as Collaboration

For my final essay during my MA, I focused on the idea of woodwork as collaboration. In this study, we delved into the implications of the collaborative nature of working with wood within the context of artwork creation.

Abstract:

In this study, we delve into the implications of the collaborative nature of working with wood within the context of artwork creation. By examining the history of woodworking through different cultural lenses, specifically Japanese traditions, and engaging with theorists such as Bruno Latour (b.1947), who explore the interconnectedness between human and non- human agencies we aim to broaden our perception of wood beyond the dominant Western-centric approach that shapes our understanding of its nature. Instead of seeking to master and control the material, we recognize the agency and inherent qualities of wood, allowing it to guide and inform our creative decisions as artists.

Moreover, working with salvaged wood holds particular significance in our exploration. By utilizing reclaimed or repurposed wood, we not only contribute to sustainability and waste reduction but also add an additional layer of collaboration with the material. Salvaged wood carries within it a history and a story of its own, which becomes interwoven with the artist’s vision. In this section, we delve into Tim Ingold’s (b.1948) theories on the relational aspects of materials and their engagement with the environment. This convergence of past narratives and present intentions brings forth a connection with the material and amplifies the collaborative nature of our artistic process.

In summary, by adopting a multicultural perspective that challenges the dominant Eurocentric approach and embracing salvaged wood, artists can shift their approach to woodworking from one of dominance to one of collaboration. This approach acknowledges the agency of wood, allows for a richer artistic expression, and fosters a deeper appreciation for the interconnectedness between the artist, the material, and the broader cultural and environmental contexts in which we exist. Through this collaborative mindset, we discover new possibilities and a renewed sense of respect for the craft of woodworking.