Greene Night (running bamboo, calcium carbonate, not blue green blooms) (2022). Drilled, sewed bamboo tetrahedron, twine, stitched shells, bowl, water, green acrylic paint.  

Greene Night (running bamboo, calcium carbonate, not blue green blooms) (2022) explores ecology, landscape, memory, symbolism, and time – a nexus of energetic frequencies between materials, questioning colonial narratives mediating encounters with environment.

Developing ideas and processes from Upright Island Friend (running bamboo, paramoudras corruption, not “Deep Siberian”) (2022), I was curious about Epping Forest’s habitat, it’s myths and legends, and the toxic blooms of blue green algae growing across the water.

Epping Forest is a beautiful and ancient site. I was born in Forest Gate, the southern most portal to the sprawling woodlands. During recent trips to the forest, I became aware of the histories, myths, and legends that mediated my experiences now. I’m curious about the accessibility of such spaces, the challenges that enclosures and land ownership limiting public access pose for people who want to experience the benefits of such spaces.

Sewn shells hang from the apex of the bamboo tetrahedron suspended above poisonous blue green algae.

Myth. And tensions between the desire to encounter romanticised ideals of British indigineity, the desire to experience the benefits of nature, and the structures that mediate, exclude, and prohibit these encounters. New notions of ownership, property, and patronage, challenging traditional conventions of these notions. 



 back to Bright Dynasty (Winter 2022)