Downeast Audubon’s director, Leslie Clapp gave a tour of her extensive gardens to show ways that we may support wildlife in our yards, from the ground up to the canopy.
Grow less lawn.
See what you have by growing out your lawn, and work with it.
Plant a variety of plant species with a succession of bloom and fruit time.
Layering: think about planting layers of perennials, shrubs trees and a canopy.
Keep dead trees if they are in a safe place to stand.
Keep woody trimmings and use them by building wood and brush piles to provide cover for small shy birds; you can make them beautiful and attract sparrows finches and cardinals.
Growing thickets like rose or forsythia attract catbirds
Use mulch! Maintains moisture in the ground, holds back weeds and it breaks down every year. Nothing organic leaves the property. If the material is diseased or weedy, it goes to the back.
Put up windbreaks, especially in winter around feeders.
Provide birdhouses and feeders.
Keep clean water available, especially in drought conditions. This can be done in birdbaths or as a recirculating stream.
Plant native plants and maintain an open field meadow of perennials. Wildlife has evolved with native plants. Some people complain about native plants getting ‘buggy’, but this is good because the bugs feed the birds!
Make and use compost
Leave plants standing through the winter. Stop deadheading in mid September at the latest so the plants can produce seed to feed the birds.
Keep your cats indoors.
Mowing is necessary to keep an open field in Maine. Don’t mow in the summer! It takes food away from wildlife. Mow late, in November and alternate parts of the meadow so that there are sections left standing. Goldenrod gauls, for example, are good winter food for woodpeckers.
The first season at the SEED barn involved a lot of work taking down invasive plants and folding them back into the earth in a Hugelkultur fashion. Mid way through the season, the Blue Hill and Brooklin Garden Clubs visited the grounds in a demonstration on how we are using available materials to build Hugelkultures. Conversation on why it is important to address invasive plants ensued since many invasives are initially introduced as decorative garden plants. Bringing attention to the fact that many nurseries, especially in the big box stores, continue to sell invasive plants is important to know for avid gardeners. Below, we see an example of a Hugelkultur bed in the second season as new plants become established. An introduction to the SEED Library offered members new ideas on what native plants could potentially be worked into the landscape. The tour ended with a description of how to tie in an aquaponic system into the small scale terracing approach developed by grandpa in the new greenhouse.
Shinrin Yoku, or ‘forest bathing’ is a Japanese practice of maintaining well being by seeking peaceful restoration in the forest. To help gain a sense of the ecologies in our new home in Downeast Maine, we joined Tara Hollander from the Maine chapter of the Sierra Club on a series of hikes to simply absorb the Maritime forests in Acadia National Park with all of our senses. Grandpa wrote a series of haiku inspired by the walks.
Invited to be a part of Neo Rio 2016: Pollinators, Plants & People, the Debris Project was integrated into a part of the installation called ADRIFT, which looked at the chemical impacts on pollinators. Neo Rio is an annual arts event hosted by LEAP (Land, Environment & Art of Place) at the Montoso campground in the Wild Rivers Recreation Area in the Rio Grande del Norte National Monument. LEAP provides opportunities to deepen our appreciation and understanding of and relationship to our environments and our human and non-human neighbors; to increase our commitment to protecting these places and relationships and fostering creative responses and expressions of them in contemporary art and culture.
ADRIFT was installed in the man-made structure of the campsite, which had a view of the Chevron Questa mine. Because mining releases substantial chemicals into watersheds, and chemical body burdens are intimately tied to plastic pollution, this setting was ideal to present the chemical impacts on our watersheds. Included in the installation were post industrial western landscapes of oil refineries in Commerce City & Sinclair Wyoming, as well as an aerial view of the DOW chemical plant in Texas. DEBRIS tiles were hung vertically as flags to withstand the strong winds that whip across the top of the Rio Grande gorge. The images were representations of native pollinating water insects created with Oceans First in Boulder, Colorado during a spring session earlier in the year. Weighting down the flags was a plastic toy dinosaur; a reminder that the source of endocrine disrupting chemicals is fossil fuels.
The opening plenary for the 4th International Marine Conservation Congress was given by Max Liboiron, who practices ‘Civic Science’ where she works for the public good, throwing in a feminist slant for good measure. She values accessibility and sharing, equity building and justice. She is moved by the people and animals who dwell in her homeland of Newfoundland and seeks justice for the communities who are disproportionately impacted by plastic pollution and the chemical body burdens that are intimately tied to the issue. She demonstrated a deep concern for indigenous communities as her voice wavered during her description of how they discovered through global media that endocrine disrupting chemicals in Inuit mothers’ breast milk was off the charts. Because of the way chemicals are stored in fat, they are biomagnified through the marine food web, and reach the highest concentration in animals who carry a lot of fat. Because Native populations here in the far north traditionally consume fatty meat from these cold waters, the impact from diet has been severe. She thinks it unfair that they learned of their situation through the global news networks instead of those who were leading the study, and described the fallout as there was no one there to guide them through options. Mothers stopped breastfeeding their babies, and introduced formula which has demonstrated long term health impacts of weakening immune systems. The corporate food source also introduces a neo-colonial framework which severs traditional roots. This situation inspires her to address the unevenness of the scientific field and informs her practice. She talked about ‘Ethnographic refusal’ where communities like this could respond on their own terms. She doesn’t feel that the academic world has a right to everything. And it became an important part of her collaborative practice to arrive at decisions on who gets access to findings, not as censorship, but as a way for a community of people who are directly impacted by the information at hand to assess their own options.
In developing her methodology, Ms Liboiron feels it is vital to state clear intentions with collaborators and to the public. For collaborators, she designs accessible research tools for target communities, namely the outport fishermen who are largely low income, but offer tremendous insight through their own traditional fishing practice. Her design principals are open source, can be built by participants for less than $50 from accessible materials found in local hardware stores, using as little plastic as possible. They should be hackable and repairable so that the fishermen can easily gather material in the field. She acts as a facilitator, following the concerns expressed by outport communities, guided by what they feel is important. She invites them to participate through gathering material for a study, then analyzing it as well, placing a lot of trust in the stewards of this place. Her methods represent an inspiring approach to citizen activated science.
Because she works with plastic pollution, she asked that the fishermen could save the guts of their cleaned fish so that they could analyze it for plastic within. Her heart sank as she found contamination in cod, the ‘heartbeat of Newfoundland’, referencing the collapse of the codfish industry that gutted the economy here.
Then she spoke of how to implement the societal changes that are necessary to address the broad issues of plastic pollution. We can raise awareness through information and education, instilling values, inspiring DOers…but then there is a block by infrastructure before we arrive at true behavior change. How can we truly avoid plastic if all of the food available is wrapped in it? She suggested targeting change makers over the masses, and publishing articles in the mainstream media instead of only academic journals. She lauded the efforts of Chelsea Rochman, who has effectively influenced policy change in the US in regards to banning microplastics as an ingredient in personal care products. Her words offered a path to effect change in the overarching structures that define our world today is essential to truly having an impact on plastic pollution.
Title: Seed Carrier (detail)
Medium: Italian Marble
Size: 7.5 x 30 x 5 inches
Seeds are dispersed in so many unique ways. The seeds themselves have built in mechanisms for moving about: jumping-jack bounces, sticky bits to attach to clothing, fur, shoes of passers-by etc…But my intent in submitting the sculpture Seed Carrier is to show another way – by boat/ship. The sculpture represents an empty wisteria pod which is floating on water, like a boat on the ocean.
The marble bed for the seed is empty of the wisteria seed, but I filled it with other (real) seeds to indicate how seeds for food are transported, country to country and continent to continent. Sometimes those seeds meant for food (rice, wheat, and the occasional wild flower) become embedded in the earth where they land and are able to reproduce……that is, if they haven’t come in contact with the New and Improved Monsanto Monster – RoundUp Ready-Xtend!
In the Air, A Seed Cloud (detail)
handmade cotton paper, watercolor, thread, sunflower seeds
As a gardener, I often look to the sky. I wonder – and always hope – that water will come on its own; I wonder and hope that little seeds might be drifting in the air and landing in my yard. Air, water and seeds: a unique relationship. I built In the Air thinking about this relationship.
Exploring the idea of a shared table, Viviane Le Courtois contributed a series of drawings that were produced during her Saturday morning coffee gatherings at Processus, a community art space she co-founded in Denver. Each week she provided stone fruit to share with participants and asked them to place the pits on a piece of paper after they had eaten the flesh from around the seeds. By the end of the session, the paper was stained with the remnants of the particular fruit. Once dry, she drew the seeds of that fruit amidst the stains to create a sort of collaborative work that was literally produced around a shared table.
Extending the concept beyond the human table, Viviane also looked at the way we share with urban wildlife. Collecting found seeds (and a few plastic cups) from the compost pile in Rian Kerrane’s backyard, she noticed they had been gnawed and nibbled by squirrels and mice and other creatures who frequent our yards. She has started to assemble them with the intention of transforming them into small sculptures that reflect how our ‘shared table’ may reach beyond the ones we frequent within our domestic spaces.
House Home: Digital video, 3min. 2016
House Home (solo burn): Digital photograph on metal, 20” H x 16” W, 2016
House Home (Remnant from Performance on the Prairie, Hays, Kansas, 2012): Wood, corn, glue, string, mirror, 2016
The Dairy Arts Center, Boulder, Colorado
I believe that art and education are uniquely associated and recognize the engagement of visual and verbal communication as integral to the art making process entailing the social practice of sculpture. Sculpture and in particular foundry practice thrills me. Foundry (fire and molten metal) reaches all audiences in its primal and self-explanatory way. Iron casting is a shared instinctive practice and a blooming “sub-culture” that has generated the founding of the Western Cast Iron Art Alliance, an eclectic group of iron artists from across the western regions of the United States. The WCIAA, of which I am a founding member, hosted iron conferences in Denver, Colorado; Missoula, Montana; Hays, Kansas, Laramie, Wyoming, and the upcoming fifth biennial conference is scheduled in November 2016 in Scottsdale, Arizona. www.wciaa.org
The video footage documents a performance occurring at the Hays, Kansas conference. Molten iron is poured into each hollow house structure and fire allowed to consume the form. The houses are constructed from wood and corn. This work is a critique on many things but primarily uses the symbolic image of a house to examine word play between “House” and “Home.” In doing so I am critiquing personal relationships and our cultural landscape. Fire represents a spiritual cleansing as I endeavored to let go of past history along with weighty accrued detritus from twenty years of creating three-dimensional works and large-scale installations. The corn and wood panels were utilized in several prior exhibition formats before becoming house structures. One structure interestingly survived the Performance on the Prairie burn.
Artist Statement: Seed Wallpaper
Installation dimensions: 17’ H x 6’ W
The Dairy Arts Center, Boulder, Colorado
Materials: Various seeds, honey, spices.
In a politically charged society where traditions continue to metamorphose I investigate the female position in domestic and social situations. I consider how my reality is affected by environment and experience. Art making externalizes my personal experience. My perspective changes when immersion in planning and creation is transfigured and idea becomes image removed from my person. Fused together within a work are new questions of memory, identity and fact that contribute to my research.
This work, Seed Wallpaper, stems from my respect and fascination for wallpaper. William Morris hand-printed wallpapers to peeling remnants preserved in homes from the 1800’s are all stimulus for my imagery. Pattern is orderly and obsessive, decorative and subject to fashion. Often insanely dominant in a room I believe the role of décor in the home to be symbolic witness to the human condition. On one hand we have our instincts, on the other the social constructs we apply to control. Nature, the act of being natural, the fertility, fecundity of the earth is symbolized in the way we decorate our homes with motifs and images of the exterior, the outdoors. It is one of the ways in which we impose our own dictums on our surrounds, a subject that intrigues me. I believe in the importance of critiquing the verisimilitude and aesthetic we incorporate in our homes, our domestic reconstructions and artificial simulations of nature.
Seed Wallpaper is a reiteration of an installation at RedLine that occurred in 2010 in conjunction with the Biennial of The Americas. The exhibition, Artists Footprints, curated by Viviane Le Courtois, entrusted each participant with the responsibility of generating an artwork with a sustainable footprint. I enjoy these wallpapers (Seed & Yellow) for their direct association to the kitchen and domestic chores such as cleaning and cooking. Also the versatile use of non-traditional materials such as spices, seeds, and honey speaks to the varied use of media in my work which ranges from cast iron to found objects and is decidedly non-discriminatory. Wallpaper encapsulates memories and nuances of the home, and as in Charlotte Perkins Gilman’s authorship of The Yellow Wallpaper (1892), is also indicative of cerebral mayhem and domestic imbalances that are hidden behind the closed doors of the home.