WW14: Root System

Cuerpo-Tierra or Earth-Body is an exploration of migration, memory, identity, and community as mediated and nurtured by the diverse geographies that hold us. Humans are not ethereal, floating beings; our souls, minds, and bodies are intimately and inextricably connected to the Earth. Just like our plant kin, we are intertwined with the land beneath us, no matter how often we seem to forget this simple yet powerful truth. Immigrant women, specifically, carry the land-based knowledge of our ancestors and have the potential to re-root and flourish in our new home. Our brown bodies may be rejected by a political system, but Mother Earth welcomes us wherever we arrive, as long as we take the time to recognize her and remember our ancestral ways.

My proposal is to represent a woman who travels below and above the ground, living between two cultures, and carrying her memories like a patchwork of keepsakes. Evident in her rooted body are pieces of the geographies, people, and experiences that create who she is – a symbiosis with the potential to dream and embody a more benevolent future for all women and Mother Earth.

My proposal for the Wildflower Sculpture Park Residency Program, Root System, is to create a modular ceramic sculpture depicting the networks of life within South Mountain Reservation. Exploring specific species that live and keep the reservation’s ecosystem thriving. There is a very delicate balance in nature, if one or more species is removed from the equation the ecosystem at large suffers.  This work will showcase that by having each individual piece that represents a species not be able to stand stably on its own. Once all the pieces are combined the entire sculpture stands solid and stable.  

I have been exploring nature and specifically flora and fauna most of my artistic career; drawing and sculpting animals from all over the world. Recently I have been narrowing my focus to my own backyard. Despite New Jersey being the most densely populated U.S. State, it contains a vast number of diverse ecosystems within its borders. With South Mountain Reservation being right in my backyard it seems the perfect place to begin this new series of work. Not only do I want to highlight the diverse species living amongst us, I want to make sure everyone understands the delicate balance needed for them and their environment to thrive.

General Design of the modular sculpture, consisting of different size cylinders.  That way I can add the surface decoration that will represent the different species in South Mountain Reservation.

Surface decoration options, carving clay away  or adding 3-D lines to create the imagery.

Root and Seed is a two part sculptural installation that explores root systems as both visible structures and as metaphors for evolving and unseen connections. The work will initially present as two distinct forms. The first is a vertical bark like form that climbs and wraps to the bottom of an existing tree while extending into a root like form across the ground. The second an Ovoid form that references a fruit or an egg, which rests nearby, just barely in contact with the roots.

The root and bark structure is constructed from laser cut wood with hand drawn patterns that will be etched onto the surface. The form will appear to trace an imagined network made visible above ground, mapping hidden connections within the preserve. The second form, the fruit/egg  sculpture, will contain an internal laser cut armature patterned with the same hand drawn design as the root and bark. That internal structure will be encased in a temporary outer layer composed of handmade paper, seeds, suet and bees wax. This skin is designed to gradually be consumed by wildlife and weather which allows it to transform over time. As this outer layer erodes, the inner structure will be revealed, visually linking it to the root sculpture.

I would like to use this opportunity and this installation as a way to think about migration and belonging. While the two forms seem separate, they are structurally connected, suggesting the ties to a home that are fundamental even when not visible. As the outer layer of the fruit breaks down this connection becomes clearer. This transformation is meant to show how we adapt to new environments while still carrying histories within.

After three attempts to create Cycle No. 2, I’m excited to share that I finally succeeded in bringing the piece to life! It’s been a challenging yet rewarding process, testing my patience and creativity as I refined the form and structure. The final piece, shown in the attached photo, captures the organic flow I envisioned and marks a meaningful milestone in my artistic journey. I’m thrilled to continue developing this series and exploring the cycles of bloom.

Update on progress:

After our first couple of meetings where I presented my proposal and my first pass of the project to the group, I received a lot of helpful feedback. One of the comments about an “architectural lens” hit home, I re-framed my idea of using Willie Cole’s Sunflower as a focal point and dismissed my idea of superimposing a painting frame onto nature. As a result, I built a model with a circular opening (see the images).

When we looked through the model on-site, it still felt wrong in that it mimicked the sculpture’s shape rather than enhanced the landscape. The model didn’t do justice to the growth of the wildflowers, landscape and sequence of time. At our initial visit to the park, the meadow had recently been mowed and with each visit we have witnessed the awe-inspiring growth of the wildflowers.

At the time of this post, I am exploring how the layers of translucent material will reflect the growth over time in conjunction with Doris’ comment regarding the idea of a fictitious and narrative element as based on my initial sketch. I have also begun to play with ink drawings on various materials ranging from vellum to mylar/acetate to plexiglass. Lastly, I have redesigned my plans and have built a life size model in foam core to bring to the site to confirm dimensions and determine location.

Screens in model