Growing Collective Memories
(last edited: 2021)
author(s): RUUKKU Voices: Sara Ekholm Eriksson
This exposition is in progress and its share status is: visible to all.
Growing Collective Memories
Creatura
(last edited: 2020)
author(s): RUUKKU Voices: Eva Macali
This exposition is in progress and its share status is: visible to all.
The coconut palm grows a special fiber to wrap the nuts until they're ripe. After each growing cycle is over, the palm drops the fibers on the ground.
While staying in Kenya for some months in 2017 I made a research on this fiber and then crafted some hanging sculptures that express what those fibers seemed to be telling me.
Towards Revolutionary Gardening
(last edited: 2020)
author(s): RUUKKU Voices: Palimama
This exposition is in progress and its share status is: visible to all.
In this exposition I will focus in the long term environmental and community art work with the Cloud Garden that channels on the way to the eventual discoveries finally together with the Biomimetixc2. The Cloud Garden is a site-specific, minuscule, 1 square meter space beneath my studio on Harakka Island, on the front of Helsinki.
The methods the project include artistic and biological metamorphoses, and they have been implemented in performance and environmental art works.
This suggests that amalgamation of floral and faunal appearances is highly potential source for biomimicry enabling us towards true revolutionary gardening.
The Art of Befriending a Tree
(last edited: 2020)
author(s): RUUKKU Voices: Britta Olsson
This exposition is in progress and its share status is: visible to all.
A portfolio documentation of a score based laboratory project focusing on human encounters with trees. The part of the project presented here was performed within the frame work of a master programme and a free standing course at Stockholm University of the Arts: Stockholm College of Dramatic Arts / Stockholm College of Dance and Circus.
The Colors of the Leaves of Maine
(last edited: 2020)
author(s): RUUKKU Voices: Patricia Tewes
This exposition is in progress and its share status is: visible to all.
This work concerns the colors of the state of Maine where I reside part of the year. The climate of Maine is similar to southern Finland. The colors of Maine are the deep blue-green conifers covering the mountains, the clear ultramarine of the sky and the even darker ocean, the reds, oranges, and grays of the rocks, the almost day-glo green of the lichens on dark trees shining on a rainy night, and the transparent whitish gray of the fog. I have asked myself the question, if the temperature warms, no, when the temperature warms, how will this change? The vegetation will change, the forests in the far north of Maine will change from blue-green conifers to mixed forests, and the mixed forests in most of the state will become warm broadleaf forests. Forests in Maine will look more like New Jersey or Delaware, a yellow-green vs the blue green of our pines. Many of the lichens will not survive. The sea level will rise, and some of coastal Maine will be flooded. We will see migration of both plants and animals, including humans, northward as the climate shifts. It’s already starting to happen.
In my work, I use these plants to assist my human hand. The human-plant interaction in the work reflects human-plant interaction in the world. My background as a medical doctor led to my interest in the concept of plants as medicine for the mind and body. I print and paint in multiple layers on canvas or panels mixing these found plant materials, collage, and human-made marks. I am fascinated by the unique marks that can be made with these organic materials. The fact that small elements of plant matter are incorporated into my paintings adds to this fascination. I reflect on the changing colors of these plant materials as the climate warms. I try to reflect that in my work, relying on the work of scientist who create mathematical models of climate change to speculate how the colors in a place might change. My current work is a series of paintings that uses these models to show in the leaves themselves how the colors might change. The place chosen is Acadia National Park in Maine. The plan for the work is to translate this model of the leaf to other places under threat of change due to climate warming. How will the colors and vegetation change in these places as the temperature warms? In using plants in my paintings I hope to create a link between the human viewer and the plant.
Perhaps my use of plants in mark-making can help us gain a deeper understanding of our relationships to the natural world and our commonality of DNA in a world in which we are increasingly in opposition to nature.