Vera Moller Reforest: Part Two, price cheap Stour Valley Arts
The exhibition Reforest at Stour Valley Arts has been transformed for Part Two (14-31 August) and relaunches today from 1-3pm with a panel discussion with previously-commissioned artists.
Phase two explores the ideas of traces, find both visible and invisible. There is a strong interplay between the artist and nature, and with a continual fight over the ownership of the landscape where the boundary between man and nature is blurred. The resulting works leave invisible and visible traces, whether they are reclaimed land works that subtly change the geological landscape or more intangible traces of the landscape represented through a scent or a written record. The first phase of Reforest (20 July – 10 Aug) explored the artists’ conceptual approach to science and technology in the forest.
Stour Valley Arts also marks its twentieth anniversary of forest commissions with the launch of two publications, Make Believe by Holly Story, and Eclipse by Edward Chell. Eclipse is published to coincide with the exhibition of Edward Chell’s new series of plant silhouette paintings in the Drawing Room, Beaney House of Art and Knowledge, Canterbury, from 22 June – 8 September.
Australian artist Holly Story (left-hand photo) undertook a residency in King’s Wood, Kent in 2011 where she created woven forms in spent plant matter. Make Believe records these works juxtaposed with photographs by Nigel Green of dens built by children throughout the forest. The book includes specially-commissioned texts by Dan Howard-Birt, Robert Macfarlane and Lucy Medhurst.
Edward Chell’s Eclipse (photo above) is an ongoing series of silhouette portrait paintings of plants found commonly in places as diverse as managed woodlands and motorway verges, throughout Britain. This artist’s book-cum-botanical guide includes 40 illustrations from Chell’s series, documenting this major body of work whilst also serving as a handy guide for amateur plant-spotters. Eclipse includes a new essay by Jenny Uglow scrutinising the history and continuing significance of the silhouette form, and an interview with Chell unpicking his obsession with plants that thrive both in conventional and unconventional landscape places.