Posts Tagged ‘trees’

The Mother Tree

Sunday, January 11th, 2015

In my many years of tree studies, I’ve accumulated a vast and varied assortment of reasons to love trees. I present you here with yet another great excuse: larger trees in a forest actually protect and nurture seedlings and young saplings.

It all begins with a complex system that involves specially evolved intermediaries called mycorrhizal fungi. Their fungal strands form an intimate bond with the tips of tree roots, and help the tree absorb water and nutrients. In return, the tree supplies the fungi with sugars. This network forms a dense mat in the top six inches of the entire forest floor, connecting all the trees in that location. Biologists have known about this root/fungus relationship for a very long time, but new research reveals even more fascinating material: the existence of Mother or Hub trees.

Niagara Escarpment Woods #8 by Janusz Wrobel

Niagara Escarpment Woods #8 by Janusz Wrobel

In a dense forest, the germination and establishment of fresh trees is a challenge: larger trees take up most of the nutrients, and the canopy prevents penetration of light to the forest floor. Ground-level surfaces tend to be inhospitable, and soil quality is poor. What is a seedling to do? What else: it calls on its Mother. In effect, once a seed begins to germinate, it awakens components of the fungal mat that quickly colonize its roots. The seedling thus becomes linked with a large pool of nutrients that connects it to larger, older specimens that have access to light. The more shaded the area, the more resources a seedling can access.

Saplings form strong fungal connections with large, mature trees.

Saplings form strong fungal connections with large, mature trees. Image by Prof Suzanne Simard.

When a mature tree declines and begins to die, she sends her resources back into the network, and it is time for the younger trees to begin nurturing their own young charges.

Fallen by Janusz Wrobel Shows a mature tree, fallen and being absorbed back into the network

Fallen by Janusz Wrobel
Shows a mature tree, fallen and being absorbed back into the network

In even more recent studies, biologists are discovering that a mother tree actually favours her own offspring. At one of the research sites I visited in BC, Amanda Asay, PhD (Does kin selection play a facilitative role in regeneration of forests under climate stress?) was monitoring the survival rate of related and unrelated seedlings. How was this done? Several mature trees were harvested of their seeds. Around each tree was embedded a series of marked mesh bags filled with local soil, into which were planted either the tree’s own seeds, or those of others. Over the next few months, if bears and other wildlife hadn’t harvested them first, a tally of survivors was taken.

Here are a couple of those bags. They are 8x5" in size and allow water and roots to pass through.

Here are a couple of those mesh bags. They are 8×5″ in size and allow fungi and roots to pass through.

At the site, I had the opportunity to see how scientific research really happens. In the muddy trenches of boreal forest, after months of exposure to climate, pests, weed growth and just plain attrition, those little mesh bags were a challenge to find. But yes! I found one! Then another, not too far away!… soon we were expert at detecting the minutest bit of white mesh buried in forest scruff. This and other adventures renewed my deep respect for biologists working in the field.

Here we are visiting Amanda's research site, looking for tiny mesh bags of seedlings. Amanda is wearing the red jacket.

Here we are visiting Amanda’s research site, looking for tiny mesh bags of seedlings. Amanda is wearing the red jacket.

Of course, I love the idea that trees might be altruistic: it certainly captures the imagination. However, biologists are quick to share the truth: the evolution of the mycorrhizal relationship has much more to do with the health and survival of species and communities, than what we humans identify as true altruism. The chemistry behind these processes is well documented. Never mind! Scientific explanations are much richer and more engaging than any romantic notion I can come up with – eventually it all connects and makes its own wild beauty. Science is the real magic: as long as we have inquiring minds, our knowledge and appreciation of the world will continue to grow, and so will our sources of inspiration.

LifeLines  2015  30x10" Saplings thriving with the support of a mature tree in the forest. The fungal connections are just visible at the roots.

LifeLines 2015 30×10″  Lorraine Roy
Saplings thriving with the support of a mature tree in the forest. The fungal connections are just visible at the roots.

Going somewhere? Start with a Map!

Friday, January 2nd, 2015

Today is the second day of January 2015. Nearly a full year ago, I received a grant for a special project, mentioned in this blog. Much has happened since, and in the next few posts I am going to show you some of the developments.

Just to recap: my new textile art project is inspired by recent scientific research on how trees share resources and communicate through their roots, with the help of mycorrhizal fungi. This amazing root/fungus system is important for most plants on the planet, but trees are especially dependent on this symbiotic relationship. In fact, without these fungi, trees would quickly die of thirst and starvation. Moreover, fungi not only help plants draw water, they also facilitate the transfer of nutrients amongst trees, and, even more amazingly, they actually deliver messages, even to other species (more about this later). It’s fascinating stuff, and the more I find out about it, the more inspiring it becomes.

The mycorrhizal network http://www.botanicalgarden.ubc.ca/potd/2010/03/mycorrhizal_networks.php

The mycorrhizal network

I am treating this project as a journey. It began the moment I first saw Prof. Suzanne Simard’s short video about her research. The ideas presented in this talk so aroused my curiosity that I couldn’t get it off my mind: MUST do something with this! With OAC grant in hand (or, more specifically, in bank) I could proceed with my itinerary.

How does one begin a journey? Why, with a map of course! Mine is a unique map, the product of several years of research by Prof Simard and associates. Using multi-locus microsatellite DNA analysis, they studied how two fungal species connected a group of Douglas Fir in a 30 m section of forest. The green fuzzy dots represent trees, and the lines connecting them are the fungal paths. Even without much technical knowledge, it’s easy to see that the system is extensive and intricately woven. One tree was found to connect to 47 other trees (see arrow)! I wanted to see this for myself.

From: Architecture of the Wood Wide Web New Phytologist (2010) 185: 543–553 www.newphytologist.org Reprinted with permission of the authors.

From: Architecture of the Wood Wide Web New Phytologist (2010) 185: 543–553 www.newphytologist.org Reprinted with permission of the authors.

So, in May, I headed out to BC to meet Prof Simard and to spend four days with her and her generous grad students. Wielding a shovel and gear, we drove through the mountains to locate and examine some of their research sites.

Us and 'Rob Ford', our trusty SUV.

Us and ‘Rob Ford’, our trusty SUV. Julia, Prof Simard, Deon, me and Melissa.

It was an eye-opening experience – far from the shelter of the cozy lab, we encountered all the elements the mountains could throw at us, except for bears and bugs who were waiting in the wings for summer.

End of May. Really.

End of May. Really.

Undaunted, we dug up some fascinating root/fungal structures.

The white fungal strands connect one set of tree roots with another.

The white fungal strands connect one set of tree roots with another.

We also spent time in the lab (more about this in a future post). When I got home I had plenty of material to ponder. For the past ten months I experimented with lots of crazy ideas and materials, came up with a plan, and in November began to approach public galleries with the proposal. In the next few blogs, I will share some of the ups and downs and images of the process. Every journey implies a destination, and mine is a touring exhibition in 2017 called Woven Woods.

OAC 2014

Below is my first interpretation of the Schematic map of the Douglas Fir research site. In it I stitched as many words I could find that meant ‘connection’. My initial intent was to make a very large version of this piece as part of the exhibition, but this idea did not make the cut. Perhaps for a future project?

Tree Chatter 12x12" 2014 Machine collage and embroidery on printed and plain fabrics

Tree Chatter 12×12″ 2014
Machine collage and embroidery on printed and plain fabrics

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The Courage to be Blue

Saturday, March 22nd, 2014

I have used trees as inspiration for my art for a very very long time. It’s a tremendously engaging subject for many reasons, but the tree is also incredibly flexible as a motif. Many designs require a great deal of research, but I must admit, on many occasions, I just sit with a glass of wine and a pencil, start to doodle, and voila, without really much thought, out comes something new.

My blue trees are a case in point. The first one appeared years and years ago. Since then, the ‘collection’ grew whenever I felt the need to ‘get off script’…. Hey, when you make a blue tree, you don’t need to worry about the practical stuff … no holds barred.

So today I will show you a bunch of them, most of which are not on my website, and hope you enjoy!

BLUE ASH  2002  22x41

Blue Ash 2002 22×41″ Wall hanging
This was part of a touring exhibition inspired by rare and endangered trees of Ontario. There were 17 in the collection… and this one was stolen at one of the venues. I made another one to replace it…. but sadly, the first was never recovered.

BLUE TREE 2000 28X30

BLUE TREE 2000 28X30 Wall hanging
This may be my first blue tree, made when I was living in Quebec City, and it’s still there, somewhere….

LITTLE BLUE 3 2010 8X8

LITTLE BLUE #3 2010 8X8″
A blue tree just belongs in the snow at night.

FERTILE GROUND 2 2011 6X6

FERTILE GROUND #2 2011 6X6″
One of the first from a very long Fertile Ground series. I can still remember my excitement at this new direction in my work!

JAP MAPLE 17 2002 13X13

JAPANESE MAPLE #17 2002 13X13″ Wall hanging
From a grouping of ten, all the same size, but all different colours.

BLUE GROVE 2009 24X12

BLUE GROVE 2009 24X12″
Another night sky.

BLUE ROOTS 2009 30X10

BLUE ROOTS 2009 30X10″
An early version from my Fertile Ground series.

COURAGE 2010 24X24

COURAGE 2010 24X24″
The courage to be blue.

What are they about? What can they mean? Do we really need to know? One of the perks of being an artist is the freedom to create your own world. Mine has blue trees in it. What colour are yours?

LITTLE BLUE 2010 12X12

LITTLE BLUE 2010 12X12″
Oh little blue tree! Doesn’t need a thing more to be happy.

 

 

On the Rock: Merging Art and Ecology – a new exhibition!

Monday, February 17th, 2014
THE OUTCROPPING 2014 24X48 copy

THE OUTCROPPING 2014 24X48

Hello everyone,

Thought I would post a short note while I wait for my very cold studio to warm up. For weeks, it’s been in the minus tens here in Southwestern Ontario. The hot summer and cozy fall feel like distant memories and we are all longing for a touch of spring. The snow on either side of our drive is neck deep.

Perfect time to give you the scoop on an upcoming group show, soon to open at our local Carnegie Gallery in Dundas.

Just in the past year, I’ve had the great pleasure of learning about an international Christian organization called A Rocha. Their mandate is to engage in scientific research, environmental education and community-based conservation projects, and they are open to all faiths and cultures. A new A Rocha centre is becoming established in Ontario, with a 95-acre rural property in Flamborough, just south of Freelton (a pleasant 20 minute drive from my home). Cedar Haven Farm has both wild and cultivated acreages, as well as a historic house, a pond, a few barns, and animal enclosures.

FENCEROW 1 2014 24X24 copy

FENCEROW 1 2014 24X24

What better way to promote this organization than with art? We decided to approach ten artists, all working in different mediums, with an invitation: to visit the property and create unique visual responses to the land, with the results to be shown in an exhibition. The artists were delighted with the idea, and Carnegie Gallery accepted our proposal with great enthusiasm. The exhibition runs from March 7 to 30, with an opening reception at 7:30 on March 7.

Of course, I am fully involved with the project, and so is my photographer husband. I will tell you more about the other artists in a future post, but for now I wanted to share my resulting work. On my many visits in three seasons, I was most taken with the way wild areas and fencerows contrasted with the cultivated fields. Bedrock and swampland prevented full use of all the property for agriculture, but a system of trails made all the land accessible. The photos in this post are of the three works I made for the exhibition. I am looking forward to seeing it all come together on March 7!

WILD APPLE 2014 24X36 copy
WILD APPLE 2014 24X36

The value of working in Series

Wednesday, December 12th, 2012
Escarpment #13 2009 24x24"

Escarpment #13 2009 24×24″

“The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature.”
Joseph Campbell

Way at the start of my art life, all my passions were directed at exploring techniques and trying out new materials. I wondered how any artist could deliberately limit herself to one particular subject for two consecutive pieces, let alone an entire series! The infinite possibilities were too exciting. How could I possibly choose one over another? What if I missed out on something even better? And truly, the textile industry marketing machine is built on distraction, with new materials, techniques and equipment introduced every day. Overwhelmed and scattered, I began to realize there were fewer and fewer satisfying and tangible results for my constant industry. It was time to rethink the value of limits.

For me, this realization preceded a beautiful turning point. Now, I rarely do one-offs. Nearly all my new work somehow, either formally or loosely, fits into some kind of series. I want to write here about the value of working in series, not from a curator’s or collector’s point of view (because this is well covered in many excellent articles already), but from my own experience as an artist. How does it work, with respect to my creative path?

Perhaps I am predisposed to working in repetitive mode. At our family cottage, my favourite activity is to walk the very same 45 minute trail from our property to a rocky shore on the opposite side of the point. I do this at least once a day, at different times and in all weathers and seasons. While walking, I might mull over whatever is foremost in my mind, or just watch for butterflies. Each step is a rhythmic motion, a heartbeat, that carries me from one thought to the next. Invariably, by the time I reach the end of the point and back, some insight reveals itself that would not have come otherwise. For me, this trail provides a consistent platform from which to frame and recalibrate my inner world. Over and over, on the very same trail, I never fail to find something new.

As in life, so with art. A subject chooses me, and so the trail is set. When I first moved to the Niagara Escarpment area eight years ago, I found myself observing how the layers of unyielding rock supported certain vegetation and trees. What a rich vein of imagery and ideas to draw on! And so my Escarpment series was born:

Escarpment #1  2008 23x32"

Escarpment #1 2008 23×32″

The first pieces I produced really primed the pump. I loved working on the rock imagery in collage and appliqué, and I loved the results. Fresh ideas began to suggest themselves. With each new step, my thoughts turned to the metaphoric value of these images, like Triumph over Adversity:

Triumph  2011  30x40"

Triumph 2011 30×40″

No single piece in a series can possibly tell the whole story, and why should it? In this piece, I can tell the story of Courage:

Courage  2010  24x24"

Courage 2010 24×24″

In this one, I can talk about time and memory:

Between Now and Then  2009  36x48"

Between Now and Then 2009 36×48″

Or I can simply have some fun with colour and materials:

Escarpment #16  2009  24x24"

Escarpment #16 2009 24×24″

The possibilities are endless, series within series, and all kinds of spinoffs. Each piece is a step, like a sentence in a paragraph. It leads to the next, and so on, until the thought is complete. Sometimes it takes only two or three pieces. Other times, as with my ongoing Hawthorn series, the conversation continues intermittently for years and years.

Like all good things in life, the Escarpment series led to another, my Fertile Ground series. And I trust that eventually, by keeping to my trail, new ideas for series will grow, either building on the ones before, or shooting off on other tangents entirely. Working in series is a rhythmic, organic process that resonates with the pulse of nature. I feel the music of the Universe within me, with every step.

Do you like working in series? How did you start, and what are you working on now?

Fissure #5 2011  24x24" - another tangent!

Fissure #5 2011 24×24″ – another tangent!

 

Small Works at Taylor’s Tea Room

Sunday, December 2nd, 2012

On Friday morning, early!, my husband and I hung 14 of my small pieces on the lovely lavender walls of Taylor’s Tea Room in Dundas. The owner, Brayden Erlich subsequently emailed me with the following:

“Lorraine! I have to say thank you so much it’s just how I imagined! Amazing feedback all day long. And I love it!!
So pumped! Tomorrow will be great! The place looks fabulous!”

And it WAS great! The opening was slated for Saturday, Dec 1 from 2-4 pm. It was a busy day in Dundas, so the visitors were pleased to have a quiet place to stop over for complimentary tea and scones. And such enthusiasm! I am truly blessed.
If you are in the area, do drop by! Taylor’s Tea Room is at 11 King Street West in Dundas, ON  905 628-3768.

Some photos from the day:

Brayden Erlich and me

                                                   ….. and a beautiful spread for all to enjoy….

Seminar at the Arboretum

Sunday, April 15th, 2012

Hello out there!

It’s a beautiful rainy day here in Dundas – a long awaited rainy day. My garden is breathing it all in, and the robins are on patrol.

At the moment I am enjoying a few days’ free time, which I have officially given myself as a reward. On Friday afternoon, I presented my talk “The Embroidered Tree: My journey with Science and Art” at the University of Guelph Arboretum Centre. Since this was to be part of the popular Plant Science Seminar Series, and open to all faculty and students as well as the public, it had to have a distinctly Science-based focus… which was a first for me. I have presented talks to quilters, artists of all media, naturalists, and even a spiritually-based audience, but not science. It’s not unfamiliar territory… I do have a BSc in Horticulture… but it was a challenge to make sure my words and images would be relevant to an audience that came from both disciplines of art and science. Well, with all the advertising by the amazing organizer (Fawn Turner) and all the help from a patient and dedicated Tech guy (Jim Hoare), and about 50 hours of prep time (me) we pulled it off – and ended up with at least 70 visitors. They were a wonderfully responsive audience. To see the recorded webinar, click HERE.

That’s Fawn on the left, and me in the middle.

Seminar at the Univ of Guelph Arboretum Centre - photo by Jim Hoare

 

December 2011

Wednesday, November 30th, 2011
PAWPAW TREE   29X31″

Hello friends!

So much happened since my last post, I can’t begin to cover it all, so let’s go right to the topical stuff.

This post is going to be short because I just wanted to tell you one interesting thing. I am pleased to say I now have on hand not one but TWO original wall hangings from my 2002 Saving Paradise collection, recovered from an Estate Sale in the US. They are Ohio Buckeye and Pawpaw Tree, and they are in pristine condition. They are pictured here with titles and sizes, and they are both $1600, available directly from my studio. As always I can ship anywhere, and they are fully guaranteed.

I know there are a few of you out there who would want to know. So, if you are interested, do get in touch with me.

For more details about this series, go to: Saving Paradise Collection

OHIO BUCKEYE   27X32″

Long Beach, California: Here they come!

Tuesday, June 21st, 2011
SPRING   18X36″

Hello everyone,

As I mentioned in my last post, four of my wall pieces will be on display at the Janome Sewing Machine booth during the International Quilt Festival , in Long Beach, CA from July 29-31, 2011.

SUMMER 18X36″

The theme for this year’s exhibition is The Four Seasons, which is right up my alley!

AUTUMN  18X36″

So I hope some of you will have a chance to see the show, and drop by at the booth to see my babies. AND – they are for sale, each at $1500.

WINTER   18X36″

So now, you probably think I won’t know what to do with myself. NOT!!!!  In true Roy style, I decided to put all this down time to good use.

So – my husband and I will be part of the Hamilton Open Gardens event at the end of June and start of July. This means our ‘Work in Progress’ gardens will be open for viewing, and our Studio will be open as well. Our dates and hours are Thursday, June 30 to Monday, July 4, from 10-5 pm each day. Of course, you are welcome any time by appointment too, so please contact me if you are in the area. We have lots of new work to show you! At the same time you can take advantage of the trip to visit other Open Gardens in the Hamilton area, hike to our beautiful Webster’s Falls, drop by the Royal Botanical Gardens, or just mosey along King Street in our quaint village of Dundas, enjoying our many restaurants and shops.
Here’s our Google location: Hillcrest Studio.

We look forward to seeing you!

Lorraine

ENCHANTED WOODS  30X10″

JANUARY 2011

Sunday, January 16th, 2011

    Just lately I’ve been reading plenty of blogs, many of which are, at least to me, beyond inspiring. and beautifully written. They put me to shame! AND they are filled with all kinds of fascinating details. So where do I fit in? So far I’m not even updating by the month, let alone every day, and what to write about? My list of resolutions for this year was so long, I simply couldn’t face adding “To blog, every single day, or at least often enough to keep on radar.” Sadly, all I can do is my best, which is going to fall short of all expectations, including mine.

    Well, at least I can tell you a bit about what I’ve been up to for the last few weeks. Back in November a tall, beautiful couple approached me, having noted a photo of my work in the local newspaper a few years ago. (This happens a lot! The three year wait period is a standard joke around here lately.) They knew exactly what they wanted and where, and today my husband and I installed a triptych in their master suite. And I must say, it is gorgeous! Very few things are more satisfying than fulfilling a commission that ends up looking even better than anticipated.

     People often ask how it feels to do commissioned work. Many believe, sometimes rightly, that it must be uncomfortable and limiting for an artist to create on demand – particularly in cases where clients might wish to match their decor, or force her to deviate from her usual work. Well I’m here to say that in most cases, I’ve found the process fascinating and empowering. It’s all in how you look at it. It’s an opportunity to allow another person who may never have had the chance, to enjoy the power and joy of creation. My clients become active participants in the process, co-creators and collaborists. It’s a different way of working but not one bit less satisfying. One of the side benefits is that, more often than not, I get to stretch my own limits and try out ideas I may never have explored before. Maybe because of this attitude, I am starting to draw new clients who want customized art – I have had more commissions in the past year than ever before.

Having said that, I can empathize with horror stories I’ve heard from artists who were required to bend over (ahem) way too much. I was once asked if I would make speaker covers featuring Marilyn Monroe and Elvis… true story! Never mind… it gave me something to write in this blog, so, not a complete loss after all, eh? 
Or, there are artists whose vision is entirely focused on a particular path that will not accommodate other views. Perfectly understandable… most of the artists I know don’t like working on commission. As sensitive as artists can be, it is impossible to get inside a client’s head and ‘see’ what they want to see. Mistakes are made all the time. One of the ways I deal with this fear is that I don’t require clients to purchase the piece if it doesn’t suit them. Now I KNOW that’s something no one and I mean no one would ever recommend. But, doing it this way gives me peace of mind. I am then free to work on the piece to the best of my abilities, and finish it with my own aesthetic values at the fore. At least at that point I have satisfied myself. And although no client of mine has ever exercised that option, I am prepared to face the possibility with a calm spirit. For sure, if I love the work, it will eventually find a good home.

Well, there isn’t much else happening around Hillcrest Studio but Studio work. So far, my next registered event is a 3-day workshop that I will teach in London in May. You can get more details by checking Upcoming Events on this website.

So… till next time, hopefully sooner than later!

Lorraine

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