Make=Believe is an ongoing project, begun in 2011. I foresee my engagement with this project lasting several years (maybe many, depending on how it all evolves).

This work was conceived as a series of living structures of various sizes, made from shrubs and trees either extant or planted (or a combination thereof); whatever plants are used at any stage are native to the site or immediate area. There are several essentially circular structures, connected by covered paths/tunnels, and each has one or more apertures for ingress/egress. The living plants are woven into one another, and grow over time to form enclosed spaces.

The largest of these structures is useable as a shelter for humans –  as many as 3 people could sleep comfortably within it.  These spaces are also used by animals for shelter and movement across the land (a thought which gives me great pleasure).

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Make=Believe has been an opportunity to strip down my way of working  – to set very clear limits on what materials and level of intervention I would allow myself on the land.  I wanted to make sure that the work accounted for (and did as little damage as possible to) the ecosystem or the various forms of living things that would engage with it or be a part of it. I feel the need to work in this way very strongly; growing up and living in a place shaped by the oil industry, intensive farming, and urban sprawl, I need to make work that acknowledges the land and its denizens as collaborators rather than tools to be bent to my will. 

For me, this was an opportunity to understand all kinds of different, detailed connections between space and place and history and ideas of authority that can be easily overlooked.  The stories are there, but only if we pay close attention and work gently.

2013 – Spring Update

A few images from a three-day working weekend onsite. See my post here about the progress and changes in the work. More images to follow as I work with the trees …

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Another short slide show, from a second work session in June 2013. These images are Zach Hoskin‘s, and used with permission.

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