Echoes of Existence-how to engage the students

I am slowly working to find solutions to the problems that will arise when the students implement the installation.

First, how to get students that are not comfortable with nature to want tobe involved. What will draw them in?

Second, a big problem is how to control a group of college kids in a field and have them complete a detailed installation.

Bloomington is a walking city. Every day as I would walk about town and the campus I worried about how I was going to solve these two problem. And like on most college campuses everyone is in their own audio visual world contained between the ear pieces of a headset. And I was the same. The difference was I still wanted to connect to those passing by me with a “good morning” or hi. I found the IU students were very focused on the sounds in their headsets they did not need to make eye contact or say hello.

In a discussion with an English professor, Shannon Gayk, who also teaches a walking class, I learned that a novel idea for students is silent walking. The idea of walking without a headset without sound — silent.

Thinking of headsets and silent - my mind went straight to silent raves then to a silent installation.

Would the concept of a silent installation draw the students in. Could this commitment to headsets be a possible tool for crowd control during the installation?

I love the idea. But that leads to another hurdle. How do I design a silent installation? What technology makes this possible?

With a quick Google search, I found several companies that provide everything you need for a silent event.

Weingarten Art Group - Reseeding

I am delighted to be included in the spring 2024 exhibition at CityCentre, “Reseeding”, which prompts deep reflection on humanity’s influence on the natural world. The exhibited artwork urges us to envision a utopian future where our impact is positive and mindful choices lead to a harmonious coexistence with nature, inspiring a collective commitment to a sustainable future. The exhibition was thoughtfully curated by Olivia Kimbrell of Weingarten Art Group.

On exhibit until September 2024, the lobbies at CityCentre are open to the public M-F, 8 AM – 6 PM

CityCentre 2 Front – Christian Eckart
CityCentre 2 Back – Cindee Travis Klement
City Centre 3 – Dornith Doherty
CityCentre 4 – Bruna Massadas
CityCentre 5 – Rachel Livedalen

Photography by Nicki Evans

Planetary Mission Statement .

Integrating systems theory into my art practice has influenced my work in many ways. It is one of my core beliefs that in order to save the planet it is imperative that every organization, be it large profit-driven or small non-profit, commits to embedding an environmental ethos into their core values. The place to start is with an organizations mission statement.

In a serendipitous encounter with an acquaintance from a prestigious art institution this weekend, I learned of their significant reorganization. I suggested that every institution embed an environmental ethos into their mission statement and then I thought - even Throughline. Throughline is a newly organized Collective that I am a member of.

Today I discussed these thoughts with fellow Throughliner Caro Otero a gifted artist and caring human being. Caro and I are part of the Throughline facilities committee. We discussed that there are steps we can take to improve our day to day operations and become better stewards of the planet.

Envisioning a profound commitment, we proposed to the administration committee to incorporate this spirit into Throughline's mission statement:

It could read something like this-

We vow to serve as Earth's custodians, honoring its natural rhythms. Embracing accountability for our environmental footprint, we strive to operate conscientiously, leaving a positive mark through purposeful actions. We are advocates of planetary regeneration.

Or something that says Throughline cherishes nature and restores the environment through conscious daily actions.

In our role in the facilities committee, Caro and I will examine Throughline's everyday activities as an organization and consider ways to operate more responsibly and advocate for the planet. We will re-evaluate these procedures annually.

Please pass this idea on to your organizations and incorporate planetary responsibility into your bylaws.

Besides making greener choices in the products we buy, such as disposable cups and beverages, our treatment of urban landscape and protection of Earth’s living soil is a powerful way reduce our carbon footprint and support biodiversity.

There is tremendous power in the collective action of small acts.

Indiana University artist in residence— conceptualism, the site, archeology and anthropology.

October 11th was the end of the first leg of my residency. The experience truly supports the statement you don’t get what you want but you always get what you need. I did not seek out the residency but I can see how it is helping me take my Social practice to the next level.

It is giving me the opportunity to use; the symbolism of a labyrinth, the regenerative symbol of a bison, the turfgrass of an institute of the US collegic system to change societal habits. These features alone are rare and hard to come by resources.

Exploring the campus and discussing my plans with all who would listen resulted in IU providing me with the opportunity to add a few more layers to the work. Specifically conceptualism, archeology and anthropology.

Conceptualism- The Eskenazie Museum on IU’s campus has one of the three complete collections of Marcell Duchamps readymades. Seeing these pieces of Duchamp the father of conceptualism from the 60!s and 70’s gave me the idea that my work at Indiana would be more impactful if it is conceptual.

As I began to plan the labyrinth design and installation I began to see how beautifully Conceptualism works with Social sculpture. If I create the concept and the design the steps to install it and the students implement my concept and design it becomes theirs. It won’t be my art they assist me with it will be their actions taking meaningful steps.

The last Monday at IU in a meeting discussing the actual installation process with one of the professors and directors of the Hilltop Gardens it was suggested I work with the anthropology department and Archeology departments when I return. Archeologists will be enlightening when it comes to installing the grid. The Anthropology department can help facilitate a possible relationship and sharing of culture between the students of the First Nations and the students who do not have a deep connection to the land. I would like the installation to be a catalyst for the two groups to develop a unified way forward, a new tradition or ceremony that will give them all together a personal connection to the landscape and the biodiversity it will support.

The next step is to get the University wheels to approve a site. To be the most successful the site needs to be a sea of turfgrass, have full sun, be spacious enough to accommodate the 85’ X 54’ bison, and accessible to the students and community.

I am thrilled to announce that in late January 2024, IU selected a sloped plot of The Hilltop Gardens for the installation.

Related blog posts

A labyrinth of what shape? http://www.cindeeklement.com/blog/2023/10/2/what-kind-of-labyrinth-a-seed-a-beautiful-design-a-bison-that-is-the-question

The design

http://www.cindeeklement.com/blog/2023/10/8/the-labyrinth-design-how-will-it-be-installation

From 8” X 10” to 53’ X 85’

http://www.cindeeklement.com/blog/2023/10/7/how-do-you-build-a-labyrinth

Moving Forward

Moving Forward

67” X 15” X 18”

Image by Jake Eshelman

Found object concrete and rebar curbing fragment, rusted steel, bronze, and gold leaf.

Moving Forward consists of two rectangular concrete curb fragments and two cast bronze roots, the latter with gold-leaf patinas. These objects are tethered like irregular beads strung on a wire of rusty rebar falling to the earth.

The fractured concrete and the more extensive root land at the forefront in a forward strutting anthropomorphic structure. Growing behind the long-necked bird-like form, a stem of rebar twice the creature's height reaches for sunlight. The meandering stem is counterbalanced with the smaller root in a lyrical passed sunflower shape.

The weighted composition invites viewers to reimagine the relationship between our engineered landscapes and ecological systems to support wildlife and forge a path toward a regenerative future.

A Turn of Events: My Dream Installation on hold.

This summer, I was presented with an incredible opportunity. A curator asked me to propose my dream installation, a chance to showcase something meaningful. The site owner was willing to support and fund the work.

After much contemplation, I decided on a proposal that filled me with passion and urgency. However, last week, it all came to a halt.

I am sincerely grateful for the curator’s interest in my work and the site owner’s support. Their initial inquiry inspired this proposal, and I cannot thank them enough for that. I believe that everything happens for a reason, I have an idea and I am hopeful that I will find the project a site and funding.

First a little background. While at Indiana University, I became aware that integrating ecological recovery with natural systems is a new academic direction and numerous educational institutions are interested in this area. After all, universities and school systems are the largest landowners in any city and having research students involved would be a great asset. Transforming the proposed installation into an art/environmental science installation would significantly enhance the social sculpture’s reach and benefit a university and society.

Below is my proposal.

Introduction-

Global warming, food security, drought/flooding, wildlife habitats, economic instability, and health – these problems are not new to humankind. The archeology of ancient civilizations has recorded connections between the longevity of civilizations and the health of their soil. The United Nations reported in 2014 that the world's topsoil would only last 60 more growing seasons. Soil scientists around the globe agree that solutions to these issues are rooted in our treatment of soil—the skin that covers our planet. 

In a moment of global uncertainty, I ask myself, what materials and forms would I use to create the greatest impact on society and the environment? As I think of ancient civilizations' architecture, art, and spiritual practices, pillars and vessels played an important role in shaping their understanding of the world. Much of my previous work has been about conservation issues, looking specifically at Earth’s natural systems of bees, at waterways, at bison, at native plants, at recovery from Hurricane Harvey, and now at the underground systems of Earth. And so, I would use roots as my material and pillars as my vessel.

standingGROUND

In standingGROUND, I propose a four-stage installation of 5’-10’ tall pillars of various shapes grown from the roots of long-rooted prairie plants.

These pillars will be created by stacking various shapes of clay vessels commonly purchased from home and garden stores. The vessels with the bottoms removed will be stacked and centered on a steel pole cemented in the earth with a small footing for stability. The pots will be filled with a leaf-mold compost and seeded with native grasses and plants known for their root depth. They are to be nurtured and watered for approximately twelve months or until the plants are rootbound in the clay pillars. The clay will then be delicately broken away and the above-ground plant material removed, leaving freestanding pillars of delicately intertwined roots bound in the shapes of the stacked vessels. The root pillars will stand erect on the hidden steel posts.

Drawing inspiration from the rhizomatic root structures of native grasses that give structure to Earht’s underground life, these sculptures, woven by natural systems, standing above ground, will bridge the gap between sky, earth, water, and modern humanity. These pillars offer a glimpse into the intricate workings of an underground prairie ecosystem, the upside-down rainforest for carbon sequestration of North America.

Four Stages

The first phase of standingGROUND will focus on the sculptural aesthetics of the work. I will carefully build the pillars composed of ready-mades to be strong sculptural elements on their own. Once a site is selected, I will choose a paint color that harmonizes with the surroundings and emphasizes the sculptural qualities of the pillars. Lighting will play a crucial role in showcasing the sculptures in relation to their environment. I will paint the pots before the installation, touch them up, and paint the joints afterward. Information on the site will discuss the ecological and social aspects not yet revealed.

The second phase will be to install the pillars into an immersive experience. The towering yet human-like pillars will be positioned strategically to create an intimate and inviting space for viewers. Within this space, a stone or stump will be placed as a reflective seat, provoking thoughts on how our actions impact climate and biodiversity and how humanity can find harmony within natural systems.

The third phase of standingGROUND is when I physically chisel the ceramic vessels away to reveal the social sculpture aspect, the delicate white lace-like intertwined roots bound in the shapes of the stacked ready-mades bridging the gap between sky, earth, water, and humanity.

The fourth phase encapsulates the cycle of life, decay, and regeneration. This crucial phase is essential for ensuring life on Earth. The root sculptures will gradually erode and disintegrate when exposed to the elements. Once the installation has reached the end of its visual lifespan, I will carefully remove the root sculptures. The poles and footings will be relocated from the site. This stripping away of the remnants will leave behind a cavity in the ground previously occupied by the footings. Remarkably, this void will serve as a space where the roots can be placed to rest-regenerate and give birth to new life.

I started experimenting with the shapes in their root form last week. I initially created six sketches in the form of watercolor monotypes. Then, I researched more pot shapes with larger mouths and created four more in round 2. The images of these sketches are below. I will continue experimenting with these shapes as I work on a site.

standingGROUND II

Watercolor monotype

30” X22”

StandingGROUND VI

Watercolor monotype

30” X22”

standingGROUND round 2 #1

Watercolor monotype

30” X22”

standingGROUND IV

Watercolor monotype

30” X22”

StandingGROUND round 2 #4

Watercolor monotype

30” X22”

StandingGROUND round 2 #3

Watercolor monotype

30” X22”

StandingGROUND round 2 #2

Watercolor monotype

30” X22”

standingGROUND V

Watercolor monotype

30” X22”

standingGROUND III

Watercolor monotype

30” X22”

standingGROUND I

Watercolor monotype

30” X22”

Hats and Storytelling.

Indulging in a morning of thoughtful stitching and reflection. Since my youthful days in the 70s shaping hats at my father's feed and Western Wear store, hats have held a profound meaning for me. They possess a unique ability to tell stories.

Recently, I acquired an extraordinary green hat from the talented artisan Edgar Alvarez at Gran Central Hats. Their craftsmanship captures the essence of customization, allowing ribbons, feathers, and all manner of embellishments to adorn your own hat. I made the decision to handle my own stitching, and I must admit, piercing through the resilient felt material is no easy task.

As I sit here, needle in hand, I find myself musing about the idea of incorporating elements inspired by the prairie grasses and the thriving ecosystem that thrives through the consumption and waste patterns of bison. It's a fascinating, how their actions actually contribute to the renewal of life. For instance, birds benefit from the ecosystem by consuming pests that break down bison dung. These birds utilize bison fur to construct their nests, as the fur provides antiviral properties, fortifying their eggshells. Furthermore, the grasses that flourish due to the bison's eating and waste habits offer nesting materials and shelter from predators.

I am hopeful that when finished this hat will be something more than a mere fashion accessory; it possesses the potential to be a powerful catalyst for conversations, stimulating discussions about our individual roles in the process of regeneration.

To Leave

The ephemeral beauty of nature lies not just in living organisms but also in their inevitable decay.

This morning, while examining “deeper than that” a private living sculpture art installation featuring indigenous plants, I was struck by the fading loveliness of the Rosinweed leaves as they withered. Contemplating the homophones “leaf”, “leave” and “leaves”, I pondered how societies historically understood the ecological value of allowing foliage to persist even after senescence. Is that why we call these objects a verb?

Leaves that have left a plant continue to nourish the soil and its microbial inhabitants even in death. Their decaying forms hold moisture, shade the living organisms in the ground, and provide nutrients as they return to earth, building a balanced ecology that sustains urban landscapes. They are an important material natures uses in its engineering of the water table.

Though a single leaf may seem a small, ephemeral thing, in aggregate and over time, the leaves left behind establish and uphold the very foundations of life.

Their decay is not an end but rather a beginning - a quiet, essential recycling of energy and matter that allows new growth to emerge.

In both the noun and the verb there are layers of beauty, and layers of ecological purpose, in the leaves left to molder where they fall. An ecosystem thrives on this gift of decay, using the ephemeral to fuel the eternal. Such is the profound, poignant cycle that the installation’s Rosinweed specimens, even as they bend and brown, help perpetuate. Out of seeming loss, abundance; out of death, life.

Leave your leaves and be grateful for their beauty as nouns and as verbs.

The American Beaver - research

In her book Beaver Land, How One Weird Rodent Made America, Leila Philip spends a chapter on Lewis H. Morgan's (America’s first Anthropologist) documentation of The American Beaver written in 1868. Lucky me, I have found a copy. I am wondering how this read may impact my work.

During a captivating walking tour of Buffalo Bayou in the early 2000s, led by an esteemed Master Naturalist, my fascination with beavers was sparked. It all started when we stumbled upon a tree stump adorned with telltale markings of these industrious creatures. Surprisingly, our knowledgeable guide harbored a deep dislike for beavers, prompting me to question their significance within the ecosystem. Alas, our Master Naturalist was left speechless, unable to provide an answer. As an artist documenting my practice, this encounter left me pondering the enigmatic role of the beaver, and the profound impact it holds within our natural world.

Just as bison’s behaviors shape our land ecosystems, beavers are the architects of thriving water and marsh ecosystems. Considering that water is the key to cooling our planet. To truly comprehend nature’s cooling mechanisms, I recognized the need to understand the Beaver and how their work may connect with the bisons and how humans can mimic these systems in urban landscapes.

As someone devoted to capturing the wonders of natural history and integrating them into our human-made structures, I’ve been amassing a collection of historical writings on natural history. I am looking forward to learning from this new addition to my collection.

In Morgan’s book, he delves beyond the surface-level characteristics that most naturalists focus on, offering a profound perspective.

Leila Philip‘s book is a thorough overview and introduction to a contemporary view of the Beaver. I will probably rerread Philip’s book overtime.

I want to know about the Beaver before the Railroad and what beavers think and how they work, what inspires these creatures to do what they do. Morgan’s book is that and more.

Living Llabyrinth- Building the grid

Building a Large Grid for Installing a Labyrinth: My Process. One reason I write these blog posts is to record my process. The other is to share information.

Constructing a labyrinth grid of this magnitude may seem like a daunting task. And it is for me. With the right strategy, it can be accomplished efficiently. As I embarked on this venture, I took the time to experiment and optimize my methods. Here's a breakdown of the process that was the most efficient.

To begin, gather the necessary materials: X-axis cords measuring 53 at 54' and Y-axis cords measuring 33 at 88' lengths. Keep in mind that the cords come in 100-foot lengths.

I wish I had of planned at 50’ by 100’ bison. The lighter is for singing the ends so they will not ravel. The tape is for tapeing the measured and twist-tied ropes for the installation.

I am making each cord that is a multiple of 5 a white cord. I think this will helpful the day of the installation.

1. X-axis cords: Start by unwinding the hundred-foot cord carefully, ensuring it doesn't become tangled. Here's a handy tip: tie a knot at one end and secure a twist tie next to it. Place the knotted end in a doorway and shut the door on it. This will hold it in place. Then, stick your arm through the middle of the looped cord and slowly unwind it, walking away from the door until it's completely straight.

2. Measure and cut the cord, leaving a few inches to knot and singe the ends to prevent unraveling. Tie another twist tie at the 54' mark. This will serve as the reference cord for measuring all other X-axis cords. Keep this cord secured in the door.

3. Take the leftover cord singe the end and knot it and tightly tie a twist tie inside the knot. Shut in the door with the reference length cord. Measure it against the reference cord and splice it with a piece of the next 100' wound-up cord to measure the 54' length accurately. Now you have a cord to start marking the grid on.

To mark the grid on the first cord—

The dining has been my studio work space. First I covered the 8’ table in a thick paper to protect it. Next I marked every 20” from end to end.

4. Prepare a long table by placing sheets of paper and securing them to the table so they will not slip. Measure and mark on the paper every 20". Lay the cord on the marked paper. To ensure stability, anchor the cord with a heavy object like a case of water.

I used a case of water to weigh down the cords.

Starting from the first knot, and twist tie secure each twist tie tightly along the edge of the table at the 20' marks. Continue tying twist ties until you reach the end of the 54' mark. You may have a little excess cord hanging after the last tie.

The 8’ mark of the table length and the last twist tie. I leave a few inches at the end just in case.

The first piece with every 20” tightly tied with a twisties.

5. Carefully wind up the cord, tape it securely, and mark it as X-axis 54'.

The first grouping of five- 4 red and the 5th white.

53 pieces - completed.

6. Finally, organize the cords by making four red and one white, keeping them grouped together.

IU - The labyrinth design - How will it be installed?

Once the grid is installed, the next step is to think about how to divide the work so that groups of student and volunteers can install my vision. .

Two options seem viable. The first idea is by marking the (X, Y) coordinates for each circuit of planting on individual pages. The other idea is by verticle rows.

Below I have marked the coordinates of the circuits. As I mark the coordinates I am not sure this is the way. I may need to break it down to smaller sections.

I can continue to consider how to breakdown the jobs as I begin building the grid.

IU - Natural systems - digestive system

Scaling up the drawing I also wanted to incorporate another layer of interest in the piece - the ruminant's digestive system.

Before the digestive system and with shorter legs.

In order to add this intestinal circuit his abdomen and hump had to get larger to allow for the walking paths on either side of it. The wider girth made his legs look like stumps so I lengthened his legs.

After the digestive system and leg adjustments.

IU - How do you build a labyrinth? From 8”X 10” to 83’ × 54’

How to go from an 8” X 10” paper to a field, Is the question ruminating in the back of my mind every day.

Unfortunately Bloomington is in between art supply stores. As a result I could not buy locally any paper larger than 8” X 10” . While I waited for an order to come in I pieced together 8 - 8” X 10” pages and scaled it up 2X.

Here I started thinking about how to take the design from

When I scaled it up 2X I started seeing that I could take it to any size I wanted by using (X, Y) coordinates. I am using a 20” scale.

8- 8” X 10” paper to a make a 18” X 30” sketch.

How I could get a 83' × 54’ rectangular grid with right angles on a field was a big concern.

An idea came to me when I toured the charming Wylie House, a fascinating piece of history nestled just off campus. This historic gem, built in 1835, was once the cherished home of Andrew Wylie, the inaugural president of Indiana University.

The Wylie House master bedroom.

During my visit, the knowledgeable docent unveiled a captivating detail - the simple rope framework that upheld the mattress.

The antique bed’s rope framework that supports the mattress. What looks like a cup is the chamber pot.

A rope grid might be the answer to getting a proper rectangle With right-angled corners and grid onto a field.

This visual solidified my strategy for bringing the labyrinth design from paper to reality in an open field. The framework I need is 83’ × 54’ the vertical and horizontal ropes that cross every 20”. We can twist tie the coordinates together making the rectangle form.

IU - What kind of What Labyrinth should I make? What is my site-specific message?

I wrestled with this question. There was not anything in either of Kurt Vonnegut’s books that inspired me. I do feel he wrote about what he knows and my work should be true to my own heart. A list of the obvious came to my mind- butterfly, chrysalis, beatle, seed, flower, IU letters…….

After a full day at the Eskenazie Museum on IU’s campus I was intrigued by this piece.

The museum label read-

According to traditional Bamana beliefs, an energy or force called nyama animates the universe. Objects such as this boli are made to harness that energy and use it for the benefit of the community. The thick, crusty surface is the result of offerings such as millet, other vegetal matter, beer, and chicken or goat blood, all of which are applied to attract nyama and serve as physical evidence of its presence. A boli does not represent a particular creature.

It is kind of perfect., should I make another bison? Can I make a Boli bison labyrinth?

I can see it.

Here are the steps I took

More to come tomorrow.

IU - How do you draw a labyrinth?

During the first week of my residency at IU when I wasn’t exploring the city, University, art, museums, ecology, architecture, and landscapes I was experimenting with labyrinth designs.

Some sketches of three different types of kabyrintgs.

This design starts with a simple cross. I need to keep this simple.

Turning the cross/square labyrinth upside down I decided to attempted a seed labyrinth. I think a design less feminine will be better.

Artist in Residency at Indiana University - Living the Dream Installation — Labyrinth

Living the Dream as an Artist in Residence at Indiana University!

I couldn't believe my luck when I was offered the opportunity to be an artist in residence at Indiana University. Not only would I have access to all the incredible resources and opportunities of a renowned research university, but it could provide the opportunity to fulfill one of my monumental artistic visions.

As part of my two month residency, I'll be giving artist talks, exploring local artist studios, landscapes of southern Indiana, and creating a special piece to be exhibited at the University or in the beautiful town of Bloomington.

During my interview for the residency, I couldn't help but ask about the size of the campus. And just as I suspected, it is massive. I imagined it with expansive fields of turfgrass. I remember feeling my heart swelling with excitement and hope. Could Indiana University be the site for the monumental installation I dream of?

Let me explain - This summer seeing CARBONsink develop within Symbiosis at Lawndale Art Center and watching the community enjoy entering it made me think. I wondered if the CARBONsink relief was a step to create a larger piece using the same process but with a deeper meaning and making a bigger impact. A little bit of research regarding Greek philosophers and labyrinths and these thoughts turned into a dream. I have a vision of completing a living labyrinth.

I began studying the designs, meanings and histories of mazes and labyrinths. I was lured by labyrinths pretty fast. Mazes are puzzles and meant to confuse you. Labyrinths check all ny boxes.

-A labyrinth is a meditation. —

-There is 1 way in and 1 way out. What seems like the end is also the beginning. It is the perfect metaphor for inspiring ecological - societal perspectives.

-As an artist whose work in the simplest form looks at time and movement a labyrinth is a logical and interesting medium.

-A living labyrinth to convert fields of turfgrass into a living sculpture to regenrrate life.

Typically in an artist in residency one would take some time getting to know the University and the City before propsing their work. I could not contain my excitement so asked if the University would be interested in a site specific living labyrinth? It would be a social sculpture in the form of a relief that demonstrates the steps for turning the largest crop in the US - turf grass into the largest CARBON sink in the US. Ed the Associate Vice Provost for Arts and Humanities responded with great enthusiasm in his voice. Every summer the University and the city of Bloomington celebrate the life and writings of Kurt Vonnegut with the Granfalloon Festival. A living labyrinth would be a fitting art installation in conjunction with the festival.

For inspiration on my drive to Bloomington, I listened to Cat’s Cradle and Slaughter House Five.

IU - How does Earth transform energy from leaves to a soil?

It is Labor Day weekend, so I have time to relax and experience the IU campus landscape.

Sample Gates the IU portal to

Natural landscapes on college campuses are rare finds. Dunn’s Woods is a veritable gem of Indiana University’s “Woodland Campus.” The iconic Sample Gates are a portrayal to the cycle of life and rebirth in the urban woods/ college campus.

This rare and sacred space unveils the harmonious dance between sun-kissed leaves, rustling branches, and fertile soil. The emerald foliage, gently illuminated by the celestial glow, gracefully surrenders from sky to earth, transforming into nourishing sustenance for woodland creatures and retaining rains, dew and moisture.

Sun’s energy is transferred to Earth in the shape of sun crisp leaves, the main ingredient of Earth’s soil sponge and the planet’s digestive system.

CARBONsink rises — how to get rid of your turf grass.

“Carbon by the Yard” was a temporary relief in the shape of the Carbon element symbol, “C”. This simple gesture brought attention to the fact that gas lawnmowers emit eleven times the emissions of a new car.

Carbon by The Yard

In 2022, I transformed “Carbon by the Yard” piece into “CARBONsink ” using solarization and regeneration instead of herbicides to transform the turfgrass into biology. I then seeded it with wildflowers. The new piece soaks up rainwater, stores carbon and supports pollinators.

It is important to note that the EPA estimated that non-native turfgrass monocrops use one-third of all public water. In the US, this translates to 9 billion gallons of water daily.

These two social sculptures highlight how our colonial landscape decisions impact our carbon footprints.

CARBONsink 6/8/2023

DIY- check out the steps to install your own CARBONsink.

Soak the ground.

Use the power of water in conducting heat into the plot. Proper hydration will pull heat from the surface deeper into the soil, enhancing the effectiveness of solarization.

Cover the soaked turf with two layers of cardboard. This will smother the turf grass and use the suns energy to solarize it.

Soak the cardboard layer

Layer 4”- 6” leaf mold compost. I use Nature’s Way Resources and Heirlooms.

Spread the compost evenly .

Soak the compost , and level it for sprinkling the seeds.

Sprinkle seeds generously.

The seeds come from Native American Seeds.

Make sure the seeds make good solid contact with the ground. Press them in.

April 2023

June 8,2023

July 29, 2023

Earth Moves - almost didn’t

Done! My gloves are proof. For weeks, my schedule was jam-packed with proposals and large-scale projects that needed my attention. Amidst all the chaos, I was also starting a brand new sculpture for the Mayor's Office of Cultural Affairs' Earth Day Celebration. I thrive when I can hyper-focus, but this time I almost let something slip through the cracks. "Earth Moves" was in danger of being incomplete by the deadline. With less than a week left to finish, I knew I had no choice but to push myself harder than ever before. I woke up at 5:00 am every day and worked tirelessly until 4:00 pm, without taking a lunch break. I felt every muscle in my arms and shoulders ache, but the feeling of being fully present and working towards something important was truly exhilarating. I couldn't disappoint Necole Irvin and let "Earth Moves" fall short of its potential. After countless hours of welding and crafting, today the sculpture was finally installed on the 3rd floor of the Julia Ideson Library. The end result is a, call for action work of art made from welded steel, lath, indigenous clay, grass, and glass beads. It was a true labor of love that I poured every ounce of myself into. #earthday @lanolalady #mayorsofficeofculturalaffairs #houstonmayor #cindeeklementart #work #gloves #drive

Symbiosis - Hairy water clover incorporates time and movement

Since the beginning of my artistic journey, I have consistently explored elements of time and movement within both two-dimensional and three-dimensional works. With "Hairy Clover," an element in Symbiosis this exploration takes on another layer of complexity - exploring how the water cycle creates motion that stores carbon, ultimately building the planet's energy.

Marsilea species are an extraordinary group of ferns, displaying a fascinating phenomenon known as nyctinasty - the daily movement of leaf orientation. During daylight hours they reach out to capture sunrays and then at night fold inwards into vertical positions due to pulvinus joints located towards the base of each stalk which adjust based on water flow into motor cells. This adaptation ensures that these plants remain attuned with their environment by regulating transpiration through stomata opening and closing cycles - remarkable!

I have read that this Texas native is endangered in many states. :(

Marsilea vestita, southern water fern

8” X 8”

Ink