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Film Screening Open to all

Thursday 25 June 2026 - 6.00pm-7.15pm. Online

'Resonance' is a living 100-year artwork: seven circles of seven silver birch trees located on seven lines radiating from the centre of the Lake District National Park. The birch trees were collected and planted between 2024 and 2026, with more than 130 people involved.

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Resonance: film screening and panel discussion

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Delve into what radical acts of care as the UK transitions its land use structure and practices, and as people work collectively to nurture the land.

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How to animate massive durational environmental datasets

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Report of New Leaves Network Event 5: The Harrisons Future Gardens. 13th August 2025

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Report of New Leaves Network Event 5: The Harrisons Future Gardens. 13th August 2025

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Report on the fifth and final (as this part of its evolution) New Leaves Network meeting, a zoom conversation between Chris Fremantle (Gray's School of Art/Robert Gordon University), Josh Harrison (Center for the Study of the Force Majeure and one of Helen and Newton Harrisons sons), Laura Fillmore (artist, community organiser and advisor at the Future Garden at Sagehen) and Benny Fillmore (Elder of the Washoe Nation of Nevada and Califorinia and advisor at the Future Garden at Sagehen).

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Report on New Leaves Network Event 5 - Future Gardens

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Gesturing Towards Decolonial Futures: an arts/research collective that explores collaborations around different kinds of artistic, pedagogical, cartographic, and relational experiments that aim to identify and de-activate colonial habits of being, and to gesture towards the possibility of decolonial futures.

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Gesturing Towards Decolonial Futures: an arts/research collective that explores collaborations around different kinds of artistic, pedagogical, cartographic, and relational experiments that aim to identify and de-activate colonial habits of being, and to gesture towards the possibility of decolonial futures.

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vanessa andreotti . sharon stein . rene susa . cash ahenakew . elwood jimmy . dani d'emilia . tereza cajkova . camilla cardoso . dino siwek . sarah amsler . bill calhoun . lynn mario de souza . sonali sangeeta balajee . jyotsna liyanaratne . tania ramalho . haruko okano . will valley .

Teia das 5 Curas
(Latin American Indigenous Collective)

maria cleofe jara qquerar . ninawa huni kui . rosa pitaguary . benício pitaguary . ubiracy pataxó . mateus tremembere . nadya pitaguary

Unbecoming modernity
(UBC Student Collective)

kyra . ben . azul . noelle . alisha . saige . jacob . gabriel . quinn . bryn . henry . gabby . tomáś . nil .

Partnerships

Uniseres (bill calhoun), Bridge47 project (timo holthoff) and Gorca EarthCARE (rene susa)

Cooperations

kate morales . raphael daibert . lisa brunner . gerardo lopes amaro . ali sutherland . francisco gallegos . xana (vera) piteira . ana marreiro. rabia mir . rosie boxall . crystal smith . kelly teamey . dina bataineh . carl mika .

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Gesturing Towards Decolonial Futures (Researchers/Artists Collective) vanessa andreotti . sharon stein . rene susa . cash ahenakew . elwood jimmy . dani d'emilia . tereza cajkova . camilla cardoso . dino siwek . sarah amsler . bill calhoun . lynn mario de souza . sonali sangeeta balajee . jyotsna liyanaratne .

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'Let's Talk Better Forestry' Morag Paterson in conversation with Claire Wightman from TreeStory

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'Let's Talk Better Forestry' Morag Paterson in conversation with Claire Wightman from TreeStory

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Ep1 "Let's Talk Better Forestry" with Claire Wightman

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Morag Paterson and Andrew MacQueen: 
‘The Curious Conversations – Into the Woods’

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Morag Paterson and Andrew MacQueen: 
‘The Curious Conversations – Into the Woods’

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‘The Curious Conversations – Into the Woods’ – Artist residency is underway – D&G Woodlands

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What happens if an Artist shadows a Forester for a year? What unexpected connections will be revealed? A 12-month artists residency is now underway that aims to explore artistic interpretations of the work of a forester, giving a chance to look at things in a new way.

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Dutch elm disease has killed hundreds of millions of trees globally, altering our landscapes forever. Few young people have seen a mature elm tree, yet they once covered great swathes of Europe and North America and their legacy lives on in our mythology.

The Lost Elms is a love letter to our vanished elms - the story of how we have nearly lost them all, and the long, slow fight back. It tells the gripping story of the scientists desperately trying to halt the disease's relentless progress, and demonstrates the deadly effect globalisation can have on the environment, the threat of climate change, the importance of biosecurity and the intricate ways in which trees are interlinked with other species.

See also https://www.theguardian.com/books/2025/jul/23/the-lost-elms-by-mandy-haggith-review-cultural-history-of-a-noble-tree

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The Lost Elms

Dutch elm disease has killed hundreds of millions of trees globally, altering our landscapes forever. Few young people have seen a mature elm tree, yet they once covered great swathes of Europe and North America and their legacy lives on in our mythology.

The Lost Elms is a love letter to our vanished elms - the story of how we have nearly lost them all, and the long, slow fight back. It tells the gripping story of the scientists desperately trying to halt the disease's relentless progress, and demonstrates the deadly effect globalisation can have on the environment, the threat of climate change, the importance of biosecurity and the intricate ways in which trees are interlinked with other species. Woven throughout is a lyrical look at the elm's central place in our history, culture and folklore - the elm features heavily in Greek, Celtic, Japanese, Germanic and Scandinavian mythology; as the 'Liberty Tree' it played a symbolic role in both the American and French Revolutions; and since ancient times the elm has held associations with death and the supernatural.

However all is not lost: recent breakthroughs in ecological understanding reveal elms to be far more resilient than we ever imagined. This tree holds an important place in our history, and now might just offer hopeful lessons for how we can save other disappearing species and our environment.

'Not just an elegy to our lost elms but also a meditation on life, culture and peace. I am in awe of Mandy's lightly-deployed erudition.' Fred Pearce

The Lost Elms is published by Wildfire.

A signed copy with a personalised dedication will be posted to you.

£22.00

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Dutch elm disease has killed hundreds of millions of trees globally, altering our landscapes forever...

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Forest Research - Best practice Guidance for Land Regeneration

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Forest Research - Best practice Guidance for Land Regeneration

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Best Practice Guidance for Land Regeneration is a series of Guidance Notes based on research and practical experience in the restoration of brownfield land for woodland and urban greening. The Notes are aimed at practitioners and all those responsible for restoring land back to other end uses, particularly those involving trees and woodland.

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Best practice guidance for Land Regeneration - Forest Research

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List of policy publications, best practice and scientific publications relating to the establishment, management and monitoring of greenspace projects

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Two-Eyed Seeing

Albert Marshall is a respected Mi’kmaq Elder whose concept of two-eyed seeing recognizes the strength of Indigneous ways of knowing and the strength of western ways of knowing and uses both competencies together.

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In Marshall's words "Two-Eyed Seeing refers to learning to see from one eye with the strengths of Indigenous ways of knowing and from the other eye with the strengths of Western ways of knowing and to using both of these eyes together” (Bartlett, Marshall, & Marshall, 2012, p. 335).

This avoids a clash of knowledges (Canadian Council on Learning [CCL], 2007). Thus, Two-Eyed Seeing intentionally and respectfully brings together our different ways of knowing, to motivate people to use all our gifts so we leave the world a better place and do not compromise the opportunities for our youth (Bartlett, Marshall, & Marshall, 2007). The concentration on the common ground between Indigenous and Western ways of knowing means that one does not have to relinquish either position but can come to understand elements of both (Brandt, 2007). The place-based learning experience- Ik ka nutsi follows a two-eyed approach.

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Albert Marshall is a respected Mi’kmaq Elder whose concept of two-eyed seeing recognizes the strength of Indigneous ways of knowing and the strength of western ways of knowing and uses both competencies together.

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Confor's Good Practice Guide for Engagement with Local People and Communities in Woodland Creation Proposals

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Confor's Good Practice Guide for Engagement with Local People and Communities in Woodland Creation Proposals

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(2020-2025)

3 WOODS is a trilogy of interdisciplinary, site-responsive, and community-engaged artworks about three different forests in Europe: Folkeparken in Northern Norway, Chopwell Wood in North East England, and the Heidewald in South West Germany. The process is being supported by Arctic Arts Festival in Norway, GIFT Festival in the UK, and Matchbox in Germany.

“community engagement isn’t a ‘step’ in the process – it is the process”

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(2020-2025) 3 WOODS is a trilogy of interdisciplinary, site-responsive, and community-engaged artworks about three different forests in Europe: Folkeparken in Northern Norway, Chopwell Wood in North East England, and the Heidewald in South West Germany. The process is being supported by Arctic Art

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In 2022, Chrysalis Arts agreed a 10-year lease with North Yorkshire County Council for Marton Wood, a 6.6 hectare woodland near Boroughbridge and the village of Marton-cum-Grafton.

Mapping Marton Wood is a slow art project led by Chrysalis Arts Development based in North Yorkshire. The project is funded by Arts Council England and National Lottery Community Fund and it weaves together ecology and art, bringing artists, ecologists and the public together to explore a 6.6 hectare, local woodland.

Find all of the Artists' Commissions here.

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Mapping Marton Wood is a new creative programme which forms the next phase of our Marton Wood Slow Art initiative. Starting this spring, we’ll be collaborating with a range of partners, artists and communities to evolve new artistic approaches and processes as we learn about and work with this precious resource over an extended period. This creative ecological initiative will explore the multiple layers of the wood as a catalyst for arts-led environmental practices, outdoor learning and engagement, health and wellbeing, and cross disciplinary collaboration, whilst raising critical socio-environmental issues. The project follows a research, consultation and engagement process which has informed this programme. We’d like to thank everyone who has contributed to this work and look forward to sharing the next stage of the journey.

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Seeing the Wood for the Trees is a 3-year placemaking project branching outward from Glenbower Wood in Killeagh, County Cork. One of Ireland’s earliest examples of community ownership, Glenbower is an ancient native woodland bisected by the Dissour River. See also https://thisour.ie/

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Seeing the Wood for the Trees is a 3-year placemaking project branching outward from Glenbower Wood in Killeagh, County Cork. One of Ireland’s earliest examples of community ownership, Glenbo…

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New Urban Forestry Projects in Scotland - including Govanhill Baths Creative Canopies Project

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New Urban Forestry Projects in Scotland - including Govanhill Baths Creative Canopies Project

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We're delighted to announce our support of seven large scale projects that will bring more trees, woodlands and green spaces into Scotland's towns and cities.

With over £450,000 in funding awarded through the first round of our Urban Forestry Programme Challenge Fund, these projects will help more people connect with nature where they live - and create greener, healthier places for generations to come.

The projects we're supporting this year are led by communities, schools, and local authorities who share our ambition to grow greener, healthier places. They'll be planting trees in streets, parks, school grounds, and community spaces. They are focusing on areas where the need for nature is greatest. The projects include:

Govanhill Baths Community Trust, Creative Canopy Project, Glasgow
Planting 780 fruit and nut trees across backcourts, schools and gardens - turning everyday spaces into a dispersed orchard co-designed by local residents.

Glasgow City Council, The Glasgow Canopy Project
Bringing more street trees, woodlands, hedgerows and wildlife habitats to Govan and Dalmarnock.

St Marks Primary School, Planting our Way to a Better Future, Glasgow
Planting trees to enhance school grounds and create greener spaces for pupils and families.

Edible Estates, Nature Around Us, Edinburgh
Establishing woodlands and orchards with residents across two council housing estates.

West Lothian Council, West Lothian Urban Tree Planting Project
Planting in parks, public spaces and residential areas - with opportunities for residents to get involved.

South Lanarkshire Council, Removing Barriers to Tree Planting
Planting trees across the region, linking to the Clyde Climate Forest and working with community partners.

City of Edinburgh Council, Canopy Communities Project
Partnering with Granton Community Gardeners to support tree planting and ecological connectivity across three areas of the city.

These new grants build on the three smaller projects we funded earlier this year - Friends of Inch Park, Friends of Linn Park and Norton Park SCIO, bringing the total to 10 projects. We're excited to see how these first projects will grow and flourish in the years ahead.

"We looked for projects with a strong urban focus which prioritise areas most in need of trees and woodlands. We want to ensure everyone can benefit from trees - by learning about them, engaging in their care or simply spending time around them.

"These greening projects will bring more trees into the heart of our towns and cities - enhancing spaces, strengthening communities and helping more people connect with nature.

"We are proud to lead this important initiative with the backing of our founding partner bp and we look forward to seeing how these projects create lasting change over the coming years."
FWS CEO, Shireen Chambers

Planting trees where they're most needed

Every project we fund has been carefully assesses to ensure the greatest impact - planting trees where they're needed most and creating lasting change for communities.

Applications for funding were assessed using the Tree Equity tool, which was created to address imbalances in urban tree distribution by American Forests, a US non-profit organisation, and was brought to the UK by the Woodland Trust and Centre for Sustainable Healthcare.

All funded projects are helping to deliver on our ambition to achieve the 3:30:300 vision:

Three trees visible from every home,

30% tree canopy cover in every neighbourhood,

Quality green space within 300 metres of everyone.

The Creative Canopy Project

One project, the Creative Canopy Project led by Govanhill Baths Community Trust, shows the power of this work. Inspired by global ideas around forests, creativity, and long-term ecological care, they'll be turning backcourts and gardens into a living artwork of fruit and nut trees, rooted in community collaboration. The Creative Canopy Project includes planting 780 fruit and nut trees as a dispersed orchard in backcourts, schools and gardens across Govanhill over the next three years.

"The Creative Canopy Project is about more than tree planting - it's about growing environmental awareness, tackling food insecurity, and strengthening wellbeing through creativity and connection. We're proud to be supported by an Urban Forestry Challenge Fund grant from Future Woodlands Scotland to help make it happen."
Simone Stewart, Arts and Heritage Manager at Govanhill Baths Community Trust

Delivering a wide range of socio-economic benefits

Increasing tree cover in Scotland's urban areas is critical to supporting our journey to net zero and creating vibrant places where people and nature can thrive together. Urban tree cover currently stands at less than 16% - well below the EU average of 30.2% - and we are committed to helping close that gap.

We also supported two pilot projects this year: a fruit and nut tree planting initiative in Stirling, and a new tree warden volunteer scheme in Glasgow - both helping to build momentum and community engagement.

Explore our interactive map to find out more about the projects we have funded.

About the Urban Forestry Programme

The Urban Forestry Programme is an ambitious ten-year project that sees us working alongside project founding partner bp to support and improve green spaces in Scotland's cities, towns, and urban areas. This is the first major step in a ten-year journey to create lasting change.

Applications for the next round of the Urban Forestry Programme Challenge Fund will open in November 2025.

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Introducing our first major urban forestry projects - Future Woodlands Scotland

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These projects will help more people connect with nature where they live - and create greener, healthier places for generations to come.

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The Wishing Forest - Void Derry / Contemporary Art Derry

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The Wishing Forest - Void Derry / Contemporary Art Derry

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The Wishing Forest - Void Derry | Contemporary Art Derry

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The Wishing Forest is a long-term socio-ecological art project which aims to instigate a collective rethinking of how local institutions can collaborate on life-nurturing commitments that benefit more-than-human communities. Titled after a poem by Seamus Heaney, The Wishing Forest seeks to repurpose modern institutional tools, such as the tradition of artwork acquisitions by public art collections, in order to restore biodiverse woodlands. In doing so, the project thinks through ways in which forestry can be redefined as an artistic process in its own right.

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Zoom recording of NLN Event 5: The Harrisons Future Gardens. 13th August 2025

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Zoom recording of NLN Event 5: The Harrisons Future Gardens. 13th August 2025

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In the last of this phase of the NLN's being, Chris Fremantle was in conversation with

Josh Harrison (Helen and Newton Harrison's son) from the Center for the Study of the Force Majeure

Laura Fillmore, artist and community organiser who worked with Helen and Newton Harrison on the Future Garden at Sagehen (and who continues to advise on that project)

Benny Fillmore, an Elder of the Washoe Nation of Nevada and California who also worked with the Harrisons.

13th August 2025.

The next network meeting will be hosted by Simone Stewart from Govanhill Baths/the Creative Canopies project. Details to follow in due course.

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Scotland has a key role in forest and woodland creation: the Scottish Government’s 2019 Strategy sets targets of 21% forest cover by 2032 to address the climate and biodiversity crises. The resulting landscape changes in some areas will be considerable. Increased forest cover (industrial, conservation and re-wilding, and urban) needs to be matched by increased cultural production. Collaboration across the forestry and cultural sectors offers innovative possibilities for engaging communities, negotiating landscape decisions, and developing intergenerational thinking and practices. By exploring a series of long-durational, living artworks – ranging between 50 and 400 years – the New Leaves Network (NLN) brings together national and international forestry and cultural researchers, practitioners and stakeholders to understand the multiple roles that such interdisciplinary projects can play in shaping future visions and actions. NLN will produce resources addressing adaptive governance, biosecurity and resilience, and a toolkit that supports co-creative and innovative partnerships for sustainable futures.

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Short film revisiting The White Wood, a public art project in Huntly, Aberdeenshire, planted in 2016. The film has been created as part of the newLEAVES network research and comprises on-site interviews with Caroline Wendling (artist), Claudia Zeiske (founder and former director of Deveron Projects), Matthew Evans (Co-Director of Deveron Projects), and Stephen Brown, (forester and former Board member Deveron Projects).

The White Wood is a living monument to peace, which will develop over three hundred years. As a site of reflection, it was created by the community of Huntly and artist Caroline Wendling, with oaks from Germany, stones from France and Scottish soil. Along with forty nine oaks, grown from acorns from Joseph Beuys' 7000 Oaks in Kassel, the wood is made up of one thousand seven hundred native trees, shrubs and wild flowers, all of which displays an element of white, the colour of peace.

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Short film revisiting The White Wood, a public art project in Huntly, Aberdeenshire, planted in 2016. The film has been created as part of the newLEAVES network research and comprises on-site interviews with Caroline Wendling (artist), Claudia Zeiske (founder and former director of Deveron Projects), Matthew Evans (Co-Director of Deveron Projects), and Stephen Brown, forester and former Board member Deveron Projects). 
The White Wood is a living monument to peace, which will develop over three hundred years. As a site of reflection, it was created by the community of Huntly and artist Caroline Wendling, with oaks from Germany, stones from France and Scottish soil. Along with forty nine oaks, grown from acorns from Joseph Beuys' 7000 Oaks in Kassel, the wood is made up of one thousand seven hundred native trees, shrubs and wild flowers, all of which displays an element of white, the colour of peace.

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Report of New Leaves Network Event 4: White Wood. 25th June 2025

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Report of New Leaves Network Event 4: White Wood. 25th June 2025

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Report on the fourth New Leaves Network meeting, a zoom conversation between Dee Heddon (Professor of Theatre Studies at the University of Glasgow), Caroline Wendling (White Wood artist), Claudia Zeiske (the original White Wood curator at Deveron Arts) and Matthew Evans (current co-director of Deveron Projects).

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Report on New Leaves Network Event 4 - White Wood

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Zoom Recording of NLN Event 4: White Wood. 25th June 2025

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Zoom Recording of NLN Event 4: White Wood. 25th June 2025

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Dee Heddon in conversation with Caroline Wendling (White Wood artist), Steve Brown (White Wood forester), Claudia Zeiske (original White Wood curator) and Matthew Evans (current White Wood curator) on 25th June 2025

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From the Archive: Woodland Flora – Small Woodland Owners’ Group (SWOG)

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Youth Landscapers Collective in the National Forest

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Youth Landscapers Collective in the National Forest

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Youth Landscapers Collective (YLC) is a youth arts organisation based in the National Forest area of England. We’re a collective of young people, artists and technicians who collaborate with our local community to explore this landscape’s industrial past and forest future. Together we make ambitious, creative projects to share at a variety of festivals, events, and online.

In the past nine years we’ve worked with over 50 groups and individuals, including a beekeeper, ex-miners, scouts, Derbyshire’s official fungi recorder, potters, photographers, a mushroom grower, narrowboat restorers, museum curators, community archivists, forestry workers, amateur radio enthusiasts, musicians, kiln workers, historians, wildlife recorders, filmmakers, charcoal makers, bird watchers and folk singers.

Over that time our youth members have grown in confidence and skills, developing experience and commitment to shape and direct where Youth Landscapers Collective goes next.

In this episode we introduce you to who we are and what we do via an online conversation between artist Jo Wheeler, who helped initiate YLC in 2016, and three of our Youth Council members, Alfie Ropson, Isaac Munslow and Kris Kirkwood. Alfie, Isaac and Kris have all been involved with YLC since the early days and now contribute as paid project assistants, artists, technicians and board members.

https://www.podbean.com/ea/dir-s6cbx-23ad8834

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Report of New Leaves Network Associate Event: Timber Matters. 23rd October 2024

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Report of New Leaves Network Associate Event: Timber Matters. 23rd October 2024

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Report on Timber Matters, a New Leaves Network Associate event held via zoom and organised by the University of Glasgow, the Forest Stewardship Council (International) and Forest Research. The event introduced, shared and discussed clips from newLEAF's Three Words for Forest, and FSC's The Journey of Tropical Wood.

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Chronodiversity: Thinking about Time with Trees

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Celebrating forests and foods

In 2025, forests and foods is the theme for the day, celebrating the crucial roles of forests in food security, nutrition and livelihoods. In addition to providing food, fuel, income and employment, forests support soil fertility, protect water resources, and offer habitats for biodiversity, including vital pollinators. They are essential for the survival of forest-dependent communities, particularly Indigenous Peoples, and contribute to climate change mitigation by storing carbon.

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International Day of Forests 21 March | FAO | Food and Agriculture Organization of the United Nations

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Home | International Day of Forests 21 March | FAO | Food and Agriculture Organization of the United Nations The United Nations General Assembly proclaimed 21 March the International Day of Forests. The Day celebrates and raises awareness of the importance of all types of forests.

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Report of New Leaves Network Event 3: Future Library. 2nd October 2024 

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Report of New Leaves Network Event 3: Future Library. 2nd October 2024 

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Report on the third New Leaves Network meeting, a zoom conversation between Anne Beate Hovind of the Future Library, and Dee Heddon of the University of Glasgow.

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Camilla Berner on some of the Ærø farmland selected as the site of the future forest. In the background are Ida Mikkelsen, Anders Busse Nielsen, and Søren Strandgaard from the Danish Nature Agency, and Kirsten Johansen from the Municipality of Ærø. Photo: Chris Hammeken.

She calls it a dream assignment. Raising a sixteen-hectare forest on Ærø, a small island in the Funen Archipelago. A forest that can never be cut down. It is the biggest task of her life, not just in terms of scale - covering an area equivalent to around twenty-five football pitches - but also in terms of time. Only if Camilla Berner grows very old will she ever get to go for a walk in the fully-grown forest. The different temporal perspectives embedded in the task make it a particularly dizzying prospect. It operates with different timescales: tree time, human time, planet time. Because the island of Ærø's decision to significantly increase the amount of forest on the island has to do with climate and biodiversity issues.

The idea for the forest arose when the municipality of Ærø received an EU award for its good work in keeping small island communities alive. A total of 6,500 people live on Ærø, and the island attracted many new citizens during the Covid pandemic. It still does. Having won the award, a decision was made to earmark the prize money for green projects. Out of this, a new idea emerged: Ærø would grow a new forest on former farmland purchased by the island's residents and businesses in collaboration with the local authorities and Naturstyrelsen Fyn, the local branch of the Danish Nature Agency.

Then, a farmer put a piece of land up for sale. The local authorities put in an offer but did not have sufficient funds, prompting the idea of crowdfunding the planned forest by selling shares in it. "It's quite funny," says Berner. "Every time the local newspaper printed an angry letter written by opponents of the project, more shares were sold."

This spring, Berner became involved in conversations about how art might be incorporated into the project. The general mood did not favour a sculpture park in the vein of Skovsnogen or Wanås, or to have art delegated to the pathways or the parking lot. After long discussions, it was decided that Berner would be in charge of the forest itself. As a result, for the first time ever, the Danish Nature Agency will now plant a forest with an artist at the helm of the proceedings.

Camilla Berner is not a surprising choice for the task. She has worked with nature in all sorts of guises for the past twenty years. One of her best-known projects is Black Box Garden (2011), the large garden she created on a construction site in the middle of Copenhagen using existing plants and gravel from the site. Her spectacular wooden pavilions with roofs made from invasive species such as broom and rose hip have been shown throughout Denmark. The permanent work Ice Age Relocated (2021) comprises five large artificial stones placed in five different locations in the Copenhagen region, each representing a characteristic landscape shaped by the last ice age.

Considering the sword dangling heavily over our burning globe, surprisingly few artists, in Denmark and internationally, work earnestly with climate issues. Probably because the subject is so fundamentally depressing, the enemy so elusive, and, to make matters worse, even a part of ourselves. Well-intentioned efforts often end up as single-issue activism in front of parliaments or, turning to the symbolic end of the spectrum, as land art that suggests an off-grid dropout lifestyle. Both are perfectly valid responses. Even so, it is striking that an issue we know for sure will dramatically change life on our planet in the next decades, for humans and animals alike, is not more prominently featured in contemporary art.

"Like everyone else, I am regularly dismayed by the dire outlook for the climate and biodiversity," says Berner on the phone from Herregården Odden in Hjørring, where she is currently showing an exhibition based on the dried plants collected by the Danish artist J.F. Willumsen in New York around the year 1900. "At the same time, I am sincerely hopeful about the ambitious nature of this forest. The island community has not waited for nationwide agreements and state funding, but instead taken action on a matter that's currently on everyone's lips. They have even brought art on board as part of the project. That's highly motivating, and I am very aware of the trust they have placed in me."

Even though Berner cannot be persuaded to provide an in-depth explanation for the collective shell shock that has stalled much artistic thinking regarding the biggest problem of all, her own artistic path might still shed some light on the matter. After graduating from the Chelsea School of Art and Design in London, she worked quite a bit outside Denmark, but in recent years has almost exclusively worked within its borders. This is not just about avoiding the climate impact of flying and shipping art around, but about her way of working.

"When you make art that works with nature or climate issues, you quite simply have to slow down," she says. "The earth, the soil is where it is; you have to stay close to it to become familiar with it. That also applies to the hidden codes about nature embedded in our culture. It has taken me years to understand and decipher how a particular view of nature is implanted in our culture, and also how that outlook can be different in one part of the country compared to another. It all takes place where we are."

Camilla Berner's Black Box Garden from 2011, created at a construction site in the Port of Copenhagen. From April to November, Berner cultivated a garden using vegetation and soil found at the site. Today, some of the most expensive properties in the city are located here on Krøyers Plads. In collaboration with Publik - Contemporary art in public spaces. Photo: Sebastian Schiørring.

Berner lives in Amager in Copenhagen. Last week she was in Nykøbing Falster to inaugurate one of her artworks in a newly established park. Yesterday she was in Ballerup to do a workshop for school children about plants, and in a few days she will give a talk at Løgumkloster Folk High School about plants as artistic material. All in all, she is probably among the Danish artists who have travelled Denmark most widely. Working with nature is also about being available to the people who live where she digs, plants, or otherwise intervenes in the landscape: "I make a point of getting involved in the local community. People must be able to talk to me about what we are doing, what the process entails and what the objective is. It should be of value and edifying for all parties."
What does a forest planted by an artist look like? Should you be able to tell that it's art?
"That is the big question, and one that quickly leads to: What is art? How does art present itself? Should it solve something or represent something? In recent decades, many landscape architects have experimented with creating forests that are more like parks, so-called urban forestry. You can also shape the trees at an odd angle as they grow, so that their crowns grow together in a spectacular way. In such cases, the intervention is very clear."

"You can also work with the hidden layers, attach a narrative to the choice of trees, or use species that improve the soil. I am currently studying different people's relationships with forests and am, for example, quite inspired by the environmental activist Vandana Shiva's writing about forestry in India before the colonial era's efficient view of nature took over. She talks about how trees and people are connected by a special sensuous sensibility, for example by the soft way the light filters through the leaves."

"I have always been fascinated by Allan Sonfist's Time Landscape park in Manhattan, which plays with the visible and invisible aspects in exciting ways. Sonfist laid out the park from 1965 to 1978, planting species of trees, shrubs, grasses, and flowers that covered Manhattan in the early 17th century, back when the island was still inhabited only by Native Americans. It is still there, right the middle of Greenwich Village, and is fully grown. Actually, it looks like every other park in the city. Only when you read the sign or have the project explained to you does the magic happen, right in front of your eyes. Then the same trees look completely different. It's like a typhoon of time rushing through your head - a distillate of the plants and trees that were here before the settlers came. And that happens when you get the information. Which gives rise to other questions: Do you need to read about the forest on Ærø before seeing it? When exactly does it manifest itself as a different kind of forest? How do you even present a forest with an artistic layer to it to the public?"

Allan Sonfist created Time Landscape in New York City in the years 1965 to 1978. The park can still be found at the corner of West Houston and LaGuardia Place in Greenwich Village. Photo: WikiCommons.

Contrary to the park in Manhattan, the forest on Ærø is not about showing the vegetation of earlier times. Rather, it is about promoting new vegetation on a very large scale and in a race against time.
What are your thoughts on the combination of the urgency of the situation and a slowly growing forest?
"It is a paradox, yes. The many different timescales are a fundamental condition underpinning the entire project. Perhaps that holds true for all art working in this field. Establishing a forest like this, where you promise each other that it can never be cut down, is a powerful and deeply meaningful act. It's like a new zero point. At the opposite end of the spectrum is the sense of time you get from an old tree. The deeply furrowed bark bears witness to a long life, which is humbling to us as observers. Time lies embedded in the bark, in the size of the tree, in its anchoring in the ground, in all the time that passed before a forest is there. At the same time, the context for this new forest is a situation of great urgency. And in fact, the beneficial effect only sets in after many years; only older trees absorb CO2 in serious quantities. Everywhere you look, you will see that newly planted trees are getting bigger and bigger. Nobody has time to wait."

"I think a lot about how all these timescales can interact in this project, making sense and adding poignancy throughout the whole process, right from the preparation of the soil to the sowing of the first seeds in the coming years, over the many years of growth to the very large tree crowns I might not even get to see."

Camilla Berner grew up in a forest herself, being born outside Faaborg into family that made a living from forestry and still does. She remembers the large logs lying in stacks waiting to be picked up by a sawmill. Such mature tree trunks also nourish microbial life, insects, and so on. Now she is considering whether similar stacks could be placed in the new forest only to never be picked up, turning things upside down and reversing time. And perhaps it might be possible to 3D scan some of the island's very large trees, have them printed and placed in the new forest, slowly decaying while the real trees grow up, playing with the dual processes of building up and breaking down things. Seeds can also be taken from the sparse forest already found on the island, contributing to the biodiversity, or from trees in people's gardens. Because this project is also about the people on the island.

"A unique culture." That is how Berner describes Ærø. "There is so much energy in the fact that the people on the island initiated this project, and so it is super important that the forest and the islanders are closely entwined. They should continue to feel the same sense of ownership of the forest; we shouldn't just be ticking boxes in a nursery catalogue. Perhaps we can get seeds from the big splendid trees that people have in their gardens. I love hearing people talk about their old garden trees, how they planted them with their husband sixty years ago. The biggest disadvantage of newly built residential areas where people simply roll out a dull desert of grass covering everything is that they are not rooted in time and nature. I try to think of the whole island as a unified organism that contributes to the forest."

Berner is due to deliver the concept for the forest by the end of the year. Once the plans are approved, it will take approximately one and a half years to obtain the relevant permits and prepare the land for being transformed into a forest. It is likely that the first trees, due to be planted in the spring of 2026, will not be taller than half a metre, partly due to budget restrictions and partly because the roots of large plants are more fragile and difficult to move.

Art in public spaces is a difficult genre because of the many compromises required and the endless unforeseen challenges. Planting a forest on Ærø is no exception.

How will you ensure that the forest doesn't end up as just another nice gesture or well-intentioned piece of land art that doesn't really make a difference after all?
"In this case, the unique aspect is that the art is not a representation of a forest. It is the forest. Not a big forest, but a big work of art. The situation is urgent and complex, and establishing forests takes time. But that must not make us falter and stop. There is something beautiful in nature taking its time as it always has. Hopefully, art can help make that tangible - make us understand what the forest means to us and to the entire ecosystem."

"The political perspective is exciting too. The green tripartite agreement, due for its final negotiation in the Danish parliament this autumn, aims to raise an extra 250,000 hectares of forest in Denmark. This will inevitably be a long process; just finding the land can easily take several years. Hopefully, the forest on Ærø can serve as an example of how this can be done through local initiatives and also offer an artistic take on what the vast amount of woodland that has to be raised all over the country might look like. I think that the power of community will be absolutely decisive: that there are many of us who do this together. The story of the forest becomes closely entwined with that of the islanders. A tree is not just a tree, but part of the island's story."

The Ærø art committee inspects the site where the future forest will be established. Photo: Anders Busse Nielsen.

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Artist Plants New Forest in Denmark - Kunstkritikk

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The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.

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Zoom Recording of NLN Event 3: Future Library. 2nd October 2024

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Zoom Recording of NLN Event 3: Future Library. 2nd October 2024

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Dee Heddon in conversation with Anne Beate Hovind on 2nd October 2024

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Sarah Gittins is a visual artist working across a variety of media, with a particular focus on drawing and printmaking. Her work explores issues of social and ecological justice. Sarah’s images create a space where the activities of everyday life (in western culture) encounter incidents of (global) environmental concern, bringing those issues which are often pushed to the edges of consciousness into the here and now of personal awareness.

Since 2022, Sarah has been working with A+E to deliver the Plants are our Teachers programme - facilitating art making in response to plants using plant-based inks and earth pigments.

Personal website: https://www.sarahgittins.net/

Plants are our Teachers, with A+E: https://artandecology.earth/plants-are-our-teachers-2/

Future Fruit with Deveron Projects: https://www.deveron-projects.com/future-fruit/

Dundee Urban Orchard: https://dundeeurbanorchard.net

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Summary Report of New Leaves Network Event 2: The Neighbouring Orchard. 27th June 2024 

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Summary Report of New Leaves Network Event 2: The Neighbouring Orchard. 27th June 2024 

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Summary Report of the second New Leaves Network meeting, held in Portobello, Edinburgh on 27th June 2024

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Full Report of New Leaves Network Event 2: The Neighbouring Orchard. 27th June 2024 

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Full Report of New Leaves Network Event 2: The Neighbouring Orchard. 27th June 2024 

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Full Report of the second New Leaves Network meeting, held in Portobello, Edinburgh on 27th June 2024

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Annie Lord introduces 'The Neighbouring Orchard' project

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Annie Lord introduces 'The Neighbouring Orchard' project

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Film introducing Annie Lord's The Neighbouring Orchard project commissioned by Art Walk Projects, Portobello. By Jake Irvine. This film was produced as part of the Royal Society of Edinburgh newLEAVES network

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A film by Jake Irvine made as part of the Royal Society of Edinburgh funded newLEAVES network. https://rgu.padlet.org/cfremantle/new-leaves-network-27i6tbw8ls0e11ln

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The Hollywood Forest Story - ongoing since 2008, an ecosocial creative Close-to-Nature forest transformation practice, in rural SE Ireland

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The Hollywood Forest Story - ongoing since 2008, an ecosocial creative Close-to-Nature forest transformation practice, in rural SE Ireland

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Since 2008, The Hollywood Forest Story tells how new-to-Ireland Close-to-Nature continuous cover forestry is transforming a small conifer plantation into a permanent, mixed species forest. It is one new story for Earthly wellbeing. It is also a story of the social power of ecological (ecosocial) art practice to foster ecoliteracy and agency for creative practitioners and their audiences. Such work contributes an 'ecological turn' for an eduring wiser, compassionate and more beautiful world.

Specifically, The Hollywood Forest Story is about the learning and efforts to transform a small monoculture conifer plantation into a beautiful, permanent, productive, multispecies, bird-filled forest following more ecologically wiser Closer-to-Nature forestry practices (also known as continuous cover forestry CCF in Ireland). Cathy has long been associated with ProSilva Ireland, one of 25 groups across Europe promoting integrated forestry for multiple social, environmental and economic benefits. See ProSilvaIreland.com and ProSilva.org involving countries like Slovenia who promote Close-to-Nature approaches and have not permitted clearfell forestry for many decades.

The Hollywood Forest Story as an durational ecological art practice, communicated through her blog, was basis for Cathy's creative practice PhD The Ecological Turn 2018 that reviewed pioneers in durational ecological art practice. Knowing firsthand that art colleges have not advanced ecopedagogy Cathy's more recent endeavour has been to develop popular peer-led online ecoliteracy courses for other creatives and cultural professionals at https://HaumeaEcoversity.ie

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IUFRO Launches Synthesis Report on International Forest Governance

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IUFRO Launches Synthesis Report on International Forest Governance

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Very important new report including: key trends in international forest governance, finance and the potential for just investments, forest related discourses, governance for the future...

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The International Union of Forest Research Organizations (IUFRO) has launched the first global synthesis report on international forest governance in 14 years. The report analyzes developments in international forest governance since 2010, when the IUFRO-led Global Forest Expert Panel (GFEP) published its last global assessment.

The launch event took place in the margins of the 19th session of the UN Forum on Forests (UNFF19) on 10 May 2024.

According to the Earth Negotiations Bulletin (ENB) summary of the event, forests "represent significant economic value and hold vast intrinsic and aesthetic worth." While progress has been made in reducing global deforestation rates through international forest governance mechanisms, climate change, biodiversity loss, and increasing social and economic inequalities continue to pose significant challenges.

The report titled, ' International Forest Governance: A Critical Review of Trends, Drawbacks, and New Approaches,' summarizes pivotal developments in international forest governance.

In his opening remarks, IUFRO President John Parrotta, US Forest Service, "expressed hope that the report would inform evidence-based decision making at UNFF19 and beyond."

Christoph Wildburger, IUFRO Science-Policy Programme, noted that the 2010 report had characterized the international forest governance landscape as "complex and fragmented." The number of actors, initiatives, arrangements, and institutions has "increased considerably" since then. He said the new report analyzes trends and challenges since 2010, along with potential approaches for improving forest governance in the future.

One of the report's authors, Daniela Kleinschmit, University of Freiburg, Germany, said "'international forest governance' refers to the formal and informal sets of rules and relationships that define and regulate state and non-state actors in international forest affairs." She highlighted the report's "people-centered" approach to improving international forest governance that seeks to make it more inclusive by connecting and coordinating existing instruments.

The report's co-author Constance McDermott, University of Oxford, UK, highlighted "ever-expanding" quantitative targets to reduce deforestation, the increasing "climatization" of forests, and their growing "financialization" among the key trends identified in the report. She stressed that market-based approaches can reinforce inequalities and called for more emphasis on "ground-up and inclusive strategies" in international forest governance.

Next, stakeholders involved in forest governance shared their insights on the report from the perspective of policymaking. In the question-and-answer session that followed, participants focused on topics such as: harmonizing the regulatory landscape for forests at both national and subnational levels; the extent to which the fate of forests depends on forest-specific governance as opposed to forces outside the forest sector; the underlying causes of deforestation; and the distinctions between forestry governance, forest governance, and forests in general. [ ENB Coverage of IUFRO Side Event at UNFF19: Presentation of Report by IUFRO's Science-Policy Programme on International Forest Governance]

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IUFRO Launches Synthesis Report on International Forest Governance | News | SDG Knowledge Hub | IISD

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The report's "people-centered" approach to improving international forest governance seeks to make it more inclusive by connecting and coordinating existing instruments. "Ever-expanding" quantitative targets to reduce deforestation, the increasing "climatization" of forests, and their growing "financialization" are among the key trends identified in the report.

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Can you feel loss for something you’ve never known? An environmental thriller starring Pearl Mackie, Tanya Moodie & Pippa Haywood. With theme music by Bonobo. Written by Timothy X Atack and directed by Becky Ripley. First broadcast in 2019.

Each episode comes with its own talk and soundscape.

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Can you feel loss for something you've never known?

An environmental thriller starring Pearl Mackie, Tanya Moodie & Pippa Haywood. With theme music by Bonobo. #Forest404

Can you feel loss for something you've never known? An environmental thriller starring Pearl Mackie, Tanya Moodie & Pippa Haywood. With theme music by
Bonobo. Written by Timothy X Atack and directed by Becky Ripley.

Each episode comes with its own talk and soundscape. Plus, you can take part in our interactive experiment to see how you respond to sounds of nature at:
bbc.co.uk/forest

#Forest404

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BBC Radio 4 - Forest 404, Ep0: Enter The Forest

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Can you feel loss for something you've never known? An environmental thriller starring Pearl Mackie, Tanya Moodie & Pippa Haywood. With theme music by Bonobo. #Forest404 Can you feel loss for something you've never known? An environmental thriller starring Pearl Mackie, Tanya Moodie & Pippa Haywood. With theme music by Bonobo.

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Funding now available through the NetZeroPlus Demonstrator Flexible Fund!

Applications are invited for small research projects which seek to address key knowledge gaps in our understanding of the role of woodland creation and management in Greenhouse Gas Removal in the UK.

Projects can last up to 9 months in duration.

The call will be open until 24 April 2024 at 5pm GMT.

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NetZeroPlus Flexible fund

The NetZeroPlus Flexible funding scheme is now open.

Applications are invited for small research projects which seek to address key knowledge gaps in our understanding of the role of woodland creation and management in Greenhouse Gas Removal in the UK. Projects can last up to 9 months in duration.

Awards can be made to researchers at any UK research organisation.

For more information see the guidelines provided. Proposals should use the application form available on this page.

The deadline for applications is 24 April 2024 at 5pm GMT.

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NetZeroPlus Flexible fund The NetZeroPlus Flexible funding scheme is now open. Applications are invited for small research projects which seek to address key knowledge gaps in our understanding of the role of woodland creation and management in Greenhouse Gas Removal in the UK. Projects can last up to 9 months in duration.

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Urban and social: aesthetic  questions related to forests and riparian landscapes.

Collins, T. (2010) 3 Rivers 2nd Nature 2000-2005, Water, Land & Dialogue. In Carney, L.S., And Pageot, E-A, In a special issue on Landscape, Cultural Spaces, Ecology. RACAR, Revue d’art Canadienne / Canadian Art Review, Vol 35 Issue 3. Arnprior, ON: Canada Universities Art Association of Canada.

Collins, T. (2008) Can or Should Artists Attempt to Create Verifiable Change? In O’Reilly, S., Beauchamp, P. (Eds.) Sense in Place, Site-ations International. Cardiff, Wales: Centre for Research in art and Design, University of Wales Institute Cardiff, and Dublin: Dublin Institute of Technology DIT, Ireland.

Tarr, J, Muller, T. and Collins, T. (2008) Pittsburgh’s Three Rivers From Industrial to Environmental Infrastructure. In Mauch, C. and Zeller, T. (Eds.) Rivers in History: Designing and Conceiving Waterways in Europe and North America. Pittsburgh: University of Pittsburgh Press. The article was subsequently reprinted at the request of the editors in: Mohl, R. and Biles, R. (2012) The Making of Urban America. Maryland: Rowan and Littlefield.

Collins, T. (2008) Art Nature and Aesthetics in the Post Industrial Public Realm. In France, R. (Ed.) Healing Nature, Repairing Relationships: Restoring Ecological Spaces and Consciousness. Chicago, ILL: Green Frigate Books.

Collins, T. (2007) Art, Environment and Ecology: within a changing social and environmental context. In Channeling Herbert: earthworks. artworks. public works, Curator/Editor Cheryl dos Remédios. Washington, US: Cultural Division City of Kent.

Collins, T. (2007) Catalytic Aesthetics. In the publication from the conference, Artful Ecologies, Falmouth: University College Falmouth.

Collins, T. Kline, J. Vallianos, K. Fox, C. et al (2006) Ecology and Recovery: Allegheny County, Final Report, Pittsburgh PA: STUDIO for Creative Inquiry, Carnegie Mellon University. (Executive Summary)

Collins, T. and Goto, R. (2005) An Ecological Context. In Miles, M. (Ed.)New Practices/New Pedagogies: Emerging Contexts, Practices and Pedagogies in Europe and North America. Lisse, Netherlands: Swets and Zeitlinger.

Goto, R. and Collins, T. (2005) Mapping Social and Ecological Practices. In Miles, M. (Ed.) New Practices/New Pedagogies: Emerging Contexts, Practices and Pedagogies in Europe and North America. Lisse, Netherlands: Swets and Zeitlinger.

Collins, T. Farber, S. Fox, C. Goto, R. Perkins Eastman Architects et al (2004) An Ecological and Physical Investigation of Pittsburgh’s Hillside. (Report to the City of Pittsburgh Hillsides Committee). Pittsburgh PA: STUDIO for Creative Inquiry and Perkins Eastman Architects with Allegheny Land Trust.

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Rachel is the part time Programme Manager (Projects and Communities) at the Barn and leads on two of the Barn’s core projects, 'The Far Orchard' and 'Plenty?'

The Far Orchard is an artist-led network of over 100 individuals, groups and organisations who care for an apple tree, acting as ‘pollinators’ of a dispersed orchard across rural communities. Plenty? emerged out of the Far Orchard as an intergenerational arts and climate festival that explores ‘degrowth’.

She maintains a freelance curatorial practice in Aberdeen, under the platform ‘Fertile Ground’.

The Barn

The Barn is a multi-arts organisation connecting contemporary artists, third sector partners and communities of interest in reimagining themselves in climate crisis. We believe that the arts and artists have an important role in radically transforming ways of living.

Our site supports a performance space, gallery, wild garden, walled garden, a low-carbon craft store and neighbouring allotment holders. The arts are broadly defined to include ecological practices such as growing food and composting and our organisation is a pivotal contact zone where different knowledges; artistic, scientific and climate advocate cross fertilise. We participate in the lead working group for the ‘Green Arts Charter’, a framework to deliver climate action in Scotland. In 2023, the Barn was shortlisted for the Calouste Gulbenkian Foundation Award for Civic Arts Organisation.

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Rachel Clive is a theatre practitioner (writer, director, facilitator) and theatre practice-based researcher with a longstanding interest in the intersections between art and social practices in processes of change. She is particularly excited by experimental and collaborative performance as research practices that operate beyond traditional boundaries (eg art-science, human-more than human, rural-urban). She has worked as a postdoctoral researcher for a number of interdisciplinary environmental research projects, and is currently working with Professor Dee Heddon on the creation of a new piece of verbatim theatre which explores how forest practitioners are working with uncertainty in the context of how trees are adapting to climate change. She is also contributing a case study for newLEAF which investigates crossovers between forestry and agriculture.

https://www.rachelclive.com/

https://www.gla.ac.uk/schools/cca/staff/rachelclive/

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The UK Centre for Ecology & Hydrology is an independent, not-for-profit research institute, carrying out environmental research across water, land and air. Our science makes a difference underpinning environmental policies, commercial innovation and conservation action all around the world.  www.ceh.ac.uk

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Natalie is a participatory artist with an interest in ecological and interspecies co-dependencies. Recent work has focussed on pollinators and soil. Commissioned in 2015, the International Year of Soil, to connect people to this elusive substance, she began framing our inter-being as Thich Nhat Hanh calls it, through our relationship with soil.

Using wearable garments, participatory walking, and soil as a painting medium, she was embedded artist in the Dunbar community for a year with North Light Arts with the project, Is Soil Alive?  The Keepers of the Soil cape was conceived as a connective and pedagogical ceremonial garment to raise awareness of our soils, much of which is under threat globally from industrialist pressures. It was worn by dozens of walkers during the two week Pilgrimage for COP26 in Nov 2021 and by soil scientists in the 22nd World Congress of Soil Science.

Following on from this project she was then invited as Artist in Residence at Climate House (Inverleith House) in RBGE for four months to research soil along with the RBGE staff and volunteers. Finding joy in the microscopic biology of soil she produced a series of printed plates, finished the soil/ food/web embroidery on the garment and exhibited her newly developed work in the John Hope Gateway under the title Living Soil, 27/2/23- 27/3/23.

Running alongside these themes is a long-standing collaboration with husband Kevin Dagg to build an EcoArtHut within their 5 acre woods in Fife. A mixture of Sitka, Sitka and Oak and Oak meadow, the collaborative project is for ecological habitat restoration. An additional plan is to build a low carbon, off grid 'Hut' under the One Thousand Huts campaign for professional as well as personal use. A long term aim is to open up the space to researchers and artists for short creative immersive retreats in the woodland.

https://natalietaylorartist.co.uk/

https://www.rbge.org.uk/news/articles/digging-deep-into-the-world-of-soil/

https://www.thousandhuts.org/

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Publications on Art and Scotland's Forests

Goto Collins, R., Collins, T. (2018) “The Black Wood: Relations, Empathy and a Feeling of Oneness in Caledonian Pine Forests.” In Arts, Religion, and the Environment. Eds. Bergmann and Clingerman, Leiden, Netherlands: Brill Rodopi.

Goto Collins, R., Collins, T. (2018) “The Black Wood: Relations, Empathy and a Feeling of Oneness in Caledonian Pine Forests.” In Arts, Religion, and the Environment. Eds. Bergmann and Clingerman, Leiden, Netherlands: Brill Rodopi.

Collins, T., Goto Collins, R., Edwards, D. (2017) A Critical Forest Art Practice. In Landscape Research  Journal  (Vol. 43 #2). Abingdon: Taylor and Francis.

Edwards, D., Collins, T., Goto Collins, R. (2017) An arts-led dialogue to elicit shared, plural and cultural values of ecosystems. In Ecosystem Services 21 (2016) 319–328, Special Session on Cultural Ecosystem Services: Frontiers in Theory and Practice, Ed. Kenter, J. Netherlands: Elsevier Publications.

Goto Collins, R., Collins, T. (2017) “Imagination and Empathy – Artists with Trees.” In Participatory Research in More-than-Human Worlds. Eds. Bastian, M., Jones, O., Roe, E. Oxon, UK: Taylor and Francis.

Collins, T., Goto, Collins, R. (2016) “Defining a Practice: With Reflection on Sylva Caledonia.” In Elemental: An Arts and Ecology Reader, Brady, J., Ed. Liverpool UK: Gaia Press

Edwards, D. Goto Collins, R., (2016)“Does the Conservation Status of a Caledonian Forest also Indicate Cultural Ecosystem Value?” In Bio Cultural Diversity in Europe.  Ed. Agnoletti, M. of the University of Firenze, Italy. London: Springer-Verlag.

Collins, T., Goto Collins, R., Edwards, D. (2015) Future Forest: The Blackwood, Rannoch Scotland. Oxford and Roslin: Landscape Research Group Press and Forest Research.

Collins, T., Goto Collins, R., Edwards, D. (2014) “A Case Study: Forest Futures, Kinloch Rannoch: Artistic engagement, interviews, deliberations and social learning to reveal hidden cultural values” in, the UK National Ecosystems Assessment Follow-on, Shared Plural and Cultural Values: A Handbook for DecisionMakers. Eds Kenter, J., Reed, M. et al. Cambridge: UNEP-WCMC

Collins, T., Goto Collins, R., Edwards, D. (2014) “Future Forest – Caledonian – Aware Access – Blackwood“, in Imagining Natural Scotland. Ed Griffith, D. Glasgow and Edinburgh: Creative Scotland.

Collins, T (2012) Art, Imagination and Environment. In Thompson, I. Howard, P. and Waterton, E. (Eds) Companion to Landscape Studies. London: Routledge.

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This guide provides invaluable advice on how artists and arts-based researchers can work alongside natural and social scientists to design inclusive environmental research. It details practical steps for finding and commissioning artists who have the appropriate skill sets and expertise, while also addressing concerns within the wider research community that bringing an arts perspective into applied research can be challenging.

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Countryside and Community Research Institute

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The guide provides invaluable advice on how artists and arts-based researchers can work alongside natural and social scientists to design inclusive environmental research. It details practical steps for finding and commissioning artists who have the appropriate skill sets and expertise, while also addressing concerns within the wider research community that bringing an arts perspective into applied research can be challenging.

The full guide is available to read for free here: 'Making Socio-Ecological Art and Science Collaboration Work: A Guide'

Changing Treescapes is funded by the Arts & Humanities Research Council (AHRC) as part of the Landscape Decisions Programme.

The project is led by Dr Julie Urquhart, and includes CCRI researchers Dr Alice Goodenough, Prof Paul Courtney, Dr Jasmine Black, freelance artist Dr Kerry Morrison and Prof Clive Potter from Imperial College London.

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Changing Treescapes Collaboration Guide Published - Countryside and Community Research Institute

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The Changing Treescapes project team have released a new guide, 'Making Socio-Ecological Art and Science Collaboration Work: A Guide'.

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Evaluation of Arts and Climate Adaptation Project

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Evaluation of Arts and Climate Adaptation Project

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Innovative impact-focused evaluation approach to EU funded interdisciplinary art and climate adaptation project led by Creative Carbon Scotland

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As part of the Cultural Adaptations project, lead partner Creative Carbon Scotland, commissioned an independent evaluation to ensure that 'lessons learned' were effectively captured and shared.

Since the project came to an end on 31 March 2021, academics Chris Fremantle, a research fellow and lecturer at Gray's School of Art (Robert Gordon University, Scotland) and Leslie Mabon, a lecturer in in environmental systems in the School of Engineering and Innovation at the UK's Open University (based in Scotland), have been collaborating on their evaluation report. This week we saw the publication of Cultural Adaptations Lessons Learned Evaluation Report.

The combined expertise of Fremantle and Mabon delivers a comprehensive overview of context, the methodologies used, key questions, and findings. The authors also offer reflections and recommendations spanning sustainability organisations, and cultural organisations and embedded artists.

Mabon's efforts were focused on evaluating the outcomes and lessons learned from the project from the perspective of climate change adaptation and sustainability organisations while Fremantle conducted his evaluation from the perspective of culture and cultural practitioners/organisations. Despite using discrete evaluation approaches, an important aspect for both was an agreed focus on what could be learned for other organisations undertaking similar activity in future. Thus, they 'developed a common linked methodology and protocol' (p.18).

Five key recommendations

By the end of the project and ensuing evaluation, Fremantle and Mabon had five firm recommendations for organisations wanting to embark on adaptation projects:

1. There is a need for strategic partnerships between adaptation organisations and the cultural sector.

2. There is a significant opportunity for arts and cultural organisations to engage with the adaptation agenda.

3. The creative sector has significant potential in getting societal buy-in for the adaptation agenda, especially as 'difficult conversations' or intractable problems come to the fore as climate threats intensify.

4. Building trust can be as valuable an outcome as the intervention itself, especially if there is limited history in the locality of collaboration between the cultural sector and adaptation or sustainability organisations. The significance of 'quick wins' or incremental progress should never be underestimated, even in the face of rhetoric of urgency on climate

5. There is a need to explore the strategic implications of connecting the cultural and sustainability sectors at a European level.

Key literature and insightful examples of the cultural sector working or embracing climate change adaptation provide context for the report and its recommendations. The authors acknowledge that society is still getting to grips the concept of adaptation but they don't hesitate to predict it will become a more significant feature of organisational planning. They also suggest that 'there is ample scholarly evidence to illustrate that adaptation organisations (and, indeed, sustainability organisations) require a much broader set of competencies, knowledges and skill sets than purely technical and scientific knowledge of the effects of climate change and the measures that may be taken in response' (p.12).

"I believe I speak on behalf of the partners when I say we are proud to claim this project as a success. We learned so much from each other and shared both positive and challenging experiences during Cultural Adaptations, but we know we're on the right track. It's very pleasing to read in this evaluation report from Chris Fremantle and Leslie Mabon that they agree. Like artists, academics think differently and they help us to think differently when we approach complex situations. We, at Creative Carbon Scotland, will certainly take on board their recommendations in future projects as I'm sure our partners will.

"I thank Chris and Leslie, wholeheartedly, for the clear, thoughtful and critical approach they have taken in this report, and for their enthusiastic and authentic contributions throughout the project." Ben Twist, director of Creative Carbon Scotland.
Reference
Chris Fremantle and Leslie Mabon, Cultural Adaptations Lessons Learned Evaluation Report, 2021

Read the 'Lessons Learned' evaluation report

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Independent project evaluation report published | Cultural Adaptations

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The 'Lessons Learned' evaluation report for the Cultural Adaptations project. Written by Chris Fremantle and Leslie Mabon.

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Creative Carbon Scotland Library of Creative Sustainability- case study resource

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Creative Carbon Scotland Library of Creative Sustainability- case study resource

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A set of case studies on projects that have involved collaborating with artists to achieve environmental sustainability outcomes, including some forest themed ones like The Black Wood of Rannoch and Hollywood Forest Story.

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Creative Carbon Scotland culture/SHIFT methodology for working with artists

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Creative Carbon Scotland culture/SHIFT methodology for working with artists

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Creative Carbon Scotland's step-by-step guide to working with artists on sustainability projects.

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Creative Carbon Scotland Climate Beacons

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Creative Carbon Scotland Climate Beacons

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Project working with cultural organisations on place-based climate change public engagement. The Argyll project was focused on the temperate rainforests.

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Climate Beacons | Creative Carbon Scotland

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’It’s fantastic to have the Climate Beacons in Scotland as it is vital that we bring together environmental and cultural organisations to underline the

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Creative Carbon Scotland: The Right Tree in the Right Place

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Creative Carbon Scotland: The Right Tree in the Right Place

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Green Tease event to focus on forests and trees specifically

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Congenial Soils and Favourable Situations 

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Congenial Soils and Favourable Situations 

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'Congenial Soils and Favourable Situations' is an artists’ film by Rachel McBrinn and Alison Scott commissioned by Cove Park and ACT, who together form the Argyll Climate Beacon.

Responding to the Scottish rainforest, the film is a poetic document of collaborative learning which expands from observational documentary footage, conversations, and a critical engagement with place.

Congenial Soils and Favourable Situations was filmed across the Argyll area, taking us from the experimental mono-cultural forestry of Kilmun Arboretum, to sites of Atlantic Rainforest at Cormonachan Community Woodland, Taynish National Nature Reserve, Barnluasgan, and recent planting of native tree species at Cove Park.

https://alison-scott.co.uk/Congenial-Soils-and-Favourable-Situations

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Congenial Soils and Favourable Situations

Rachel McBrinn & Alison Scott, Congenial Soils and Favourable Situations, 25 min video, 2022

Screenings

Congenial Soils and Favourable Situations is an artists' film by Rachel McBrinn and Alison Scott commissioned by Cove Park and ACT, who together form the Argyll Climate Beacon.

Responding to the Scottish rainforest, the film is a poetic document of collaborative learning which expands from observational documentary footage, conversations, and a critical engagement with place.

Congenial Soils and Favourable Situations was filmed across the Argyll area, taking us from the experimental mono-cultural forestry of Kilmun Arboretum, to sites of Atlantic Rainforest at Cormonachan Community Woodland, Taynish National Nature Reserve, Barnluasgan, and recent planting of native tree species at Cove Park.

The film moves from blocks of planted forest to fragmented pockets of native woodland-from one management system to another. Paying close attention to the language and history of forest management and how this might develop into the future, we ask, what is allowed to grow, and what is not?

Congenial Soils and Favourable Situations was screened as part of The Argyll Beacon Climate Café, alongside works by Juliana Capes and Katrine Turner. The event took place at 2:30-4:30pm on 30 May 2022 at Cove Park.

The film was screened at CCA Glasgow on 1st November 2022 as part of Encounters with Climate, alongside Air Quotes by Louis Brown. A Q&A was hosted by Shireen Taylor. This event presented new films and exploratory work developed in 2022 at Cove Park and throughout the UK which document intergenerational learning and decision-making in relation to climate management.

Congenial Soils and Favourable Situations was screened on 17th September 2023 at the Oban Phoenix Cinema. For this special screening in Oban, the film was accompanied by an archival film, 'A Tree is Planted' (1957), indicating how attitudes toward forestry and land management have evolved from the mid-twentieth century into the present day. A Q&A was hosted by independent curator Naoko Mabon and Mika Schröder, a doctoral researcher at the Strathclyde Centre for Environmental Law and Governance.
Thanks to Scotland's Moving Image Archive (National Library of Scotland). Supported by the Stephen Palmer Travel Award.

We are keen to find further opportunites to screen the film with communities in proximity to pockets of Atlantic Rainforest. Please get in touch if you would like to discuss a screening.

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Congenial Soils and Favourable Situations - Alison Scott

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Congenial Soils and Favourable Situations Rachel McBrinn & Alison Scott, Congenial Soils and Favourable Situations, 25 min video, 2022 Screenings Congenial Soils and Favourable Situations is an artists' film by Rachel McBrinn and Alison S...

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Dee Heddon is a Professor in Theatre and Performance at the University of Glasgow. She has a long-standing interest in performance and environment, and has published widely on the use of walking as arts practice. She is the co-editor of a book series for Springer, "Performing Landscapes", for which she is also writing a monograph on forests. She is a Co-Investigator on the newLEAF project, working with Dr Rachel Clive on the creation of a new piece of verbatim theatre which explores forest practitioners' relationships with uncertainty and decision making in the context of climate change. She is also contributing to a number of case studies for newLEAF which investigate artists collaboration with forests in the creation of long-durational artworks, and the place of uncertainty within these. https://www.gla.ac.uk/schools/cca/staff/deirdreheddon/

Walking Publics/Walking Art: Walking, Wellbeing & Community During COVID-19 www.walkcreate.org

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Cath is the Head of Operations and also a member of the Senior Leadership Team at the Barn. She is the organisation's Green Champion and responsible for the organisation’s environmental action planning leading on the RFO Environmental Reporting and Carbon Management Plans for Creative Scotland. Cath was one of the cohort that, with Creative Carbon Scotland and other creative organisations, developed the Green Arts Charter. She is also responsible for taking forward the Barn’s Walled Garden project which interlinks with The Far Orchard project. This garden is envisaged as a space for exploring and thinking about how we heal our relationship with the more-than-human beings and elements with which we share the planet and how we could do this through art/science collaborations which share knowledge in an open and generative way.

The Barn

The Barn is a multi-arts organisation connecting contemporary artists, third sector partners and communities of interest in reimagining themselves in climate crisis. We believe that the arts and artists have an important role in radically transforming ways of living.

Our site supports a performance space, gallery, wild garden, walled garden, a low-carbon craft store and neighbouring allotment holders. The arts are broadly defined to include ecological practices such as growing food and composting and our organisation is a pivotal contact zone where different knowledges; artistic, scientific and climate advocate cross fertilise. We participate in the lead working group for the ‘Green Arts Charter’, a framework to deliver climate action in Scotland. In 2023, the Barn was shortlisted for the Calouste Gulbenkian Foundation Award for Civic Arts Organisation.

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The Barn, Banchory, The Far Orchard Project

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The Barn, Banchory, The Far Orchard Project

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The Far Orchard is an artist-led network of over 100 individuals, groups and organisations such as schools and care homes who care for an apple tree, acting as ‘pollinators’ of a dispersed orchard across rural and intergenerational communities. We have seen the slow growth of the network as people join with an existing tree. The network was originally set up in collaboration with artists Jo Hodges and Robbie Coleman.

The Far Orchard includes an annual artist-led programme whereby an artist can develop new ways of working with the network through their own practice and interests within The Far Orchard. For 2023-24 artist and beekeeper Caitlin Dick has focused on pollinators including the honey bee.

Our seasonal programme reflects the diversity of attending to an apple tree and builds knowledge on climatic conditions such as pruning workshops, charcoal making from the pruned long straight shoots and charcoal drawing outdoors.

https://www.creativecarbonscotland.com/library/the-far-orchard/

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Welcome to The Far Orchard

The Far Orchard is a long-term arts project developed by artists, Robbie Coleman & Jo Hodges in collaboration with the Barn arts centre in Banchory that connects living systems, food and community. The project is a rethinking of the traditional apple orchard where all trees grow together on single area of land. Instead, The Far Orchard creates an orchard that is distributed across Banchory with individual trees being offered a home in private gardens, schools, care homes and other places such as allotments. Each tree is cared for by its host and together the trees form a network that is connected by pollinating insects.

The Far Orchard is as much about creating, connecting and nurturing a community as it is about apple trees and as the trees grow; knowledge, growing tips, harvests, celebrations and friendships will develop and will be shared between The Far Orchard community, the Barn and the wider community of Banchory. At key points of the year such as harvest time, creative activities and events will take place where The Far Orchard community and the wider public will join in sharing, learning, creative celebration and exploring different aspects of our relationship with the natural world.

Over 100 new apple trees were planted in April 2022.

You can join the Far Orchard Network if you have an existing tree or plant a new one and we have new members joining all the time. There are many ways to get involved once you are a member. There are workshops and events throughout the year, a monthly e newsletter and an active Facebook group.

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Welcome to The Far Orchard The Far Orchard is a long-term arts project developed by artists, Robbie Coleman & Jo Hodges in collaboration with the Barn arts centre in Banchory that connects living systems, food and community. The project is a rethinking of the traditional apple orchard where all trees grow together on single area...

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Joan is the Head of Forest Genetics at Forest Research, the research agency of the Forestry Commission (FC) and Great Britain’s principal organisation for forestry and tree-related research. Joan’s research interests include the following topics; assessment of adaptive traits in provenance trials of native tree species, distribution of intraspecific genetic diversity, geneflow between populations. She also maintains an interest in Molecular Tree Breeding and in the application of molecular marker technology in ecological and pest and disease research.

She is experienced in working at the research/policy interface and has contributed to the debate that surrounds the uncertainty of appropriate choice of planting stock in an era of climate change.

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‘On The Deep Wealth of this Nation, Scotland’ Newton Harrison with The Barn, Banchory

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‘On The Deep Wealth of this Nation, Scotland’ Newton Harrison with The Barn, Banchory

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Newton Harrison’s The Deep Wealth of this Nation, Scotland provides an ecological vision for how Scotland could become the first industrialised nation to give back more to the life web than it consumes. The vision draws out the importance of five commons: soil, forestry, water, air and importantly the commons of mind, meaning how we as a human population might reach agreement about principles for putting the health of ecosystems first.

The Deep Wealth of this Nation, Scotland was a collaboration between Newton Harrison (Centre for the Study of the Force Majeure), the Barn and the James Hutton Institute. The development of the work was supported by Professor Emeritus Anne Douglas and Chris Fremantle founder and director ecoartsscotland, research fellow Gray’s School of Art, RGU.

https://www.thebarnarts.co.uk/artist/newton-harrison

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Newton Harrison's The Deep Wealth of this Nation, Scotland provides an ecological vision for how Scotland could become the first industrialised nation to give back more to the life web than it consumes. The vision draws out the importance of five commons: soil, forestry, water, air and importantly the commons of mind, meaning how we as a human population might reach agreement about principles for putting the health of ecosystems first. It therefore offers a holistic vision and framework to draw together different stakeholders including artists, scientists and citizens to explore the importance of soil the natural environment for mitigation and adaptation to collectively address the challenges we face.

The installation comprises a series of 10 panels, each developed through image and poetry. Six of the canvases have maps exploring each of the commons and four develop specific practical interventions including syntropic farming, foraging, forestry and natural flood management.

The installation is simultaneously an artwork, a research project, a provocation and a thought experiment for adaptation, one that can only work if we manage to come together around what is at stake. It asks us to think, to imagine and to debate, to share contradictions, disagreements and in this way to arrive at insight.

It is a work of hope.

Find out more about artists - the Harrisons

Explore the project

The Deep Wealth Conversation: Newton Harrison, artist and Professor Colin Campbell, Chief Executive, James Hutton Institute

The Collaboration
The Deep Wealth of this Nation, Scotland is a collaboration between Newton Harrison at the Centre for the Study of the Force Majeure (http://www.centerforforcemajeure.org) and two organisations in North East Scotland - the Barn and the James Hutton Institute, that delivers fundamental and applied science into sustainable use of land and natural resources (https://www.hutton.ac.uk/). The development of the work was also supported by Professor Emeritus Anne Douglas, Chris Fremantle, founder and director ecoartscotland, research fellow Gray's School of Art, Robert Gordon University, Aberdeen
2022
Exhibition at The World Congress of Soil Science, Glasgow (31st July - 5th August)
Previous Events 2019 Exhibition at the Taipei Biennial, Post-Nature - A Museum as an Ecosystem
Exhibition at St Margarets, Braemar
2018 Exhibition at Dynamic Earth coinciding with 41st Macauley Lecture, Professor Jacqueline McGlade
Exhibition at Chartered Institute of Water and Environmental Management Conference, Edinburgh

Exhibition, presentation and discussion at Andrew Grant Gallery, Edinburgh College of Art
Presentation and discussion with Newton Harrison, Botanic Cottage, Royal Botanic Gardens, Edinburgh Exhibition, presentation and discussion opening event at the Barn, Banchory

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Newton Harrison - On The Deep Wealth of this Nation

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Newton Harrison - On The Deep Wealth of this Nation

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Caroline Wendling artworks range across media including drawing, print, performance, sound and film, with an emphasis on the interdisciplinary, site specific and socially engaged. Wendling constructs participatory walks and interventions drawing on myth, memory and storytelling of place.

For White Wood, Huntly, Aberdeenshire, (2015/2915), a living monument to peace, she explored links between friendship and cooperation, precariousness and peace. Other commissioners include Whitechapel gallery, London, Kettle’s Yards, Cambridge, Wysing Arts Centre, Bourn.

She is a currently lecturing at the University of Reading.

https://www.a-n.co.uk/tag/caroline-wendling/

https://www.a-n.co.uk/reviews/still-life-caroline-wendling-at-kettles-yard/

https://bedfordcreativearts.org.uk/projects/take-part-queens-park-archipelago/

https://www.deveron-projects.com/white-wood/

https://www.instagram.com/caroline_wendling/?hl=en

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Ewa Hermanowicz is a communications professional with almost 20 years of experience in international research and development organizations where she drove all stages of communications: from the formulation of strategies content production and promotion.

In her current role as Communications Manager at Forest Stewardship Council, she is the lead for communication in Europe. Her focus is media engagement and storytelling to build a positive narrative about sustainable forest management which combines nature conservation with use of wood and forest products.

Since 2011, she spearheaded production of several short documentaries such as ‘Afforesting Iceland’, featured by National Geographic reaching four and half million views or ‘Forest Rebooted’ showed at the Paris Science Film Festival.

https://ehermanowicz.wordpress.com/portfolio-2/

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Laura joined English Woodlands Forestry Ltd in 2021. She previously worked for the Forestry Commission in the development of new grants, as a woodland officer and as a biodiversity research scientist for Forest Research. Prior to moving into Forestry, Laura worked for Annely Juda Fine Art in London for 13 years (working with artists such as David Nash and David Hockney – both of whom have an interest in trees and the landscape).  She also spent a year in Zimbabwe working for Gallery Delta and 2 years at the National Gallery, London, as an assistant editor.

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Jayne is a sustainability practitioner and artist, and Head of Natural Capital at South of Scotland Enterprise. She is particularly interested in connectivity between arts and science and how this can be used to explore the cultural transition required to address climate change and biodiversity loss.

The South of Scotland (SOS) has recently been recognised by the Scottish Government as the national Natural Capital Innovation Zone due to the range of partnerships and initiatives underway. The SOS is keen to enhance Forestry's contribution to the Wellbeing Economy and attract responsible investment via collective decision making and landscape scale nature based solutions.

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John Browne FICFor, Senior Specialist Advisor Land, Natural Resources Wales

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John Browne FICFor, Senior Specialist Advisor Land, Natural Resources Wales

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John has worked in many forestry roles in the public and private sectors in Scotland, England and Wales for almost 40 years, including land management, harvesting, planning, certification, tree health, grants and regulations. He currently works for Natural Resources Wales in land use policy, a topical subject given the Welsh Government’s commitment to meeting its climate change targets through tree planting. John has degrees in ecology and forestry from Edinburgh and Aberdeen Universities and has been a professional member of the Institute of Chartered Foresters for over 30 years.

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Dr Cathy Fitzgerald, The Hollywood Forest Story ongoing since 2008 & Haumea Ecoversity, Ireland / Aotearoa New Zealand

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Dr Cathy Fitzgerald, The Hollywood Forest Story ongoing since 2008 & Haumea Ecoversity, Ireland / Aotearoa New Zealand

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Dr Cathy Fitzgerald is an ecological artist, creative ecological independent educator (founder of Haumea Ecoversity), and researcher originally from New Zealand but now based in rural Carlow, Ireland, the home of her ancestors.

From 2008, her creative efforts in sharing how to transform a small 2-acre, now 40+ yr-old monoculture Sitka Spruce plantation into a permanent, more resilient, mixed species woodland became her ongoing ecological art practice called The Hollywood Forest Story. This work formed the basis of Cathy's PhD research - The Ecological Turn (2018) - on the social power and workings of durational embedded-in-place ecological creative practices. Insights contributed to progressive Irish Green party forest policy in 2012, that prioritise continuous cover forestry.  Immediately after her PhD, she found herself co-developing Haumea Ecoversity, an independent online platform that has supported upskilling over 320+ mid-career creatives and cultural professionals from all art fields, in essential ecoliteracy and values-based learning for a better world with her colleague, philosopher Dr Nikos Patedakis (California). Cathy was on the committee of Pro Silva Ireland from 2009-2024 and in 2023, Cathy helped organise a series of webinars on rethinking permanent Close-to-Nature forestry in Aotearoa New Zealand, following the devastation of NZ's Storm Gabrielle (Feb 2023).

https://hollywoodforest.com/

https://haumea.ie/

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A FRAGILE CORRESPONDENCE: AUDIO PIECE - ABRIACHAN FOREST - Mairi McFadyen

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A FRAGILE CORRESPONDENCE: AUDIO PIECE - ABRIACHAN FOREST - Mairi McFadyen

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Drawing on the idea of conviviality as a framework for understanding the richness of interaction and interdependence of all things that generate the meaningful worlds we inhabit and share, the piece invites reflection on what community ownership means to the people who are part of the forest’s ongoing story.

In providing context, the accompanying essay looks to both the Highland’s past and its futures in relation to land and landholding, trees and forests. https://www.mairimcfadyen.scot/fragile-correspondence/2023/audio-piece

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DESCRIPTION

In 1998, Abriachan community purchased 540 hectares of forest and open hill ground from Forest Enterprise. After 25 years of careful stewardship, the forest has been transformed into a diverse and regenerating woodland, home to a wide variety of species - woodland birds, red squirrels, butterflies, dragonflies.

The painted birds symbolise what can be restored - both in terms of biodiversity and community - through acts of care, connection and taking agency in a place.

Drawing on the idea of conviviality as a framework for understanding the richness of interaction and interdependence of all things that generate the meaningful worlds we inhabit and share, the piece invites reflection on what community ownership means to the people who are part of the forest's ongoing story.

In providing context, the accompanying essay looks to both the Highland's past and its futures in relation to land and landholding, trees and forests.

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A FRAGILE CORRESPONDENCE: AUDIO PIECE - ABRIACHAN FOREST - Mairi McFadyen

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The exhibition A Fragile Correspondence is one of the eight collateral events for the 18th International Architecture Exhibition - La Biennale di Venezia at the Arsenale Docks, S. Pietro di Castello, Venice. Commissioned by the Scotland + Venice partnership and curated by the Architecture Fringe

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Viviana Checchia is a curator, programmer, and researcher active internationally. Viviana is Director of Void Art Centre in Derry, and Co-Director of ‘Vessel’, an international curatorial platform based in Puglia, South of Italy, for the support of social, cultural, and economic development through contemporary art.

Previous to these roles she was Residency Curator at Delfina Foundation, London, Senior Lecturer on the MFA at HDK-Valand, University of Gothenburg and Public Engagement Curator at the Centre for Contemporary Arts, Glasgow. Viviana has produced and contributed to a range of international projects, including the Young Artist of the Year Award, Ramallah and the 4th Athens Biennale.

Viviana has lectured on curatorial studies and contemporary art practice at amongst others: the Centre for Curatorial Studies, Bard College, New York, MA Social Practice and the Creative Environment, Limerick Institute of Technology; the International Academy of Art Palestine, Ramallah. With Anna Santomauro, she received the 2013 ICI/Dedalus Research Award for research into the legacy of  socially-engaged art practice in the U.S., and in 2016 was awarded the Igor Zabel Award for Culture and Theory Laureate’s choice for her contributions to the comprehension of and international interest in Eastern European art. Viviana holds a PhD from Loughborough University that focused on alternative Mediterranean curatorial practices. She currently serves as a trustee of cultural organisation, Timespan, Helmsdale, Scotland.

Viviana contributed a text to Towards Permacultural Institutions available here https://drive.google.com/file/d/10rYRG1u8HMctR332vW3OWLWSJUkUxtsE/view

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Gray's School of Art is an influential multidisciplinary Art School that has been leading and defining culture and industrial development for over 130 years.
Our undergraduate, postgraduate and short course portfolio covers a wide range of specialist subjects found within the breadth of Fine Art and Design disciplines. You will have the opportunity to specialise and focus your study within your core discipline area; our provision enables you to explore the boundaries of your subject and customise your learning experience thus allowing for greater creative diversity and development of your expertise.

We believe artists and designers learn and grow in a nurturing environment that promotes close working relationships between students, staff, alumni, institutions and business. Our teaching is student centred; you will learn through doing, thinking, challenging ideas and asking questions, not by routine.

We understand the importance of digital and emerging technologies in equipping you for future working environments, and we also respect the need to learn the traditional skills that underpin creative disciplines. Within our undergraduate and postgraduate courses, the staging of exhibitions both within the School and at external venues are key activities in developing your professionalism and traditional, digital and presentation skills.

You will have opportunity to experience other creative learning environments and cultures through international field study visits, international study exchanges with our partner colleges across Europe, Canada and the US and work experience across the Scottish Highlands and the UK's major cities.

Our curriculum is informed by our challenges within society. Staff research and core lecture programmes and projects explore themes such as sustainability and our environment, community and social cohesion, and health and well-being. You will explore contemporary art and design practice through the lens of their societal impact, philosophical and political value, and through knowledge of their historical and emerging futures.

Our graduates use their entrepreneurial skills, subject and technical expertise to develop their own businesses, apply for funding opportunities, study for higher degrees, and collaborate with practitioners from other disciplines and agencies to develop new ways of working within the creative economy.

Our commitment is to excellence, and in being the most supportive and nurturing multidisciplinary Art School we can be. We believe that artists and designers change the future, so we educate you to think flexibly, critically, and expansively to take on new ideas and challenges. Through our work we develop your creative confidence, and you develop your creative identity.

Our graduates are amongst the most successful art and design graduates in the UK in gaining full employment, currently standing at 97% (HESA published 2018).

Virtual Tour
Take a tour around our school

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Gray's School of Art is an influential multidisciplinary Art School that has been leading and defining culture and industrial development for over 130 years. Our undergraduate, postgraduate and short course portfolio covers a wide range of specialist subjects found within the breadth of Fine Art and Design disciplines.

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Lewis joined Creative Carbon Scotland in July 2019. His background is in classical music, working as a composer of chamber music and opera as well as teaching music in universities. Prior to joining Creative Carbon Scotland, he worked as a teaching assistant at Glasgow University after completing a PhD in music composition at King’s College London. He also has a background in environmental campaigning with voluntary groups in London and Glasgow.

His role at Creative Carbon Scotland involves running culture/SHIFT projects including Climate Beacons, carrying out research, advising and supporting artistic and sustainability practitioners, and developing collaborative projects between the arts and environmental sectors. He also leads on our work on climate justice and culture.

Library of Creative Sustainability: https://www.creativecarbonscotland.com/resources/library/. A set of case studies on projects that have involved collaborating with artists to achieve environmental sustainability outcomes, including some forest themed ones like The Black Wood of Rannoch and Hollywood Forest Story.

culture/SHIFT Methodology: https://www.creativecarbonscotland.com/resource/culture-shift-methodology/. Our step-by-step guide to working with artists on sustainability projects.

Climate Beacons: https://www.creativecarbonscotland.com/resource/climate-beacons-evaluation-report/. Project working with cultural organisations on place-based climate change public engagement. The Argyll project was focused on the temperate rainforests.

The Right Tree in the Right Place: https://www.creativecarbonscotland.com/reflecting-upon-the-right-tree-in-the-right-place/. The last Green Tease event to focus on forests and trees specifically.

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Alison Scott is an artist, currently undertaking a practice-based PhD at Gray’s School of Art.

Alison holds an MLitt in Art Writing (2019) from GSA and a BA (hons) in Art and Philosophy (2014) from DJCAD.

Her work driven by film, performance and writing practices, and draws on encounters with weather, land, and the idea of the commons from an everyday, situated level. She has worked in myriad roles in arts institutions in Scotland, and often works with other artists on collaborative projects.

She continues to work on a Creative Scotland funded project ‘After Glass’, with Rachel McBrinn, and is Secretary to the Board of GENERATOR Projects.

'Congenial Soils and Favourable Situations', 2022. An artist film by Alison Scott and Rachel McBrinn, commissioned by Cove Park and ACT (Argyll and the Isles Coast & Countryside Trust), who together form the Argyll Climate Beacon

https://alison-scott.co.uk/Congenial-Soils-and-Favourable-Situations

'Held in Common Good: A Matter of Precedents', Collective, 2023. A research project and resource on the ‘common good’ created by artist, educator, and writer Annette Krauss with producer Frances Stacey and artist researcher Alison Scott.

https://www.collective-edinburgh.art/programmes/held-in-common-good

'Are You Going My Way?' producer and writer for the film by Rachel McBrinn, 2023, commissioned by Rhubaba. The introductory essay, Space Left Over After Planning, can be read here on MAP Magazine: https://mapmagazine.co.uk/space-left-over-after-planning

'Ditto, ditto, ditto' 2021. A solo exhibition by Alison Scott at Collective, Edinburgh, as part of the Satellites Programme and culmination of the Associate Producer role. https://alison-scott.co.uk/ditto-ditto-ditto

CRUDE: a group exhibition curated by Rachel Grant, with Ashanti Harris, Shane Strachan, and Alison Scott, held at the Look Again Project Space in Aberdeen, 2021.

https://alison-scott.co.uk/CRUDE

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Directed by Sana Bilgrami. The story of the 900 Belizean lumberjacks who in 1942 left the tropical rainforests of British Honduras to help Britain fight fascism by felling trees in Scotland. Sam (93), Eric (87) and Amos (86) were among those who stayed on after the war to make new lives in a country where, for better or worse, the colour of their skin marked them out. Newly discovered archive, long cherished memories and a last reunion are intertwined in this lyrical and moving documentary testament.

https://www.sanabilgrami.com/documentary-films/tree-fellers/

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Documentary Film, 24 minutes, 2004

The story of the 900 Belizean lumberjacks who in 1942 left the tropical rainforests of British Honduras to help Britain fight fascism by felling trees in Scotland. Sam (93), Eric (87) and Amos (86) were among those who stayed on after the war to make new lives in a country where, for better or worse, the colour of their skin marked them out. Newly discovered archive, long cherished memories and a last reunion are intertwined in this lyrical and moving documentary testament.

Broadcast on STV on 'This Scotland' strand, in 2004. Funded by STV, Grampion TV and Scottish Screen.

Nominated for a BAFTA Scotland award for Best Television Documentary in 2004.
Screened at Madrid Experimental Cinema Festival 2005, Spain and International Human Rights Festival 2005, Glasgow, Scotland.

Producer
Robin MacPherson

Music
Written and performed by Marcelo de Oliveira

Researcher
Kamala Maniam

Additional Research
Jayne Wilding

Production Assistant
Angus Ferguson

Camera
Ian Dodds

Sound
Marcelo de Oliveira

Editor
Sitar Rose

Online Editor
Graham Fitzpatrick

Dubbing Mixer
Rob Walker

Executive Producers
Becky Lloyd
Henry Eagles
Agnes Wilkies

Production Company
ASYLUM PICTURES

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Documentary Film, 24 minutes, 2004 The story of the 900 Belizean lumberjacks who in 1942 left the tropical rainforests of British Honduras to help Britain fight fascism by felling trees in Scotland. Sam (93), Eric (87) and Amos (86) were among those who stayed on after the war to make new lives in a country where, for better or worse, the colour of their skin marked them out.

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Jordan joined Forest Research in June 2023. She holds an MSc International Development, Social Justice and Sustainability from the University of Bath and previously obtained a BA (Hons) International Relations and Politics from the University of Portsmouth. While at Bath, Jordan held a position as a communications and research assistant for the Centre for Development Studies, analysing international policy interventions using ethnographic data. Using mixed method approaches, Jordan also has experience co-designing projects and reporting on their impact for local and international non-profits. Jordan has a particular interest in using interdisciplinary, innovative, and inclusive methods to further understand the factors that prevent and promote social and environmental justice.

https://www.forestresearch.gov.uk/staff/jordan-rydlewski

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I direct the Center for the Study of the Force Majeure, an art/science collaboration building on the seminal work of my parents, Newton and Helen Harrison. I have been working across disciplines my entire professional career, moving in between the sciences, the arts, the business world and various modalities of communications technologies from documentary film to interactive digital installations. I’m interested in how we change minds, how we manage complex systems to (re) integrate human activity into the larger natural processes upon which all life depends.

www.centerforforcemajeure.org

www.livingforests.org

https://allosphere.ucsb.edu/research/sensorium/

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Dave Pritchard has worked for over 40 years in research, policy, legal, management and governance roles in the fields of environment, culture, heritage, and the arts, and has held several non-executive directorships and chairing positions.  He is now an independent consultant for bodies including the UN Environment Programme and the Council of Europe, and serves on a variety of national and international advisory boards.  https://arts-ed.csu.edu.au/education/creative-practice-circle/researchers/profiles/david-pritchard

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I create events, performances and long-term projects that invite people into active and enquiring relationships with each other, the land and earth’s systems working as artist, activist, educator and collaborator across a range of artistic and academic disciplines.

Walking Forest a ten year project leading to co-creation of an Intentional Woodland as a living artwork with Ruth Ben-Tovim, Lucy Neal and Shelley Castle. Walking Forest exploring female-led earth activism and forest ecosystems commissioned by Season For Change and Coventry City Culture, 2020-21 and creative partner in MEMBRA 2021-2025 a UKRI Future of UK Treescapes research project exploring tree memory, resilience and adaption to climate change.

2009-2024 Lead artist, co-designer and curator  of Fruit Routes at Loughborough University creating a 1km long Fruit Route and local food culture. Fruit Routes Fruit Routes Charter for ongoing care and new curator Mita Solanky.

FLOW in Exeter 2018 onwards  193 fruit and nut trees over 5km (ribbon orchard) in Riverside Valley Park and co—designed from a residency in the park as part of the flood defence scheme https://floworchardexeter.uk/ Now a community led CIC with regular cultural events and ongoing tree planting.

Co-founder Abundance Sheffield 2007 leading to Abundance Network http://www.abundancenetwork.org.uk/ and Abundance Handbook 2008 (free download). https://growsheffield.com/abundance/  and Orchard City Manifesto, 2009.

Grow Efford in 2011, constellation orchard 50 fruit trees planted with people in Efford in their gardens  each new planter was invited to come along and plant the next tree in their neighbours garden creating a dispersed orchard across Efford.

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I am an ecologist and environmental activist from Colombia, with a wide range of interests from plant ecology, community-based conservation and incorporating interdisciplinary methods to build climate resilience and social cohesion. I’ve co-developed projects that work with communities and people from marginalised backgrounds aiming to explore ways in which existing skills in the community can be harnessed to re(connect) people with the landscapes they call home. Forest Bound is an example of such project.

I worked as a Plant Ecologist at the UK Centre for Ecology and Hydrology (UKCEH), and I’m now based at University College London (UCL) where I’m doing a Masters in Anthropology, Environment and Development.

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You are invited to journey with collaborators Ruth Ben-Tovim, Anne-Marie Culhane, Lucy Neal and Shelley Castle and the Walking Forest, a 10 year project which starts with the collecting of seeds to create an intentional forest in 2028.

Walking Forest looks back to the collective actions of the Suffragettes who stood for radical democratic change and brings the natural world into the political frame where suffragettes placed women 100 years earlier. It looks forward to the next 100 years when articulating and standing up together for the well-being of Earth is key to planetary survival.

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Lucy Neal, Anne-Marie Culhane, Ruth Ben-Tovim, Shelley Castle are the four artists leading Walking Forest and acknowledge the vast inspiration that has come from many sources - human and more-than-human...

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Lucy Neal, Anne-Marie Culhane, Ruth Ben-Tovim, Shelley Castle are the four artists leading Walking Forest and acknowledge the vast inspiration that has come from many sources - human and more-than-human...

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Jim Carruth, award-winning writer and current poet laureate of Glasgow, has been appointed Writer in Residence at The Future Forest Company, thanks to a small grant from Creative Scotland. As part of his project looking into how the forestry sector is responding to the climate emergency, Jim hopes to write a sequence of poems tracking the history of the Scottish forest from 12,500 years ago up to the present day. This is the first poem that Jim has written in the sequence, and we are delighted to share it with you.

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Jim Carruth, award-winning writer and current poet laureate of Glasgow, has been appointed Writer in Residence at The Future Forest Company, thanks to a small grant from Creative Scotland.

Jim was born in Johnstone in 1963 and grew up on his family's farm near Kilbarchan. His work primarily focusses on the changing rural landscape. His first collection Bovine Pastoral was published in 2004 and was runner up in the Calum MacDonald Memorial Award. Since then, he has brought out a further five collections and an illustrated fable. In 2009 he was awarded a Robert Louis Stevenson Fellowship and was the winner of the James McCash poetry competition, and in 2010 he was chosen as one of the poets showcased in Oxford Poets 2010. He was appointed the poet laureate of Glasgow in July 2014. Jim describes himself as 'a poet very much of the land and those who work it.'

Creative Scotland

Jim has been awarded a small grant from Creative Scotland to explore the practical approaches being taken in Scotland within the agriculture and forestry sectors to respond to the climate emergency. As part of this project, he will be working as a writer in residence with us here at The Future Forest Company until December 2023. He will be mainly based on our site at Brodoclea, with occasional visits to our other sites.

Jim started his project with us in August 2022 and currently spends one day a month at Brodoclea. He has already had his introduction to the incredible woolly pigs from Ken and David, helping out with the essential tasks of fencing and feeding. Jim noticed the increase in the variety of birds in the parts of the forest which are foraged by the pigs. He says, 'The pigs have amazing characters and are clearly unique as a breed.'

Jim has also spent a day up at our Dumyat site planting wildflowers with Jamie, Lyndsay and Quinn. He is looking forward to going back to see the fruits of their labours in the summer.

Forest Poems

As part of his project looking into how the forestry sector is responding to the climate emergency, Jim hopes to write a sequence of poems tracking the history of the Scottish forest from 12,500 years ago up to the present day. This is the first poem that Jim has written in the sequence, and we are delighted to share it with you.

The Future Forest by Jim Carruth

Because human memory is short
this story needs retold often.

How in the wake of the glacier retreat
there was nothing

but barren tundra, frozen ground,
bare rock, the thinnest of soils

and those first to return
clinging on at the margins
to reclaim this earth
from the grip of ice
were also first to be forgotten
lost to the landscape.

These ground crouchers
masters of the slow growth

pioneers of peat and moss
no more than rough scrub

shrubs and bush runts
pockets of dwarf birch

elliptic-leaved eared willow
hunched against the weather
the evergreen juniper
who when ageing and dying
would simply collapse
its branches to touch the ground
sprouting fresh roots-
the new rippling out from the old.

How their voices in conversation
with bird, insect, and bee

were a mere windblown whisper
of the future forest.

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The Future Forest- A Poem By Jim Carruth - The Future Forest Company

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Jim Carruth, award-winning writer and current poet laureate of Glasgow, has been appointed Writer in Residence at The Future Forest Company, thanks to a small grant from Creative Scotland.

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Helen Mayer Harrison and Newton Harrison's Future Gardens - Common Garden projects scaffolding biodiversity adaptation for climate change

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Helen Mayer Harrison and Newton Harrison's Future Gardens - Common Garden projects scaffolding biodiversity adaptation for climate change

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Helen Mayer Harrison and Newton Harrison's Future Gardens

These are a series of works they called Future Gardens that began in 1995, with the Garden of Hot Winds and Warms Rains. The concept of Future Gardens is that every place that has survived heat and drought in its past has present and historical plant species in its history and present that can survive in a heat-stressed future. Local botanists can collect such species, propagate them, and generate the scaffolding for more rapid regeneration of local ecosystems as warming occurs.

These clusters of species, when propagated in Future Gardens then act as educational scientific experiments, works of art, public gardens and nursery beds of future plant ensembles that have the capacity to regenerate heat-stressed ecosystems far more rapidly than the life web can unassisted.

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The Center for the Study of the Force Majeure

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In the Garden of Hot Winds and Warm Rains we assumed two greenhouses, each with a temperature rise of three degrees, one with a wetter climate, the other a more desertlike climate. With Dr. Wilhelm Barthlott, we put together a team of student botanists (and one paleobotanist). The idea again began with a question: "Could we, with our small group of experts, put together, as an act of collaboration with nature, two different botanical groupings, each group adapted to temperature rise, one adapted to wet climate and one to dry, designed to be biodiverse, useful to fauna of all kinds, yet harvestable in part by people?" (The harvesting was to be managed so that it preserved the system, with input balancing output.) The answer was "Maybe," if the population were controlled. But to the question, "Would it be enough?" the answer continued to be "No." Something was still very much missing

Each greenhouse will hold a unique ensemble and will be held at 3-4 degrees C above average year round. We expect to have die-off and we will be replacing species as the experiment develops. This investigation will be focused on building, in the now, a diverse group of plants that can move into the region by creating a self-complicating scaffold of species that act as replacements as others die back from rapid temperature changes. The Future Garden intends to make a serious contribution to the well-being of local biotic communities 50-75 years from now. Opening to the public in May 2018.

This project could not have happened without the support of the Institute of Arts and Sciences (IAS) and the Arts division at UCSC. It has been funded by the Metabolic Studio and the McEvoy Family Fund of the San Francisco Community Foundation, Rowland and Pat Rebele, Kathleen Rose, and annual donors to the IAS.

Species have been collected from lower elevations along the Min River and are currently being propagated at around 13,000 feet to be tested for resilience. These species can then be used to recover the diversity loss occurring as temperatures rapidly rise.

This smaller ensemble would be the source to reestablish both the ecological regeneration and water-holding properties of the earth more rapidly than unassisted natural processes. The question we posed for the 8,000 acre Sagehen drain basin was, is there enough biodiversity in the species currently existing in Sagehen to survive when the high grounds of the Sierra experience rapid warming in the next 50 to 100 years?

A 50-year project, this work is still underway that began with the propagation of 12,000 plants from seed gathered in the watershed. In the third year of operation, we have a 25 percent successful survival rate of species in all plots, at all elevations.

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FUTURE GARDENS - The Center for the Study of the Force Majeure

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In the Garden of Hot Winds and Warm Rains we assumed two greenhouses, each with a temperature rise of three degrees, one with a wetter climate, the other a more desertlike climate. With Dr. Wilhelm Barthlott, we put together a team of student botanists (and one paleobotanist).

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Bringing the arts into social ecological research

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Bringing the arts into social ecological research

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By Clive Potter, Jasmine Black, Kerry Morrison, Julie Urquhart, Paul Courtney, and Alice Goodenough.
Read the full paper here.
Socio-ecological research collaborations between artists and scientists have increased significantly in recent years, aided by increased investment by funding bodies, such as UK Research and Innovation and others internationally, which recognise and encourage cross-disciplinary partnerships. Despite some success stories, there is still a lack of awareness in 'the sciences' regarding how 'the arts' undertake their own form of inquiry into the world.

Further, different language used by different disciplines can cause confusion and misunderstanding, potentially leading to a reluctance to work collaboratively. In this paper, we discuss diversity within the arts as a discipline and seek to clarify various terminologies being used in both the arts and sciences to characterise joint working.

Drawing on a series of interviews and a workshop with artists and scientists with experience of collaboration, we compare understandings and expectations and reflect on the implications for funding bodies, institutions, artists and scientists.

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Plain Language Summary: Bringing the arts into socio-ecological research

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Steps for creating collaborative relationships with artists. By Clive Potter, Jasmine Black, Kerry Morrison, Julie Urquhart, Paul Courtney, and Alice Goodenough. Read the full paper here. Socio-ecological research collaborations between artists and scientists have increased significantly in recent years, aided by increased investment by funding bodies, such as UK Research and Innovation and others internationally,...

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Joseph Beuys' 7000 Oaks Project in Kassel

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Die Stiftung 7000 Eichen informiert über Ihre Arbeit.

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Katie Paterson's Future Library Project in Norway

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One thousand trees have been planted in Nordmarka, a forest just outside Oslo, which will supply paper for a special anthology of books to be printed in one hundred years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unpublished, until the year 2114.

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Caroline Wendling's White Wood Project, Deveron Projects

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Caroline Wendling : White Wood - Deveron Projects

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Even as we look to the past in commemoration, creating a monument and a symbol that gestures towards times, lives and events that have gone on before, it is to the future that this wood speaks.Alan Macpherson

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Legacy website for Craig Coulthard's Cultural Olympiad Forest Pitch project

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Four teams, two matches, sixty players, in the heart of a Scottish Forest: Forest Pitch by Craig Coulthard.

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Join us at Future Treescapes 24, our final conference and a celebration of the ground-breaking achievements and outputs of the UK Treescapes Programme.

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Unlocking the Future of UK Treescapes
11th - 13th June 2024, Glasgow University Union & Online

Join us at Future Treescapes 24, our final conference and a celebration of the ground-breaking achievements and outputs of the UK Treescapes Programme.

Between the government's target to plant 30,000 hectares of trees a year over the next 30 years and experts' calls for a refocus on tree establishment and resilience, it is clear there is still a lot of knowledge that needs to be unlocked.

This dynamic conference brings together researchers, stakeholders, policymakers and woodland enthusiasts to reveal what the latest research can contribute to our trees, woodlands and forests.

It is your opportunity to collaborate with Treescapes' researchers to open up current knowledge and help translate it into practice. At the conference, attendees will be able to explore the tools and methodologies coming out of the programme, shape the potential future of our treescapes and debate the future needs of research and policy in this space.

What to expect at Future Treescapes 24?

🌟 Celebrate UK Treescapes: Be part of our celebration of the invaluable achievements and contributions emerging from the Future of UK Treescapes Programme. Be inspired by the progress in advancing knowledge and understanding of our treescapes that promise a greener and more sustainable future.

🤝 Collaborate for Sustainable Treescapes: Future Treescapes 24 unites experts, policymakers and tree enthusiasts to delve deep into critical decisions on woodland expansion, climate resilience, treescapes management and addressing environmental challenges.

🌲 Highlight Treescapes' Value: Explore the pivotal role of treescapes in mitigating climate change, enhancing well-being and enriching the UK's heritage and culture.

📜 Research Shaping Policy: At Future Treescapes 24, we focus on core research themes that align with UK government policies, supporting the nation's ambitious net-zero greenhouse gas emissions target and tackling pressing environmental threats.

🌍 Turn Knowledge into Action: Collaborate with us to ensure research outcomes are adapted and translated into practical solutions for end-users and policymakers. Uncover how the programme's diverse research creates meaningful impacts in terms of woodland expansion, management and safeguarding.

Registration Coming Soon!

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Future Treescapes 24, 11-13 June 2024 - UK Treescapes

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Join us at Future Treescapes 24 to unlock the Future of UK Treescapes.

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Helen and Newton Harrison's Serpentine Lattice

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Helen and Newton Harrison's Serpentine Lattice

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'The Serpentine Lattice' was made in the early 1990s by the artists Helen Mayer Harrison and Newton Harrison exhibited at the Douglas F Cooley Gallery at Reed College, Portland, Oregon.

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Serpentine Lattice, 1993 — The Harrison Studio

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Expanding the UK's treescapes is now widely seen as central to achieving the Government's ambition to achieve net-zero greenhouse gas emissions by 2050. At the same time our trees, woods and forests need to become more resilient to pressures such as changing climate, disease, and competing land-use demands in order to reverse decades of decline in biodiversity and environmental quality.

Over the coming years, we will see one of the most dramatic increases in tree cover and forest planting in generations, with profound implications for biodiversity and landscapes throughout the country. However, questions remain about how best to do this in order to gain the most benefit - not only for the environment, but for society as a whole.

Programme Aims

To improve environmental, socio-economic and cultural understandings of the functions and services provided by UK treescapes in order to inform future decisions on woodland expansion and improved safeguarding and management.

This interdisciplinary programme is led by the Natural Environment Research Council ( UKRI-NERC) and jointly funded with the Arts & Humanities Research Council ( UKRI-AHRC) and the Economic & Social Research Council ( UKRI-ESRC), with contributions from Defra and the Welsh and Scottish governments.

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Expanding the UK's treescapes is now widely seen as central to achieving the Government's ambition to achieve net-zero greenhouse gas emissions by 2050. At the same time our trees, woods and forests need to become more resilient to pressures such as changing climate, disease, and competing land-use demands in order to reverse decades of decline in biodiversity and environmental quality.

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University of Glasgow, School of Culture and Creative Arts

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University of Glasgow, School of Culture and Creative Arts

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The University of Glasgow, Scotland, UK. A world top 100 university

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The University of Glasgow, Scotland, UK. A world top 100 university.

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Annie Lord is a writer and artist based in Midlothian. Her work explores how we interact with the physical world – transforming plants, animals and minerals into objects of artistic, scientific and domestic value.

In 2020, Annie created The Neighbouring Orchard, a major ongoing artwork commissioned by Art Walk Projects developing a community of 200 apple trees across Edinburgh’s coastal suburbs. An accompanying book, written and illustrated by Annie was published in 2022 by Art Walk Press. In 2023 she was shortlisted for the Nan Shepherd Prize in nature writing for her work in progress, Morphoses: On Nature’s Processes and Processed Nature.

Links:

www.annielord.co.uk

The Neighbouring Orchard

Morphoses - Nan Shepherd Prize

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The New Leaves Network is funded through the Royal Society of Edinburgh's Research Networks Scheme

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The RSE is pleased to announce that 47 exceptional research projects have been selected for awards at the RSE Research Awards Programme autumn 2022 call. A total of £701,723.50 will support research in all academic disciplines, with projects ranging from nanomedicines to treat kidney diseases; to anti-abortion activism in the Republic of Ireland; to industrial trimming methods to rejuvenate knitwear for extended use; to the relationship between water and mental health in British spas and asylums between 1750 - 2000.

47 research projects to be funded
across science, technology, engineering, mathematics, medicine, arts, humanities and social science disciplines.

Over £700K
will go towards funding high-quality research in Scotland.

Funded projects range from an investigation into industrial trimming methods in knitwear to the relationship between water and mental health in British spas and asylums.

In this latest round, awardees represent 10 of the Scottish higher education institutions. The funded projects will enable collaboration with researchers based at 22 institutions in total, including internationally, with academics based in Uganda, Greece, Italy, China and the USA.

The RSE's Research Awards programme runs twice a year in spring and autumn and aims to support Scotland's research sector by nurturing promising talent, stimulating research in Scotland, and promoting international collaboration.

Professor Charles W. J. Withers FBA FRSE, Research Awards Convener, Royal Society of Edinburgh commented,

The RSE's Research Awards Programme is vital to support the outstanding talent in Scotland's vibrant research community. The innovative work of these awardees in advancing knowledge, tackling global challenges and providing new ways of thinking will provide significant benefits to society and to our economy. On behalf of the RSE, I offer my congratulations to each and every recipient, and wish them success in their research."

The full list of new RSE Research Awardees is as follows:

RSE International Joint Projects

RSE Personal Research Fellowships

Dr Taulant Guma, Edinburgh Napier University; Dr Kirsten Macleod, Edinburgh Napier University; and Ms Yvonne Blake, Migrants Organising for Rights and Empowerment
"On the Margins" - Collaborative Research Network

Professor Maria Grazia De Angelis, University of Edinburgh and Dr Eleonora Ricci, National Centre for Scientific Research Demokritos (Greece)
A machine learning-aided modelling platform for the design of hydrogen-ready materials

RSE Small Research Grants

The next open call for RSE Research Awards will run from 9th February - noon, 28th March 2023.
The call will include five different funding opportunities covering all career stages and academic disciplines:
* Small Research Grants
* Research Workshops
* Research Networks
* Personal Research Fellowships
* International Joint Projects
Please visit: https://rse.org.uk/funding-collaboration to find out more.

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47 research projects supported by RSE awards will bring benefit to Scotland's cultural, economic and social wellbeing

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The RSE has announced the recipients of the latest RSE Research Awards, granting over £685K in research funding.

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In depth review of Forestry Commission's involvement in the Arts (2008)

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In depth review of Forestry Commission's involvement in the Arts (2008)

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94 Pages Posted: 10 Apr 2015

Date Written: 2008

Abstract

The emphasis of UK forestry policy has widened from timber production to the provision of social and environmental benefits. At the same time, many of the personal and cultural meanings that go with a deeper and more everyday connectedness to trees and woodland have been lost. Some of the most positive potential for addressing these issues lies with the arts.

Arts initiatives undertaken in partnership with, or under the auspices of the Forestry Commission are making significant contributions to objectives relating to education, awareness, social inclusion, sense of place/identity, creative enterprise, cultural expression, physical and mental well-being, environmental valuation, recreation and amenity, community cohesion, and local economies; in addition to producing art that is of intrinsic value for its own sake.

This report presents the first national overview of these activities. It also discusses the role of the state forestry sector in this field, develops an expanded rationale for FC engagement, and provides a basis (including recommendations) for defining agendas in future.

Individual sections of the report focus on: the policy context for FC involvement in the arts; the range of involvements to date; benefits and outcomes; practical management issues; and needs, opportunities, and options for the future. Recommendations are summarised in the final section; and a list of over 125 past and present initiatives is provided in an annex.

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artistic licence: a review of the forestry commission's involvements in the arts

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Artistic Licence: A Review of the Forestry Commission’s Involvements in the Arts, and Options for the Future

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The emphasis of UK forestry policy has widened from timber production to the provision of social and environmental benefits. At the same time, many of the perso

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Report of New Leaves Network Event 1: Understanding the Durational Implications of Artists Working with Trees, Woods and Forests. 14th March 2024 

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Report of New Leaves Network Event 1: Understanding the Durational Implications of Artists Working with Trees, Woods and Forests. 14th March 2024 

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Full report of the first New Leaves Network meeting held on 14th March 2024.

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Reiko Goto and Tim Collins are artists interested in our changing environment; with a focus on how art shifts values in relationship to new ideas and experiences. They both  read, write, and make work  about the evolving meaning of nature as informed  by science, technology, and philosophy. Contributing to social and environmentally engaged research they are interested in empathic relationships with more-than-human others. Reiko and Tim are Visiting Research Fellows, at Bath Spa University, they are also research fellows at the Leitrim Sculpture Centre, Ireland. In 2004 they develop and present work in Dusseldorf, Cologne, Glasgow, Ireland, and Vienna. Collinsandgoto.com

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Chair Future Library Trust

Anne Beate Hovind is an urban developer who commissions and produces art in public spaces. She is the curator of the world renowned Future Library in Oslo, a public artwork by Scottish artist Katie Paterson, which will unfold over the next 100 years challenging our concept of time, as well as of trust. www.futurelibrary.no

Anne Beate holds a number of board positions and is senior lecturer II at the Faculty of Technology, Art and Design - Department of Aesthetics at OsloMet. Hovind has extensive management experience primarily in the private sector, but also in the public sector. She has held project management roles with responsibility for development work and change processes in large organisations, led innovation and development projects and sat in the project management of some of the country's largest land-based construction projects.
Over the past 20 years, Anne Beate worked at the interface of art, culture and business where she has gained a vast amount of experience in realising complex and original projects. In 2018, she received the Oslo Municipality's Artist Award for her work with art in the city.

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Dr David Edwards is the Research Impact Coordinator at Forest Research, and an environmental social scientist with 30 years’ experience of research and consultancy in UK and internationally. Between 2018 and 2021 he was a member of FR’s Senior Management Team, leading five science groups including Social and Economic Research, Tree Health, and Genes, Species and Habitat Conservation. Working in the Chief Scientist’s Office, David supports dialogue and collaboration with our partners and stakeholders to increase the impact of FR’s research, evidence, and advice. He has led work packages on several EU and two UKRI projects, including newLEAF, and published widely on the interfaces between science, policy and practice, mixed-methods assessment of social and cultural values, and the role of art in the production of environmental knowledge. https://www.forestresearch.gov.uk/staff/david-edwards/

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Stephen Cavers works on genetic diversity, gene flow and adaptation in plants. Together with UK and international partners, he studies how genetic variation is organised in populations and how this diversity arises from demographic and evolutionary forces. He uses a combination of DNA-based data and experiments to assess genetic diversity, and identify distinctive genetic variation for conservation and use. Stephen is currently working on projects on European temperate tree species (Pinus sylvestris, Juniperus communis, Taxus baccata, Quercus spp, Betula spp.) and African dryland tree species (Acacia senegal & A. tortilis, Melia volkensii, Moringa oleifera & M. stenopetala, Osyris lanceolata), and has worked on several Neotropical tree species in the past.

As well as primary research, Stephen tries to to communicate scientific findings for policymakers in various sectors. Dr. Stephen Cavers | UK Centre for Ecology & Hydrology (ceh.ac.uk)

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Forest as communities, forests in communities BIFoR Annual Meeting

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Forest as communities, forests in communities BIFoR Annual Meeting

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Including contributions from Arts & Humanities

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4th European i-Tree Conference & Urban ReLeaf Conference

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4th European i-Tree Conference & Urban ReLeaf Conference

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Join us at the 4th European i-Tree Conference and Urban ReLeaf Conference, in the beautiful city of Dundee, Scotland. Our theme this year is Turning data into action, in and around the urban forest.

The 2024 i-Tree and Urban ReLeaf conferences will provide a great opportunity to connect with experts and practitioners from a wide range of disciplines: municipalities, citizen associations, civil society organisations, businesses, authoritative data agencies, urban planners, architects, and more.

Our early bird combined price is £235 (students are discounted further) but this will only be available for a limited time. This rate includes attendance at the Urban ReLeaf Conference, i-Tree Conference and Dundee Treescapes Tour. The conference dinner is extra, but we would love your company!

This year's conference dinner will be held at the city's V&A Dundee - Scotland's design museum, which offers stunning views across Dundee's waterfront. We hope you will join us.

We are extremely grateful for the generous support we have received from our sponsors and Partners/Supporters. Thanks to all involved in bringing us together for the 4th European i-Tree Conference and the Urban ReLeaf Conference.
GOLD Sponsors

GreenBlue Urban helps create sustainable urban landscapes for our future generations by providing green infrastructure solutions to landscape architects, urban designers, civil engineers, and contractors.

Husqvarna offers an ecosystem of arborist supplies, tree surgeon equipment and tree climbing gear for professional tree care. Innovative products and services that make life in the treetops easier, more profitable, and more convenient.

SILVER Sponsors

BRONZE Sponsors WOOD Sponsors

Our Partners/Supporters View speaker profiles

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4th European i-Tree Conference & Urban ReLeaf Conference | Dundee City Region Convention Bureau

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Follow the link to view 4th European i-Tree Conference & Urban ReLeaf Conference section. For more information browse Dundee City Region Convention Bureau website or contact us.

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Chris Fremantle is leading the development of the New Leaves Network. He is responsible for the Arts Work Package in the multidisciplinary newLEAF project https://www.uktreescapes.org/projects/newleaf/

Chris is a Researcher and award winning Producer who lectures at Gray's School of Art. The focus of his work is on how artists contribute to public life, in particular through environmental and ecological engagement. Full profile and outputs here https://rgu-repository.worktribe.com/person/74880/chris-fremantle

chris.fremantle.org

ecoartscotland.net

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Kevin has been practicing as an artist for 30 years and over this time his work has fluctuated between wood carving and temporary site-specific assemblage. Both aspects of his practice are concerned with social or environmental justice. He has participated in numerous exhibitions and residencies both in the UK and abroad and won several awards for his sculptures including a major award from the Pollock-Krasner Foundation in New York.

He has a particular interest in trees and woodland ecology and has spent many weekends exploring unique fragments of ancient forest around Scotland. With his wife and fellow artist Natalie Taylor, he owns 5 acres of mixed woodland and Sitka Spruce plantation in Fife. They are currently exploring ways of managing the Sitka Plantation to improve amenity for human and non-human visitors as well as improving biodiversity on the site.  A central focus of these experiments is brashing the lower branches to allow light to reach the forest floor. These severed branches are being stacked into piles to create insect habitats and preserve organic material on the forest floor. An integral part of this project is the building an off-grid EcoArtHut which is being constructed from their wood, cut and milled on-site. This building has been designed in accordance with Reforesting Scotland’s 1000 huts campaign. https://www.thousandhuts.org

He currently lives in Edinburgh and lectures part-time at Edinburgh College of Art.

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Louise Barwell is an ecological modeller who is interested in how ecological models can inform horizon-scanning for future pest and disease threats to trees and woodlands and other native habitats. Her work focusses on how to predict which non-native pests and diseases are transported, globally, the environmental and social drivers that promote establishment and spread in a new region, how pests and diseases will impact different plant hosts and sectors and the ecosystem services linked to those hosts. She is part of the Treescapes NewLEAF project and previously the Living with Environmental Change Phyto-threats project. The models are intended to support decisions about which species to select for resilient woodland creation and to inform surveillance strategies that help improve the early detection of pests and diseases. Louise is actively engaging with UK stakeholders in the forestry, nursery and Plant Health policy sectors to co-develop and tailor the model outputs using experimental, web-based decision-support tools. She also models trends in arrival and establishment of invasive non-native species for UK government stakeholders, to determine whether abatement policies are effective.

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Lindsay K. Campbell is a Research Social Scientist with the USDA Forest Service Northern Research Station, based at the New York City Urban Field Station.  Her research explores the dynamics of environmental governance, civic engagement, and natural resource stewardship. She is co-lead of STEW-MAP, which maps the social networks and spatial territories of environmental stewardship groups.  In addition to her research, Lindsay co-leads the Urban Field Station Collaborative Arts Program. Dr. Campbell holds a BA in Public Policy from Princeton University, a Masters in City Planning from MIT, and a PhD in Geography from Rutgers University.

bio: https://www.fs.usda.gov/research/about/people/lindsaycampbell

STEW-MAP: https://www.fs.usda.gov/research/projects/stew-map

NYC Urban Field Station: https://www.fs.usda.gov/research/nrs/centers/nyc

UFS Arts: https://ufsarts.com/

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Jonathan Baxter with Ben Baxter Gittins at Future Fruit created in collaboration with Sarah Gittins, Huntly Hairst, 2019

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Jonathan Baxter is an artist, curator and peer-educator. Since 2009 Jonathan has developed an innovative approach to public engagement through a variety of socially engaged and ecological art projects. Since 2012 Jonathan has worked within the conceptual framework of A+E, an organisational persona braiding the terms accident and emergency, art and ecology, art and education. A+E is currently at play within two Edinburgh-based projects: an Embedded Artist Residency at St Mary's Episcopal Cathedral (2020-30) and a Craigmillar and Communities Walking Residency with Art Walk Projects (2021-25). Both projects address the climate and ecological crisis through practical interventions and imaginative excursions.

Personal website: https://jonathanbaxter.me/

A+E at the Cathedral: https://artandecology.earth/

Art Walk Projects: https://www.artwalkporty.co.uk/project/craigmillar-communities-walking-residency/

Dundee Urban Orchard: https://dundeeurbanorchard.net/

Sharing Not Hoarding: https://www.sharingnothoarding.org/

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Victoria leads and manages silvicultural research in Upland Forestry, focusing on sustainable forest management approaches in upland Britain. This includes adapting silvicultural techniques for a changing climate, mixed-age and continuous cover forestry, choice of appropriate species and provenance, mixed-species forestry, and alternative establishment techniques.  She also leads and manages Forest Research’s ‘Long-term Experiments’ project; a network of c. 320 experiments covering a wide range of topics as a strategic resource that can be re-examined to address current and future questions about sustainable forest management.  She is a Fellow of the Institute of Chartered Foresters.

Forest Development Types - Forest Research

Management of long-term experiments - Forest Research

Tree of Knowledge | The James Hutton Institute