Atlantic-Formed Sea Plate

By brian d hodgson

Grounded copper plate, immersed in Atlantic sea storm, etched in acid, displayed on etched and seawater-patinated copper base plate

h: 45 w: 170 d: 100 (cms).

“Atlantic-Formed Sea Plate” was originally planned as a large-scale printing plate coated with a beeswax ‘ground’ and marked by the action of the sea off the coast of Coigach, North-West Scotland; during its 12-hour sea submersion (while chained to the shore), the above plan was subverted by the intervention of an Atlantic storm. When the plate was recovered the next morning, it had turned into an artefact manifested from nature being powerful enough to overwhelm human intention. I then took the plate that was now twisted permanently into its present form, and etched it in acid. I also made a base plate for this piece, photo-etched using an image of the rocks upon which it was dashed. Through the actual sea submersion of this plate on location, I exposed it to erosion, attrition and corrasion - like the Coigach coastline, itself in an ongoing state of change. Marks were made on the ground by attrition from the rocks, and later ‘bitten’ into the plate by acid etching. The ritual of putting etching plates in rough seas, whilst being an exhilarating act, is also one of risk, carrying a real possibility of loss or even transmutation... The acid etching process seems to compress time. The works are often ongoing: though suspended for periods of time, they are not permanently arrested in their capacity for further transformation. “Atlantic-Formed Sea Plate” and its base plate are subject to change from environmental factors such as oxidisation and moisture.

£5000

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Ice Cavern

By timothy ingleby

Metal print of experimental structure made of ice and fabric

h: 25 w: 18 d: 1 (cms).

Ice Cavern is one of a series of experimental structures constructed using ice and fabric. The use of ice as a construction material means each structure only physically exists for a matter of just days or hours. The fabric is then salvaged, dried out and used again to explore a different form. The works are intentionally fragile, both structurally and environmentally. They act to remind us that wild places are there for us to enjoy providing we don't upset nature's equilibrium. Individually and collectively the works embrace the ethos of leave only footprints, take only memories.

£175

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Sphagnum

By kit martin

Bronze

h: 30 w: 30 d: 10 (cms).

Bronze sculpture of a microscopic piece of sphagnum moss from a Scottish peat bog.

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Woodland

By fenneke wolters-sinke SSA

Artists' book

h: 20 w: 20 d: 4 (cms).

Artists' book made with 3D print technology; lasercut birch plywood (3mm) front cover, laser engraved back cover and Giclee prints from laser engraved acrylic sheets (2 and 3 mm) as etching plates. 24 handpulled prints on Xcut Xpress with Caligo safewash ink have been reproduced, combined in 12 signatures and then handbound with a coptic stitch in green linen thread. Trees are not just individual entities within an ecosystem; they form the structural and functional backbone of wild places, shaping the very essence of these landscapes. As the largest and longest-living organisms on the planet, they are vital in shaping and sustaining the ecosystems they inhabit. They provide habitat and sustenance for countless species, mitigating climate change, stabilising soils, and purifying the air and water. One of the most crucial contributions of trees to wild places lies in their ability to support biodiversity. Trees provide shelter, nesting sites and food sources for a diverse array of organisms, ranging from insects and birds to mammals and fungi. In doing so, they foster complex ecological interactions and enable the coexistence of numerous species within their canopies, branches and root systems. Furthermore, trees play a crucial role in regulating the Earth's climate. Through the process of photosynthesis, forests act as crucial carbon sinks, storing vast amounts of carbon that would otherwise contribute to the greenhouse effect and global warming. Wild places provide the essential habitats that sustain tree populations, offering them freedom to thrive and fulfill their ecological roles. In turn, trees contribute to wild places by supporting biodiversity, regulating climate patterns and preserving the integrity of these invaluable landscapes.

£350

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Long Shadows Cast

By Sarah Casey

Glacier flour on glass watch face & light, projected with ohp

h: 50 w: 36 d: 36 (cms).

A series of 9 glass watch faces ( each 4.5-5cm diameter) painted with glacial flour ( sediment left by retreating glaciers ). Each drawing depicts (post) glacial site in Switzerland visited by the artist in summer 2023 through her residency at Musee d’art du Valais where she also gathered glacial flour left by retreating glacier used here as the pigment to make the images. The work is part of the wider project Emergency! about what emerges as a result of glacial retreat. Placed on an OHP, shadows are cast on the wall. The viewer sees not the drawing but its trace, via the means of this nearly obsolete technology. The yellow glow from the electric bulb of lends the work a sepia glow, recalling early photographic images of high mountain areas before the impact of that industrialisation of that period was to be seen. Gentle critique of the romanticised view of high mountain areas as remote, out of reach and uninhabited. An impossible ideal for these mountains are places of passage, pilgrimage and leisure pursuits and resources used by humans for centuries to support their lives.

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Untethered

By alison ross

Ceramic and metal

h: 23 w: 20 d: 20 (cms).

Drawing inspiration from the elements, colours and textures of the natural world, clay is the language I have used to describe my response to “Freedom for Nature”. Influenced by the Japanese aesthetic of wabi sabi, it is a quiet telling, written in muted colours of nature, pared back and reflective. I favour entirely hand-built forms which are seldom literal and do not seek mechanical perfection, but rather embody the process of emergence from under the makers hands, referencing the timelessness and gradual emergence of forms in the natural world itself. This work invites consideration of the impact of man and natures ability to survive and regenerate despite human impact and restrictions, offering hope that given positive intervention the natural world will emerge and thrive.

£410

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Hidden Links bangle 2

By Janey Boyd

Amadou, recycled precious white metal, eco resin, birch

h: 4 w: 8 d: 8 (cms).

I am fascinated with the natural world and the beauty and complexity it exhibits. It brings me peace, excitement and wonder. I try to live in balance and harmony with it, including in my creative practice. About 6,000 years ago, humans started having a deep impact on nature. Until then we co-existed with nature – we were part of it. For me, ‘Freedom for wild places’ is not about going back in time, but is about reflecting on our place in nature and remembering that we must do our best to look after it. Recently I became curious about fungi. They are the hidden links in the natural world. Fungi and mycelium (a network of fungal threads) are all around us. They live in symbiosis with plants and trees. I’ve taken direct inspiration from fungi and mycelium, and their relationship with trees, when creating the Hidden Links collection, which this bangle is part of. With the Hidden Links collection I have created pieces that satisfy my belief in simplicity and a connection with nature. The collection aims to entice a sense of wonder. This piece is made from eco resin, recycled silver, amadou (produced by myself from fungi that I gathered), and birch wood. Amadou is central to the piece. This magical and sustainable material has been used by humans since the end of the ice age and has now found its way into my work.

£140

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