Connie Merriman, Tree House, 2010

Materials

Dawn Redwood tree, light, paper, wood

Artist Statement

I have always wanted a tree house. When I was young, I spent a lot of time in the top of a cherry tree that grew in a wood adjacent to my home. You could be quiet in the branches and watch animals walking the paths below. I thought it would be good to have a shelter for myself in the tree so that I could be more safe and comfortable. Now I think of a tree house in another way. In a gesture to address the issues of stewardship, this fragile house is made to shelter a tree, and the natural world it represents, from humanity’s built environment. It is a house for a tree.

From The Eros of Everyday Life: Essays on Ecology, Gender and Society by Susan Griffin

“Waking, my hand meets the cotton sheets on my bed, my mouth meets the water I drink as I arise, my eyes meet the morning light, shadows of clouds, the pine tree newly planted in our backyard, my ears meet the sounds of a car two blocks east. Everything I encounter permeates me, washes in and out, leaving a tracery, placing me in that beautiful paradox of being by which I am both a solitary creature and everyone, everything. 

Isn’t this what shapes our days? The paradox accounts for gravity, which is a kind of eros. The great mass of the earth curving space and time around it, the greater mass of the sun drawing the earth in an even circular motion, balanced between fusion and a solitary direction. 

There is an eros present at every meeting, and this is also sacred. One only has to listen inwardly to the histories and resonances of the word we use for religious experience. In Sanskrit the word satsang which translates into English as “meeting” means “godly gathering.” In the English language the word “common” is linked through the word “communicate” to “communion.” And earlier meanings of “common” point to levels of meaning that have been obscured in our idea of the sacred. Gary Snyder gives us the etymology for “common” as “ko, ‘together,’ with (Greek) moin, ‘held in common.’” And he also traces the word back to the Indo-European root mei, meaning “‘to move, to go, to change.’” This “… had an archaic special meaning of ‘exchange of goods and services within a society as regulated by custom or law,’” he writes, as in “the principle of gift economies: ‘the gift must always move.’…” And the gift does move.

 To exist in a state of communion is to be aware of the nature of existence. This is where ecology and social justice come together, with the knowledge that life is held in common. Whether we know it not, we exist because we exchange, because we move the gift. And the knowledge of this is as crucial to the condition of the soul as its practice is to the body.”

“Traveling Through the Dark,” William Stafford

allyourprettywords:

Traveling through the dark I found a deer
dead on the edge of the Wilson River road.
It is usually best to roll them into the canyon:
that road is narrow; to swerve might make more dead.

By glow of the tail-light I stumbled back of the car  
and stood by the heap, a doe, a recent killing;  
she had stiffened already, almost cold.
I dragged her off; she was large in the belly.

My fingers touching her side brought me the reason—
her side was warm; her fawn lay there waiting,  
alive, still, never to be born.
Beside that mountain road I hesitated.

The car aimed ahead its lowered parking lights;  
under the hood purred the steady engine.
I stood in the glare of the warm exhaust turning red;  
around our group I could hear the wilderness listen.

I thought hard for us all—my only swerving—,  
then pushed her over the edge into the river.

Peter Tillessen, 40 Jahre Kernspaltung (40 years of Nuclear Fission), (2012)

Press release: “40 Years of Nuclear Fission looks like an old scientific textbook that explains the origins of nuclear fission, illustrated by captivating black and white photographs of sculptural shapes. In fact the book is not an academic but personal compilation by photographer Peter Tillessen. The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich. The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer. The number 40 is in this compilation no accident: Tillessen took the pictures on his –rainy– fortieth birthday for one of his best friends to pay off his debts from a bet – as he wasn’t a father of a big family (like his father) at the age of 40. That’s what he had pretended to his friend at the age of 27. The design of the book in the book accentuates the biographical fission within the big context of the atomic age: particularly the way the photographer examines the father’s book to reflect his own situation and to become aware of the earth’s fragility”

This is it, I think, this is it, right now, the present, this empty gas station, here, this western wind, this tang of coffee on the tongue, and I am patting the puppy, I am watching the mountain. And the second I verbalize this awareness in my brain, I cease to see the mountain or feel the puppy. I am opaque, so much black asphalt.

Annie Dillard, Pilgrim at Tinker Creek