sandarchy

sandarchy, graphite on paper, 10

A story from the corner store…all the way into a Mongolian sand storm.

At the platform created for passengers to wait and be picked up by buses, they have no bathrooms. Not anywhere that I have seen do they have bathrooms on the ttc (not like in the UK where you pay 50p to take a pee). After waiting for what seemed like 30min but was probably 8, I had to pee so badly that all I could do was image getting off the bus 10min later and running to the house over the ice. The bus finally came, loaded and disembarked north along Broadview ave, and I was bursting by the time I was dropped off beside the corner store. For an inexplicable reason I chose to go in, instead of running home. George was particularly talkative, and began unwinding what he remembered of strong winds blowing all through his childhood in China. I was fascinated, but had to run and told him why.

The next day I went back, and asked, what were you saying about Mongolia?

“It was china but bordering on Mongolia in the north. In the winter, nevermind the wind-chill, it was normally -50c. But the wind was always blowing, it would blow you over. We had summer storms as well, but instead of snow it was sand. Sunglasses would do nothing, we would have to wear goggles just to walk, nevermind riding a bike. ”

George was looking out the window at the chilly winter wind.

“When I visited the small town I grew up in, equal distance from Mongolia and Korea, there were these old walls I remember from being a kid. It was wall after wall built to hold trees to protect the city from the ever-approaching sand, trying to wash away our town. These trees were not so big though you see, maybe up to here, ”

Indicating with his hand about 5′ tall.

“They were not tall but they were old right? Like the trees I saw by the tree-line in the arctic.” I broke in.

“Yes, yes, incredibly old, 40-50 years, but they would not grow bigger than me.” George continued, “when I was visiting this town in the 70’s I found, horribly that the fences we built to keep the crops alive had decayed, since by the fourth tier of trees you can dig a foot and find water for the new saplings. That was the saddest part, that every 5-10 years the dead trees would have to be replaced, and were then used to rebuild the fences, but people had forgotten that this was our responsibility. The fence used to run through the whole north, northeast and northwest of the city. It was immense. I cannot imagine how it must be on the interior plain, where the wind is much worse, and they have larger cities like Shanghai.”

When I arrived home the image was so strongly drawn in my mind, I put it on paper.

mapping ‘mud creek watershed’

2014, 2'x4', ink, acrylic, hand made sumac ink and silkscreen on canvas.
2014, 2’x4′, ink, acrylic, hand made sumac ink and silkscreen on canvas.

this painting (captured with a horrid tiny broken phone camera) depicts the ‘don valley brickworks park’ which encompasses the “Weston Family Quarry Garden” or the quarry restoration by the T.R.C.A., and “Evergreen Brick Works” on the redeveloped industrial pad.

mud creek is the stream which trickles its way down from mount pleasant cemetery, crossing under the belt-line trail (built atop of a 50’s railway built through the valley) to terminate in the ponds. mud creek was diverted once for use in brick production, again to make way for the railway, once more when the trail was leveled out of the railway, and finally 10-12 years ago when the trca began the pond restoration. giant crack willow have swelled ambitiously along the lower stretches of mud creek, sucking up the abundance of nutrients washed down from human activity in rosedale. crack willow do send out clusters of showy seed into the wind, but they have a more obnoxious method of propagation: they replant themselves. many species do this obviously, but on certain slopes you can trace the evidence of successive generations of willow or apple, growing to a certain size and then dropping significant branches downhill/downstream where they root quickly back into the ground. moving upstream, or towards the top of the map, there is a stout bunching of oak, in a branching stem pattern suggestive of past harvesting, which has fallen over a large pool of oddly blue/green water, where mud creek emerges from its subterranean adventures in a spiral steel pipe. where mud creek merges through the successive ponds, down under an electrical building (oddly) before being divided in two and into the Don river i have seen giant prehistoric looking snapping turtles with all kinds of growth on its back, beavers, muscrat and countless other wild signs of regeneration.

when first approaching the capacity for the ‘don valley brickworks park’ to fuel educational activities by the charity which redeveloped the site, Evergreen, we realized the experience and learning gained by kids in our first experimental programs needed a way to be recorded. the first foray into mapping the park was carried out through google map, foot, and historical sources. hilariously we found that a pond indicated on public maps was actually a shadow cast by a hill on the google map. many such intricate crossroads between the published perception of the shape of the park and its reality when walked through. this silkscreen map then was mounted on paper and used to record the significant sightings and experiences of kids in the first green city adventure camp at the brickworks. mapping mud creek Green City Adventure camp, last day of first session from these initial mapping exercises, time was taken to reflect upon the most appropriate materials and venue for recording this ‘dirt time’ in nature, and displaying it to the public. eventually, a year or so later, the ‘Natural History Emporium of Mystery’ was installed near the boundary between Evergreen Brick Works and the Weston Family Quarry Garden. The Emporium features the same map lines sandblasted into an old schoolhouse slate for use with chalk, and a nature museum display mounted on an old 21′ heritage metal lathe from the brickworks. see the emporium here.

the painting pictured is one more iteration of interpreting the ‘don valley brickworks park’, trying to trace trough time the meandering of mud creek and its many inhabitants.

‘elements of green design’ – four films from Evergreen Brick Works green design exhibit 2010-2012.

it is a bit odd to compress the four films into one frame, when originally they were mounted separately 1 1/2′ apart. some of the audio which served to fill the space and compliment the busy flow through of traffic in the ground floor hallway of the center for green cities, now are competing in this 9 minute film. the footage includes years of environmental documentary footage, with compelling statements by key green leaders in toronto (the founders of auto-share and bullfrog power….) as well as architects and designers involved in the evergreen brickworks project.

see  http://ebw.evergreen.ca/about/green-design

and http://ebw.evergreen.ca/whats-here/centre-for-green-cities

Winter Solstice Basketry

Grown on the site of Evergreen Brickworks since its opening in 2010 from plants which regenerate annually and are cut late in the spring. the red osier dogwood is an important food source for birds and the black willow can grow up to 12′ a year. Both are native species are planted to begin natural restoration of the the five acre redeveloped industrial pad.
Often these plantings are originally grown in nurseries who focus on maximum yield since plant growth is tied to profit, and so they are flooded with fertilizers. These are then planted out, and the odd original shape obtained by the greenhouse growth of the plant stays with it as it matures, and therefore the shape of this plant as we now recognize it is misleading. dogwoods and willows have evolved to be stimulated by cutting/burning especially when the leaves have fallen and the energy of the plant is stored under the snow, in its roots. the form of a coppice stump, as it grows straight long shoots, is a beautiful thing to behold. often trimmed by beaver and muskrat, these long shoots are ideal material for basketry, and so are a living free renewable resource, who’s value can be added to immensely when planted close to an environmental center like the Evergreen Brick Works has become.

see the video of youth harvesting the black willow:

by planting species which have the highest yield of environmental and economic functions, we can work towards rekindling understanding of the role of ‘coppice’ plants and trees in responsible urban business practices of the future.
through experimentation in the pilot brickworks artist residency program, the dogwood and willow baskets will annually be available for sale in the Evergreen Garden Market for the holiday season, under the name: Winter Solstice Basketry.

The Natural History Emporium of Mystery; story and depth of place (captured in a museum display)

This ‘Mapping Nature Museum’ is a old schoolhouse slate, sandblasted with a meticulous map of the Don valley brickworks, beside a display table (installed on a heritage metal lathe) of artifacts and specimens found on the Evergreen Brick Works site. Families, school groups, volunteers and others are able to leave clues in chalk for future visitors that will build a beautiful, living map of natural experience. As a formal program, the boxes are opened allowing people to touch the specimens and use leading questions on cards to jump start the inquiry for teachers and visitors. As a story-building and educational tool, this map and display will soon include a treasure box where new samples can be left by the public and then rotated into the museum, reflecting the interests of the current visitors and the seasonal changes in the space.

This project is about discovering the natural community of the Brick Works, orienting participants in public programs to the yields of the naturalized space, and creating a culture of storytelling around it. All of these specimens are artifacts that in the future could become fossils, but they are able to be the inspiration for stories today that are shared and used to facilitate a deeper connection to place. By physically connecting the map space and specimen display, there will be an open invitation to experience nature, history and storytelling from every individual experience (whether or not visitors are directly participating in formal Evergreen programs). The culture of the Brick Works will continue to grow and evolve as these stories, artifacts and places become interwoven in this artistic interactive display.

Installed in with funds from Evergreen’s Interpretive budget in 2011, the interpretive display was crafted by Charles Jevons (Swordcraft.ca) and the slate map sandblasted by Cobalt Fabrications. the Concept of a personal/public nature museum is well articulated in the book: coyote’s guide to connecting with nature.  This project is a collaboration with Lee Earl, outdoor educator at Evergreen Brick Works.

se this work in its natural habitat here.

why living knotworks?

living pussy willow

living pussy willow

This knot was harvested in cassandra public school while the snow was blowing over a workshop on planting a living willow tunnel for the evergreen all hands in the dirt forum. In four months I have woven around 150-200 knots mostly from the material harvested at cassandra.
Since I was 12 or so I have been drawing celtic inspired knotworks mostly drawn from the book of kells and similar, though I would get through a letter sized knot and lose patience after 3-4 hours, because the drawing had a predictable end.
As I have said elsewhere the willow knots are waste material because of the way the were pruned or chewed in years past, and are not prime for fencing or basketry. Each break in the leader shoot produces two or more off-shoots which are the structural basis for each knot, and there are few options for weaving and tying these knots other than in the configuration I have made them. The only limitation to this statement is that I have noticed through time that as I become proficient and evolve different means of attaching willow to itself, different patterns evolve.
This, coupled with the awe-inspiring male or female catkins (or in the case of the dogwood I am working with now rosette style flowers) followed by leaves, brings the impetus to continue making knots far beyond my early drawings.
I am not sure if you have looked at the book of kells, but many of the illuminated knots represent animals, people or other symbols, and in this practice I will continue to create increasingly representational forms.
The first experiments have taken forms of insects, but recently I made a small beaver out of red osier dogwood.
Literally every day I am learning from the progressive revelation of growing stems and leaves, which I think of as knots growing out, like problems solving themselves.
I will post more revelations as they progress, hopefully into massive scale living representatives of animals subsisting on willow and dogwood in the don (like the beavers living in the mud banks of the don-1.5m long!).

One knot at a time though. 🙂
Morgan Zigler.

willow also from cassandra public school

willow also from cassandra public school

http://www.foolishnature.org

“Land design and managem…

“Land design and management informed by permaculture principles tends to regard naturalized species of plants as assets that should be managed to stabilize water and soil, build biomass, fix nutrients, ameliorate microclimate and provide habitat, fodder, fuel and food in the early stages of system development.While naturalized species may be given a lower value in permaculture design than species regarded as indigenous to the site and region, the typical designation of naturalized species as ‘invasive species’ or ‘environmental weeds’ is typically rejected as anti-ecological thinking.”

David Holmgren quoted from “Weeds or wild nature: a permaculture perspective” in

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Plant Protection Quarterly Vol.26(3) 2011