Theatricality of Nature
Glen Foerd Residency, Philadelphia, 2023
The Theatricality of Nature, 2023, Styrofoam, Wood, Paint, Resin, Mixed Media, 96 x 96 x 48 inches
Installed at the historic Glen Foerd estate as part of Peoples’ artist residency program, The Theatricality of Nature sought to highlight the drama and excitement of natural events through an innovative juxtaposition of theatrical and environmental elements.
The sculpture's centerpiece features the likeness of an Austrian curtain or a waterfall curtain, a style of theater drapery characterized by its flowing, cascading appearance. In traditional theater performances, such curtains serve a dual purpose: they act as a veil of protection for behind-the-scenes activities while simultaneously framing and focusing the audience's attention. In this installation, the curtain performs a similar function, drawing viewers' gaze to a focal point of this 'stage', a two-dimensional, resin-covered image of a tree stump. This representation presents as nature morte, an art historical term for still-life painting that specifically refers to depictions of cut flowers or other organic matter removed from its living context. The term, literally translated as 'dead nature', takes on additional layers of meaning in this setting, where the artificial stump contrasts with the vibrant, living landscape of the Glen Foerd estate.
Serendipitously, during the exhibition period, a nearby tree fell within the scene, creating an unplanned but poignant counterpoint to the artificial stump. This unexpected event playfully foiled the flat imitator, blurring the lines between art and nature, representation and reality. This unforeseen addition to the artwork exemplifies the artist's intention to highlight the inherent drama of natural processes, demonstrating how even in carefully curated spaces, nature retains its capacity to surprise and transform.
Installed at the historic Glen Foerd estate as part of Peoples’ artist residency program, The Theatricality of Nature sought to highlight the drama and excitement of natural events through an innovative juxtaposition of theatrical and environmental elements.
The sculpture's centerpiece features the likeness of an Austrian curtain or a waterfall curtain, a style of theater drapery characterized by its flowing, cascading appearance. In traditional theater performances, such curtains serve a dual purpose: they act as a veil of protection for behind-the-scenes activities while simultaneously framing and focusing the audience's attention. In this installation, the curtain performs a similar function, drawing viewers' gaze to a focal point of this 'stage', a two-dimensional, resin-covered image of a tree stump. This representation presents as nature morte, an art historical term for still-life painting that specifically refers to depictions of cut flowers or other organic matter removed from its living context. The term, literally translated as 'dead nature', takes on additional layers of meaning in this setting, where the artificial stump contrasts with the vibrant, living landscape of the Glen Foerd estate.
Serendipitously, during the exhibition period, a nearby tree fell within the scene, creating an unplanned but poignant counterpoint to the artificial stump. This unexpected event playfully foiled the flat imitator, blurring the lines between art and nature, representation and reality. This unforeseen addition to the artwork exemplifies the artist's intention to highlight the inherent drama of natural processes, demonstrating how even in carefully curated spaces, nature retains its capacity to surprise and transform.
America's Landscape, Incorporating Thomas Doughty's Morning Among the Hills
America’s Landscape, Incorporating Thomas Doughty's, Morning among the Hills, Mixed media, found objects, paint, enlarged vinyl printed reproduction of Thomas Doughty's painting, Morning among the Hills, 1829-30, PAFA, 1879.8.4, 12’ x 18’ x 17’, 2023.
Installed at Glen Foerd as part of a yearlong residency, America's Landscape, Incorporating Thomas Doughty's, Morning among the Hills is an artistic exploration that delves into the complex relationship between collective consciousness, national identity, and our perception of nature. This installation probes the intricate ways in which a select group's shared beliefs and values can shape a nation's self-image, while simultaneously questioning our understanding of the natural world and the purportedly universal human connection to the environment.
Historically, American landscape painting has played a pivotal role in shaping the collective identity of the nation. This artistic tradition depicts the "natural world" through the subjective lens of the artist, often imbuing scenes with symbolic significance. Thomas Doughty's painting Morning Among the Hills exemplifies this approach and proved instrumental in inspiring the Hudson River School, a movement that sought to establish an independent American artistic identity distinct from European traditions.
The deliberate divergence from European aesthetics in works like Doughty's was not merely an artistic choice but a calculated effort to foster a sense of fierce nationalism. These depictions of pristine American wilderness served as visual manifestations of a national identity brimming with hope, ambition, and the promise of unlimited potential. However, this perspective raises critical questions about representation and authenticity in landscape art.
The concept of the "natural world" in these paintings is inherently subjective, existing as a relative reflection of the artist's and viewers' cultural context rather than an objective reality. This realization prompts the following consideration: Do civilizations, in fact, create their own concepts of wilderness through their artistic and cultural representations? If landscape paintings are indeed reflections of cultural identities, they may reveal more about human society than about the natural environment itself. This leads to crucial questions about whose identities and cultures are represented through these representations.
Doughty's Morning Among the Hills epitomizes this complex interplay of ideas. The painting portrays human figures as diminutive in comparison to the vast American landscape, simultaneously incorporating rich symbolism to represent the nation's promised prosperity, seemingly limitless resources, and untamed countryside. It visually encapsulates the drive for American expansion and harkens to the concept of Manifest Destiny.
While the Hudson River School ideology and Transcendentalist philosophy are inextricably linked in their reverence for nature, they also present a paradox. The tension between rugged individualism – a cornerstone of the American ethos – and the notion of a collective consciousness demands careful consideration. This contradiction raises further questions about how personal experience and shared cultural narratives interact to form our understanding of nature and national identity.
Installed at Glen Foerd as part of a yearlong residency, America's Landscape, Incorporating Thomas Doughty's, Morning among the Hills is an artistic exploration that delves into the complex relationship between collective consciousness, national identity, and our perception of nature. This installation probes the intricate ways in which a select group's shared beliefs and values can shape a nation's self-image, while simultaneously questioning our understanding of the natural world and the purportedly universal human connection to the environment.
Historically, American landscape painting has played a pivotal role in shaping the collective identity of the nation. This artistic tradition depicts the "natural world" through the subjective lens of the artist, often imbuing scenes with symbolic significance. Thomas Doughty's painting Morning Among the Hills exemplifies this approach and proved instrumental in inspiring the Hudson River School, a movement that sought to establish an independent American artistic identity distinct from European traditions.
The deliberate divergence from European aesthetics in works like Doughty's was not merely an artistic choice but a calculated effort to foster a sense of fierce nationalism. These depictions of pristine American wilderness served as visual manifestations of a national identity brimming with hope, ambition, and the promise of unlimited potential. However, this perspective raises critical questions about representation and authenticity in landscape art.
The concept of the "natural world" in these paintings is inherently subjective, existing as a relative reflection of the artist's and viewers' cultural context rather than an objective reality. This realization prompts the following consideration: Do civilizations, in fact, create their own concepts of wilderness through their artistic and cultural representations? If landscape paintings are indeed reflections of cultural identities, they may reveal more about human society than about the natural environment itself. This leads to crucial questions about whose identities and cultures are represented through these representations.
Doughty's Morning Among the Hills epitomizes this complex interplay of ideas. The painting portrays human figures as diminutive in comparison to the vast American landscape, simultaneously incorporating rich symbolism to represent the nation's promised prosperity, seemingly limitless resources, and untamed countryside. It visually encapsulates the drive for American expansion and harkens to the concept of Manifest Destiny.
While the Hudson River School ideology and Transcendentalist philosophy are inextricably linked in their reverence for nature, they also present a paradox. The tension between rugged individualism – a cornerstone of the American ethos – and the notion of a collective consciousness demands careful consideration. This contradiction raises further questions about how personal experience and shared cultural narratives interact to form our understanding of nature and national identity.
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Plastic Rainbow
Lemon Hill, Philadelphia - April 2020
In April 2020, amidst the global upheaval caused by the Covid-19 pandemic and subsequent lockdowns, artist Sarah Peoples sought to transform an empty pedestal on Lemon Hill in Philadelphia into a beacon of hope and solidarity. The installation, titled Plastic Rainbow, emerged as a poignant tribute to essential workers and a symbol of resilience for a community grappling with unprecedented challenges.
Rainbows have long held a significant place in human culture as symbols of hope and renewal. This association dates back to various mythologies and religious texts, most notably the biblical story of Noah's Ark, where the rainbow appeared as a divine promise of peace after the great flood. In modern times, rainbows have been adopted as symbols of various social movements, including LGBTQ+ pride and, more recently, as a sign of support for healthcare workers during the Covid-19 pandemic. The choice of a rainbow for this installation thus tapped into a rich vein of cultural symbolism, evoking a sense of unity, hope, and collective resilience in the face of adversity.
Plastic Rainbow, originally created in 2013, took on new layers of meaning as Peoples repurposed it for the particular moment in history. By activating an empty pedestal - a space often reserved for historical figures or abstract concepts, the installation invited viewers to consider the heroism of everyday people, particularly essential workers who continued to serve their communities despite personal risk.
The work's significance evolved organically in response to concurrent social events during lockdown. As the Black Lives Matter movement gained momentum following instances of police brutality including the murder of George Floyd, Peoples covered the rainbow with a black shroud for 9 days. Plastic Rainbow transformed into a multifaceted symbol, encompassing both hope for the future and mourning for lives lost to systemic injustice.
Rainbows have long held a significant place in human culture as symbols of hope and renewal. This association dates back to various mythologies and religious texts, most notably the biblical story of Noah's Ark, where the rainbow appeared as a divine promise of peace after the great flood. In modern times, rainbows have been adopted as symbols of various social movements, including LGBTQ+ pride and, more recently, as a sign of support for healthcare workers during the Covid-19 pandemic. The choice of a rainbow for this installation thus tapped into a rich vein of cultural symbolism, evoking a sense of unity, hope, and collective resilience in the face of adversity.
Plastic Rainbow, originally created in 2013, took on new layers of meaning as Peoples repurposed it for the particular moment in history. By activating an empty pedestal - a space often reserved for historical figures or abstract concepts, the installation invited viewers to consider the heroism of everyday people, particularly essential workers who continued to serve their communities despite personal risk.
The work's significance evolved organically in response to concurrent social events during lockdown. As the Black Lives Matter movement gained momentum following instances of police brutality including the murder of George Floyd, Peoples covered the rainbow with a black shroud for 9 days. Plastic Rainbow transformed into a multifaceted symbol, encompassing both hope for the future and mourning for lives lost to systemic injustice.
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In mourning and solidarity with the Black Lives Matter movement this shroud covered the Plastic Rainbow for a symbolic 9 days.
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