UNFOLDED

 

This article is taken from my artist feature in the UNFOLDED book published by Feral Art School in Summer 2025. To download the full book click HERE. To order a physical copy, email info@feralartschool.org

 

Radical Kinship

My artistic practice-research takes an autoethnographical approach in exploring how creativity can positively impact the physical natural environment and drive ecoliterate social change. I have been making work around this topic since 2018, when I made a commitment to respond to the nature and climate crisis, transitioned to a more environmentally regenerative practice, and started only making work with biodegradable, recycled, repurposed, borrowed or second-hand material.

My research deepened significantly through MA study, where I artistically responded to and wrote about ‘The Geopoetics of Drawing’ (Saunders, 2022a) and ‘Ethical Art Making – Human:Non-Human Creative Collaborations’ (Saunders, 2022b). I later expanded upon the latter within my paper ‘Equitable Making with our More-Than-Human Kin’ (Saunders, 2024) whilst working alongside communities to understand in practice how to best mobilise the masses towards meaningful climate action through art, creativity and culture.

At my core is a strong belief in the need to expand our collective definition of ‘community’ to include the more than-human world. We (as in those like myself who live within an extractive Western culture) need to develop a better, restorative (re)cultivation of care and respect towards not only one another, but others living amongst us. It is time to better acknowledge that the trees, plants, rivers, animals, skies, seas, rocks – collectively referred to as ‘The Land’ – are part of our extended community, our family, our kin, and treat them as such. Echoing conservationist and philosopher Aldo Leopold before me, I am of the firm belief that this shift in mindset enables the radical mental, emotional and spiritual transformation that we desperately need to effectively respond to the increasing threat and devastating impact of the nature and climate crisis.

As a participatory artist, I find myself always taking time to see the people I work alongside as the individuals they are; celebrating their strengths and ideas, understanding their needs and trying to minimise barriers as far as possible so they can shine. I do not understand why this caring, empowering approach typically stops at our own species? Imagine what could happen if this sense of support and care was extended towards our more-than human community too.

It is a big ask, but I think art and culture is up to the challenge. Fundamentally, I believe that compassion is what will most effectively motivate people towards – and continue to maintain – meaningful climate activism, and that art (in its most expanded sense) is the most effective and accessible route in which to achieve this. As such, my specific theoretical and practical research inquiry is understanding;

• how art and culture can help us to meaningfully (re)connect with place;

• how culture and creativity helps to develop a transformational level of kinship with our expanded community, and;

• how to make art in equitable collaboration with the more-than-human as to centre its ‘voice’ within knowledge production and inform sustainable human practice.

This soon led me towards reworking existing British folk traditions to create new nature-kinship stories relevant to contemporary audiences.

Wild Dialogue

The interdisciplinary project developed and exhibited through the ReWilding Practice Programme is loosely site-specific to a green space in West Hull and was made in response to the difficulties that I have encountered when creatively promoting nature kinship within local (human) communities. Before nature kinship is the need for nature connection – however, our biophobic culture nurtures barriers to nature; including a fear of the outdoors, lack of interest or knowledge, feeling ‘silly’ or self-judgemental about spiritual connection, or having an instrumentalist viewpoint on nature. Through theatrical suspension of disbelief, familiar archetypes, original Lore – and just a touch of magic – Wild Dialogue uses playful and participatory storytelling to offer an inspiring, low-stakes and enjoyable way to (re)learn about place, nature and British indigenous approaches to Land connection.

Every piece within this installation is dripping with storied symbolism, and, as many hands have contributed to this work, their hearts have also contributed to the magic it stores. Made specifically for an earthy, wooded environment, Sylvanus reflects the ancient Platonic idea that cubes amplify elemental earth energy. The plants depicted within the Spirit Cloak – namely apple/dogrose, bramble, golden rod, willow, hogweed, lesser cranesbill, mistletoe, oak, rosebay willow and self heal – are all medicinal and magical plants that thrive in the British hedgerows that have long been associated with spiritual boundaries and sacred spaces. The mask and bones which accompany these works are that of a deer, a gentle creature long associated in Anglo-Irish lore with intuition, guidance and transformation, have been chosen to amplify the influence of those qualities within these tools. The four ceramic pieces titled Earth, Sky, Flame and Sea are rich with folkloric symbolism of the four elemental directions. The still life painting Sophia depicts symbols of wisdom that can help us on our transformation towards a re-connected knowing of kinship and place.

 

 

When activated within community green spaces outside of the gallery (it’s intended purpose), these storied tools offer audience-participants of all ages ‘permission’ to engage with nature connection through ‘what if’ play. Upon wearing the cloak in the chamber, and surrounded by ‘magical tools’, an audience-participant might actually pause to actually listen to the more-than human world around them… and feel something more.

I plan to create a ceremonial performance piece – that audience-participants can then follow – as an extension of this collection, aiming to demonstrate how one might interact with the installation (and indeed, with any outdoor space in future). Wild Dialogue also offers those with an existing relationship with the more-than-human kin a ceremonial space to meditate, write, draw, sing, express gratitude or sorrow… or engage with whatever other means of dialogue feels right with their surrounding expanded community.

In this way, Wild Dialogue becomes both an invitation and a container – a space where nature connection can be rekindled through story, symbolism, and shared ritual. It is not a prescription, but a possibility: a reminder that kinship with the more-than-human world is not something to be taught, but something to be remembered.

 

 

Wild Dialogue is an installation consisting of:

Spirit Cloak (2025), textile and momigami paper, approx. 200cm x 180cm

Sylvanus (2025), manila rope and fittings, approx. 215cm x 215cm x 215cm

Earth, Sky, Flame and Sea (2025), four terracotta objects, various sizes

Sophia (2024), ink and acrylic on wood, 30cm x 25cm

Lore (2025), digital print

Plus additional scene-setting media of earth, wood and bone.

 

References:

Saunders, L. (2022a). The Geopoetics of Drawing – The Critical Fish. www.thecriticalfish.co.uk/the-geopoetics-of-drawing

Saunders, L. (2022b). Ethical Art Making – Human:NonHuman Creative Collaborations – Lauren Saunders. www.laurensaundersart.co.uk/ethical-art-making-humannon-human-creative-collaborations

Saunders, L. (2024). Equitable Making with our More-thanhuman Kin – The Critical Fish. www.thecriticalfish.co.uk/equitable-making