Environmental Artists coming out of the Shadows

Vicki West's words made from dodda vine hover above the thousands of people whose focus is the main stage of the Marion Bay Falls Festival. This is art that embraces it's location and, if you are open to it, introduces interesting discussion and insight. The punters may not understand the meaning of the words lome merker (deep water) leaturi (wave) gunta (earth) and karnelare (echo), but this work can be appreciated as it is suspended against the backdrop of the hills, bush and coastline. There is a lovely layering and irony about these Aboriginal words hanging so comfortably above the land that was once inhabited by another and is now covered in a swarm of music lovers.

Vicki West's Water Waves Earth Echoes

Ralf Haertel's very tactile &
 luscious Earthpoles

Unlike the safety of a white walled gallery, the paddocks, waterways and trees of the Marion Bay property that accommodates the Falls Festival does not have the usual cues that guide the audience. Aboriginal artist, Vicki West is one of 12 environmental artists who produced artwork that sat in and around the 15 000 festival goers. Such festivals were once purely music, but in the last 5-10 years they have incorporated an arts program with performance, visual arts and installations.

The challenges in developing art that can be included in such events must be huge. The OH & S issues alone could stimey most, but then there is the added acknowledgement that the majority of individuals attending these events are tanked on alcohol and drugs. This represents a huge issue for artists wishing to engage with individuals within the crowd without encouraging the destruction of artworks. How do they do it and what is the intention? And how does environmental art fit into this context? It's one thing to develop an artwork that is bright, shiny and engaging, but does message laden and conscience driven art have a place at such events.

Jackeys Marsh Forest Festival Art Trail 2012

The Art Trail has been an integral part of the Jackeys Marsh Forest Festival since it resurfaced 4 years ago and serves as a welcome reminder of the core purpose of this event.

Jo Anglesey's work titled Rainbow

Positioned above the main site of the festival, punters are enticed onto the winding, bush track to experience an array of ephemeral works produced by both emerging and established Tasmanian environmental artists. Art is wound through this whole festival. Sonia Hindrum’s Pleiades (felt spheres) hang from the trees that greet those entering the staged area, Linda Barkers’ Dragonfly float from precarious branches next to the track that connects the camp ground to the gathering space and Rick Bindon’s Tree Tent takes shape positioned high in the branches of a large gum tree.

The surrounding bush is as much a part of the art trail as the artwork itself. The nature of the festival means that the theme of the work is about promoting sustainable living, protecting Tasmania’s forests and educating the community.