Northern California Women's Caucus for Art
  • HELLO!
  • ABOUT
    • NCWCA Board
    • Contact
  • JOIN
    • Current NCWCA Members
    • Committees
    • Professional Development Workshops
    • Mentorship Program
    • Bay Area Art Stars >
      • BAY AREA ART STARS
    • ART TAG >
      • ART TAG 2022
      • ARTTAG 2011 - 2021
    • Land Art >
      • Land Art 2022
      • Land Art 2021
      • Land Art 2020
      • Land Art 2019
      • Land Art 2018
      • Land Art 2017
      • Land Art 2015
      • Land Art 2014
      • Land Art 2013
      • Land Art 2011
    • Exhibition Opportunities
  • NEWS
    • Chapter Meetings
    • Stop AAPI Hate
    • Black Women in the Arts
    • NCWCA Calendar
    • News & Notes
  • GALLERY
    • Member Exhibitions
    • Publications
    • NCWCA Artist Interviews
  • TOOLBOX
    • Speakers Bureau
    • Exhibition Guidelines
    • Artist Residencies
    • Get Noticed!
    • Effective Social Media
    • Preparing Artwork
  • HISTORY
    • 2023 Events
    • 2022 Events >
      • The Wild Side >
        • TWS Catalog
        • TWS Photographs
        • TWS Press Release
    • 2021 Events >
      • Composing the Future II
      • YWC Containment
      • 2021 NCWCA Mentor/Mentee Exhibition
      • Composing the Future Members Exhibition >
        • CTF Press Release
        • CTF Video
        • CTF Reception
      • Table Setting Project
    • 2020 Events >
      • The Ground Upon Which We Stand Exhibition >
        • Environmentally Sound Video
        • GUWWS Video
        • GUWWS Catalog
    • 2019 Events >
      • F213 Exhibition >
        • F213 Press Release
        • F213 Artists & Writers
        • F213 Selection of Art Works
        • F213 Events
        • F213 Library
        • F213 Catalog
    • 2018 Events >
      • 2018 Bay Area Art Stars
    • 2017 Events >
      • F*ck U! INMLW >
        • FUIMLW Video
        • FUIMLW Events
        • FUIMLW Press Release >
          • FUIMLW Articles
          • FUIMLW Radio Broadcasts
        • FUIMLW Featured Aritsts
        • NATIONAL ARTISTS
        • FUIMLW Catalog | Video
        • FUIMLW Collective
    • 2016 Events
    • 2015 Events
    • 2014 Events >
      • Half the Sky in China
      • Choice >
        • Choice Online Gallery
        • Press
        • Exhibition Photos
    • 2013 Events
    • 2012 Events
    • 2011 Events >
      • MAO: Reversing the Gaze
    • 2010 Events
    • Passages

LAND ART DAY PESCADERO
September 11, 2011

On September 11, we made land art on Irma Velasquez's 40-acre coastal property. The land is mostly south facing and has open rolling hills, a glimpse of the Pacific ocean and a few areas of coastal scrub. The night before,  Judy Johnson-Williams camped in her van on a hillock and was awakened by Alejandro, the coyote, who asked her who she was and why she was sleeping on his turf. Participating in this project were Elise Cheval, Kim Criswell, Ginger Slonaker, Belinda Chlouber, Judy Johnson-Williams, Priscilla Otani, Pantea and Hamid Karimi, Judy Shintani, and Irma Velasquez. We spent most of the day creating individual pieces, then walked the land to see what we had made. ​
​Artists Statements
Elise Cheval
Full Circle. This land art installation was created with flour, sieves of various sizes, an old garden hose and bucket. With red tail hawks, vultures and ravens hovering in the warm wind  currents above, I imagined I was an aboriginal artist in the  beginnings of time as I printed patterns of lace, connecting me to my own Belgian and Cherokee roots, and the flour from whence it came on the ground in Pescadero.

Judy Johnson-Williams

Earth Beads. I wanted to honor the land literally so I used dirt, adobe, really,  mixed with natural straw and sun dried.  I used the ample gopher tailings and mixed it with water in a bucket and then kneaded it until it wasn't
sticky and could be shaped into flat medallions or other bead shapes. There wasn't enough time for them to fully dry but they were hard enough so that people could take one home as a moment.  Some of them I'm going to attempt to pit-fire to see if I can turn them into real ceramic, tho, admittedly low-fire.

Pantea Karimi
Vegetable Garden. 2011, 7x7 feet, plastic materials and chopsticks. I created Vegetable Garden piece to comment on our manipulated environments caused by man-made additions, and altered natural landscapes due to excessive waste and over consuming unnatural materials.

Priscilla Otani
Wind Traveler. Sacs created from calligraphy paper, filled with seeds, pods, snail shells, dried weeds, pebbles. Each strung with stick and waxed linen thread. The pods make a dry, husky sound when the wind blows through them. Their shapes are reminiscent of breast icons strung by women in Tono. The frail membranes will release their contents on the ground and into the air as the Elements dictate.  Inscribed on each is Basho's haiku, the last he wrote before his death:

Tabi ni yande                     Falling sick on a journey
Yume wa kareno o             My dreams circle round and around 
Kakemeguru                      In withered fields

Judy Shintani & Kim Criswell
Flower Power. We worked in collaboration with the land inside a pit-like indentation at the top of a hill that people were calling “the volcano”. Taking our cue from existing vegetation at the bottom of the “volcano”, we created a land flower reminiscent of Flower Power stickers that were popular during the 1960s peace movement. At the center of the pit, dark patches of spent poppy plants grew in a pattern that suggested large petals. We emphasized that image by removing clumps of straw-like wild oat and outlining dark petals with white shale rock. We used violet-colored powdered tempera and sweet yellow dandelions to emphasize the center. We intuitively incorporated the healing qualities of these different elements: later research confirmed dandelions’, poppies’, shale's, and the color purple's medicinal usage for stress, liver, transformation, and balancing. We finished the piece with a small performance, inviting those who wished to join to us at the rim of the “volcano” to cast handfuls of flour into the wind, symbolically releasing whatever we wanted to let go of.

Irma Velasquez
Horse. I used the canvass that spoke to me on the side of a hill. I worked from the image that emerged as I moved the vines that were intertwined between the drying stalks of poison hemlock. I used the hay that was on the hill to build on the image of a horse looking toward the open field. The wind gave the sculpture  movement and the light from the setting sun gave it definition from afar.
Powered by Create your own unique website with customizable templates.