The pages of text on the trees are from her own collected short stories, none of which were composed to be part of her sculpture. She’s interested in how words can work as design elements, but also when reading can “create an environment of fantasy in the mind, just as the sculptural installation creates an environment in physical and visual reality.”
#LYDIA KANN NETLER FULL#
“Tree to paper to story is a natural progression which, in this installation, comes full circle as the story is grafted back into the tree,” Nettler writes in her artist’s statement. A grove of birch trees stands to one side, where the black flecks on the white bark are represented by lines of double-spaced prose.
“Today I carry dead roses to the grave of my mother,” read the words tumbling down one tree. Elsewhere there’s a sentence or a whole paragraph. In some cases, there are bits of newsprint appearing on the tree trunks. Stories.įirst Graft: Paper-Pulp-Prose is the latest incarnation of an installation that has been evolving over decades it’s the first time Nettler has combined her visual art with elements of her writing. Looking closer, rather than seeing moss, lichen or bugs, there are words-actual text-caught in the tree’s derma. Instead of grooved bark, the texture of the trunks is represented by charcoal swirls and papier-mache limbs. Dreamlike-easy to dismiss as fantastic, but somehow beguiling and foreboding.Īs you walk into Lydia Kann Nettler’s monochromatic forest, the sculptured trees stretch out, disappearing into the shadow beneath the boughs drawn on the murals that surround you. Like the massive boreal forests that grow to the north, at the edge of human existence, this a is a surreal forest that grows at the edge of our consciousness. They’re the kind of woods in which a German expressionist filmmaker might set an eerie tale of Dr. It’s the kind of forest Red Riding Hood might meet a wolf in, or through which Hansel and Gretel might leave a trail of breadcrumbs.
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