Digital
Media Dimensions: 25 x 30 x 1 cm
Image Dimensions: 25 x 30 cm
Edition of 5
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £45.00.
Tamsin’s work sits alongside a regenerative farming practice. The agroecological projects and increasing wilderness of the land inform her practice, and the practice helps to deepen Tamsin’s understanding of the land and its future. Focusing on one 34 acre place in Devon, her work is a diaristic land archive, paying attention to our unseen relationship to land, soil, nature, wilderness. Tamsin makes ink from oak galls and charcoal from willow and silver birch. She likes to think that the materials she makes hold the essence of land - they are alive, unpredictable and they change over time. Tamsin uses these inks print with. Tamsin believes that soil, land, trees and nature hold memory and she wonders how the decisions we make might form part of that memory. Is there a symbiotic relationship between this art practice and her land practice? Does this relationship impact the way she stewards the land?
Digital
Media Dimensions: 25 x 30 x 1 cm
Image Dimensions: 25 x 30 cm
Edition of 5
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £45.00.
Tamsin’s work sits alongside a regenerative farming practice. The agroecological projects and increasing wilderness of the land inform her practice, and the practice helps to deepen Tamsin’s understanding of the land and its future. Focusing on one 34 acre place in Devon, her work is a diaristic land archive, paying attention to our unseen relationship to land, soil, nature, wilderness. Tamsin makes ink from oak galls and charcoal from willow and silver birch. She likes to think that the materials she makes hold the essence of land - they are alive, unpredictable and they change over time. Tamsin uses these inks print with. Tamsin believes that soil, land, trees and nature hold memory and she wonders how the decisions we make might form part of that memory. Is there a symbiotic relationship between this art practice and her land practice? Does this relationship impact the way she stewards the land?
