Poetry
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On this second day of April, I’m honored to share Scott Abbott’s tribute essay about Utah poet, sonosopher, composer, and… Read more.
1–2 minutes -
My chapbook No Sea Here is finally here, thanks to Moon in the Rye Press, Lisa Bickmore and Jem Ashton,… Read more.
1–2 minutes -
Poems that occur outside are becoming less popular, especially poems in, about, and from wild places. We increasingly live in… Read more.
2–3 minutes -
My manuscript Crude was shortlisted for the Lightscatter Press Book Award, judged this year by Heid E. Erdrich. I’m from… Read more.
2–3 minutes -
This pond is old as / me. That’s how bad-off it is. / Frog-visits, I doze. — Bill Knott Source:… Read more.
1–2 minutes -
Source: Bill Knott Archive. Read more.
1–2 minutes -
I dreamed the poetry community was a psychosis-inducing haunted mansion that all the poets had to live in together. My… Read more.
1–2 minutes -
I want to talk about the concentration camp being built in Utah, where I live, that will warehouse people who… Read more.
2–3 minutes -
These are photos of the sculpture at Glore Psychiatric Museum in St. Joseph, Missouri, that I incorporated into a poem… Read more.
1–2 minutes -
“Nothing about us without us.” That’s a guiding principle in the disability-rights movement. It applies to the mental-health justice and… Read more.
5–8 minutes
PROCESS
- Map and Research: Investigate the historical, geological, and ecological context of each collection site or reverse the direction, mapping sites based on ancestral and historical narratives.
- Forage: Gather natural materials ethically, respectfully, and with permission.
- Transform: Process foraged materials into custom mediums and physical resources for art-making.
- Weave: Track the stories held within the land, braiding personal, ancestral, and ecological histories.
- Create: Generate studies and finished artwork informed by the sites and physically composed of the materials collected.
- Limits: Not all sites will be safe or accessible, which means some spaces cannot be entered, and some stories will remain incomplete. An empty container can signify these omissions.
purpose
ethics
Responsible Exploration: Committing to mindful presence, permission-based foraging, and minimal-impact exploration on every site.
Meaning
Embodied Storytelling: Engaging in sensory, place-based creation that connects the maker and viewer to the specific location and to the physical earth.
Reclamation: Unearthing and honoring lost, fractured, or overlooked histories embedded in the landscape.
Material Transformation: Celebrating the alchemy of turning raw, gathered earth into tangible, expressive art.
community
Public Education: Sharing the ecological and historical narratives of the sites to foster a deeper collective awareness.
Active Participation: Creating opportunities for community participation, engagement, and shared connection through the work.
Dana Henry Martin 