Yukon - Large in your own life

Total expansiveness -- Tombstone Range, Yukon Territory

A dear friend wrote me the following words before I left for my artist residencies in northern Canada this summer, and I have carried them like a souvenir seashell in my pocket for months:
  

"So much movement -so much change- so much magic

You are living in the middle of the best magic and we all can tell 

because the world is giving you everything you need 
not many people can travel this path with you 
and not many ever travel this way at all.

  

Be large in your own life - the universe says so."

Small home, big world -- mixed media on paper by Rebecca Barfoot

It is mid-November and I am back in southwest Colorado, savoring old friendships while also longing for the north-land and the slow earth pace of life there. This morning I woke thinking yet again, be large in your own life.  Me, you, are we doing this? 

I know that now is the time and it's all about leaping and bounding instead of walking with measured constraint across the open vistas of our lives.    

Large as life / bull caribou, Big Alex Ridge, Olgilvie Mountains - Yukon

Least Weasel - smallest carnivore in North America! - from a backpacking trip to Fold Lake, Blackstone Uplands - Yukon

I remind myself that a leap like this is what delivered me to the northern latitudes this summer, and what allowed richly cross-pollinated opportunities in art, ecology, and education to present themselves so that my original 5 week engagement flowed quickly into 5 months!!!  Back in the States, a similar trajectory continues and I've just been riding the waves, letting life spill over while landing softly and solidly and bound by gratitude. 

Rooted and Rising -- mixed media with Yukon blueberry dye on paper -- by Rebecca Barfoot

One of the things I noticed immediately in the Yukon was the striking juxtaposition of an impossibly vast macro-landscape with the equally luminous world of the pixie-sized microcosm - and how each biome informs the other.  The tangle of sphagnum moss, bog cranberry and reindeer lichen at my feet describes the endless arc of unbroken wilderness spinning to the horizon even as they seem to exist separately and as opposites.  I know this relationship is important to explore in the work to come, and that the intimate as a gateway to the infinite mirrors the idea of small lives lived large.
  

Dall sheep - ewes and young - dwarfed in the immensity  -- Tombstone Territorial Park, Yukon

Bearberry foliage, high tundra -- Blackstone Uplands, Yukon

Autumn highlights and color swoon -- Discovery Ridge -- Tombstone Territorial Park, Yukon

A fairy forest of wintergreen called 'Single Delight' - late summer near Dawson City, Yukon

Be large in your own life and the work you choose to do, I think, because the world needs this from all of us right now. 

Nurse log comes to life with sphagnum moss, pixie cup lichen, bearberry and more - Klondike River Valley, Yukon

Hang on, Yukon -- mixed media on canvas by Rebecca Barfoot

Saxifrage -- brilliant, adaptable survivors of the north  -- Angelcomb Peak, Tombstone Territorial Park, Yukon

Writes Sally Kempton, Buddhist scholar and Dharma teacher, in her recent book Awakening Shakti:  "Our awareness is not only connected to the power of awareness in other creatures, but it is also a miniature version of the great awareness that is the source of all that is. The subtle worlds that lie between the transcendent vastness and the physical universe are also inside our own subtle bodies, ready to be experienced by anyone who has the stamina and grace to enter into the inner world of the heart."

And the heart of the world, I would add. The microcosm coursing through our ancient aliveness, firing the pulse of our being.  We share this and yet we have forgotten it.  It is time to remember. 

Swallowtail at rest on caribou moss --  Olgilvie Mountains, Yukon

Small Work, Big Ideas: YUKON

Late night after rain, North Klondike River valley, Tombstone Mountains, Yukon

A sliver of blue braves the milky white cloud-sky this morning, giving me hope as I unfold myself into the wet world outside my tent.  Day after day delivers rain in these Yukon mountains and a nearly sun-filled pause in the low dome of moisture leaves me grinning.  I can cling to blue and its possibilities. 

The bluest blue.  I live for these days!!!

 I didn’t know I’d be spending the whole summer in northern Canada.  It’s become late August.  I am pioneering an artist in residence program at Tombstone Territorial Park, camping and working with the park’s Interpretive Centre on arts/ecology education while also tending the fires of my own creativity.  I’m exploring the land as much as possible, smitten by a revolving presentation of rainbows and ethereal twilight as we move deeply into fall. 

Rainbow and oncoming storm near North Fork Pass, Tombstone Mountains, Yukon

Beneath the daily flow of art and teaching I'm privately trying wrap my head/heart around the sense of raw wilderness that – delightfully and astonishingly – surrounds me here.  It is truly awesome, in the same way that glaciers and icebergs were for me in Greenland.   I am small here, surrounded by dreams as fast and wide as the waterways that cleave these moss-covered hills.  And I am learning to let the earth cradle me when it feels like nothing else can or will.

"Drunken Spruce / Forest Family", acrylic on tree-free paper

Tundra Raven, Olgilvie Mountains, Yukon.  Mixed media on tree-free paper.

 I’ve stumbled upon what I call a last place, an ecosystem still incredibly undisturbed.  We have no reference point for this in the South - the lower 48 - and I understand how fragmented everything has become. Wilderness like this takes your breath away, leaving you mute and grasping for a tether to guide you home across the tracks of moose, caribou, grizzly and wolf.

Caribou antlers fall where they may in Tombstone Territorial Park, Yukon.

I haven’t had much online access here this last month.  We are solar powered and off grid at the visitor center where I work.  I’m finally returning to social media and this blog, overwhelmed with how to begin and what to say of my current experience in the north.  I know that photographs are a great place to start, though they reveal only the surface rather than the soul of these cloud-topped mountains, spruce forest, and sub-arctic tundra.  

"Small home / big big world", mixed media on watercolor paper

Artist’s residencies are one part making/creating and one part looking and seeing.  I'm constantly alert as if I’m scanning for grizzly on the horizon.  Right now my days are heavily weighted to accommodate a growing cache of impressions to be doled out slowly in the coming months.  I am the alpine pika stockpiling food for winter.  My voluminous notes, research and outdoor adventures in the Territory are crucial sustenance to carry me forward.  Creating art from raw experience, distilling wonder into something articulate and palatable while capturing the ephemeral - it takes time.

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"Ravens over the Continental Divide", Tombstone Mountains, Yukon.  Mixed media on watercolor paper.

Yukon!! -- Boreal Forest Art and Ecology

Local art adorns the hardwood forest of birch and poplar outside Dawson City, Yukon Territory.

 Greetings from the land of the midnight sun!!  I've traveled North again and this time I'm writing from an artist's residency at the Klondike Institute of Art in Dawson City, Yukon Territory, CANADA.  I'm thrilled to be here.

My initial draw to the Yukon was to continue investigating the tally on wild lands in the North as our planet continues to warm up and get crowded.  I also want to know what "big wild" really feels like, and to (re)consider the notion of Last Places that I began with in Arctic Greenland.  Does undeveloped, non-industrialized land exist in any meaningful context in this world now and what does it look like beyond a remnant of a romantic ideal? 

I'm happy to say that from my ground level post here in the northwest corner of Canada, the land appears to be doing well.  My immediate sense is this: earth as utterly staggering in scope and impossibly vast.  I'm aware there's much more to the story than this, but for now I think, take it and run with it.

"Thaw" -- Mixed media on tree-free paper by Rebecca Barfoot.

There's also a secondary and more personal magnetism that drew me to northern Canada: I've been obsessed with trees since I traveled to Greenland.  They've worked their way into my paintings, sculpture, and into my earth-bound, starlit  imagination. There are no trees in Greenland - and it occurs to me that perhaps I've fallen in love with absence.   

"Mother/Bear Boreal" -- Cyanotype with mixed media by Rebecca Barfoot.

The Yukon is dominated by boreal forest, the largest terrestrial biome on Earth.  Known at taiga across Russia, it's the green halo of northern woodland that girdles our globe just south of the Arctic tundra, serving as Earth's "cooler" and regulating temperatures worldwide. 

Here around Dawson, the boreal consists largely of paper birch, black and white spruce, balsam poplar and aspen.  A walk in the woods for me, on a more intimate level, is to feel cradled, sheltered, and supported.  One of the more subtle and nuanced interests I have as an artist concerns the internal  landscape - both personal and collective - and how it reflects the state of our natural environment.  I am beginning to explore the mirroring of inner/outer landscapes in my work.

Deep Forest -- Mixed media on tree-free paper by Rebecca Barfoot.

Beyond the poetry of trees in form/metaphor is my growing awareness of the biological imperative of the forest in function. Large volumes of boreal woodland are logged for paper pulp (cardboard boxes, magazines, catalogs, paper towels etc), oil and gas extraction (Alberta tar sands...), mining and general money-making.  But destroy the forest and you eliminate the planet's most effective method of uptaking (via photosynthesis) and storing atmospheric carbon dioxide (in both living and dead plant matter).

One of the byproducts of our shifting climate is the phenomenon of  "drunken" trees in the boreal, tilted and falling as the permafrost thaws beneath them.  Earlier this month I noticed stretches of lurching stumbling tumbling black spruce (picea mariana) on the 330 mile stretch of road between Whitehorse and Dawson.  It's terribly wrong - and oddly beautiful.

New pond-scape created from melting permafrost, Alaska Range -- Photo Credit: Michael S Quinton

"Drunken" Black Spruce, Yukon.

"Tilt", Yukon Territory, Canada.  Mixed media on cyanotype by Rebecca Barfoot. 

More soon, with love from the North,  Rebecca @ www.rebeccabarfoot.com
...like action rising out of stillness, all wings and quiet thunder.  -R.Barfoot, May 2014

A Forest and the Bones of Greenland

"Galaxy", cyanotype print with usnea, wild rose, river pebbles by Rebecca Barfoot

Life is precious, especially against the unforgiving starkness of the Arctic.  My time in Northwest Greenland heightened my awareness of how quietly fleeting our time is here on this little blue globe called home.  As a result, I’m working a bit feverishly these days, trying to get all my art projects born before time runs out.  I know this is foolish and fearful, but still I’m creating in a hyper-inspired (manic?) state, extra-attentive and energized.  

It’s a fertile place, this focused frenzy- but again, as ephemeral as our waking hours and numbered earthbound days. 

Smuggled Arctic seal bones adorn- incongruously- a bed of autumn leaves

I woke at dawn today with these words whispering through the mental haze of early morning: “In Greenland, I found the bones of my self.”  One part dream, one part highly conscious thought? I suspect a higher sense of knowing before the din of the daily begins, and I’m grateful for the mysterious tiding.   Since Greenland, I have felt the stirring of something old and moss covered inside me, moving and morphing yet deeply grounded.  

I can’t say with precision what happened for me internally in the icescape of the Arctic- but something did happen.  As if the cold sharpness of bedrock and glacier ripped me open like a storm running down the middle of my life, then tossed me back to sea to find my own way back to shore and sanity.  

Glacier meets bedrock, NW Greenland

 Back home I’ve taken refuge in the forest, an impossibility in northern Greenland as the high Arctic is a land without cover.  Refuge and revelry then!  The season here in Colorado has matured to a crisp golden autumn.  I’ve loved watching the world change as the aspen and cottonwoods gather themselves up for winter, shedding their leaves, drawing into themselves.  I understand.  

Aspens in full glory at a secret spot in southwest CO

 I’ve seen a bumper sticker floating around Durango lately that reads, “Trees are the answer.” Ah, the poetry of trees.   How they hold up the sky and root us all at once.  I watch the Halloween skeleton trees outside the studio, shifting and sighing in the late fall wind.  Yet how steady and steadfast they are- my own personal icons of small triumph.   

Beyond the poetic is the scientific:  trees give us oxygen, clean our air, filter the soil, and manage to transform greenhouse gases into wood.  No wonder I’m smitten. 

I won’t ask you if you’ve ever hugged a tree, but when was the last time you laid down beneath a canopy of, say, an enormous live oak- to be cradled by the forest floor, branches and leaves twining above and the open sky beyond? (Now’s your time!  Autumn is perfect!)  The pungent dirt-smell of moist leaves returning to the earth delivers me to a mysterious yet familiar place of yearning. 

A winter live oak thrives in west Texas

Dirt, moss, bones- and those words carved into my mind from this morning.  Greenland is littered with the skeletons of marine mammals that became Inuit food, and also from the natural course of things.  Nothing breaks down- or hides- with any ease this far north.  Bones are so rich in metaphor that they’ve already found their way into my art.  A year ago in the Adirondacks I began working on a series of coil-built skeletal objects in porcelain, beginning as a group of Lilliputian chairs (to be hung on the wall, a slightly twisted testament to comfort that can never be attained). Then I made some small boats, in the same manner and material.  A little bereft, these unmoored ships that can’t bear their own weight on water, slowly sinking.  Elegant and terrible as unprecedented Arctic ice melt.

"Skeleton Ship", porcelain paperclay by Rebecca Barfoot

 I’m building diminutive ceramic kayaks today, reminiscent of my time threading the waters of Baffin Bay this summer in just such a craft (which didn’t sink and never capsized!).  I found piles of seal and narwhal bones on Ikerinarmiut, a tiny island off the Greenland coast.  And ancient human remains nestled in an old rock cairn with a circular skyward opening, not far from my studio in Upernavik.  (Gasp!!  I’d never stumbled upon a human cranium just… lying there like that.  But this was the traditional Greenlandic way until only recent decades.) 

Untitled, by the young, gifted, and tragically fated Francesca Woodman,  MacDowell Colony, Peterbough, NH, 1980 

 For some reason I haven’t quite unearthed yet, I’m more in love with fall this year than I have been since my childhood in New Hampshire.  I was a maker of tree forts then, running around the woods looking for pokeberries and toads, excavating piles of crimson maple leaves to hide in.  Maybe the bones of the Arctic are bringing me back full circle to fall in love with a forgotten part of myself, at once old and young and giddy with living.