When The Moon Howls
When the Moon Howls explores the (dis)enchantment with the forest after centuries of domestication and fragmentation. In search of wilderness she composes a new ritual narrative to investigate endurance, fear and isolation, reflecting on her experience of walking at night. The sculptural installation across three rooms becomes a haunted house where myth, fairytale and folklore are entangled. The show is a dreamscape. The artist inhabits a wolf's clothing to reconnect with the wild as an antidote to, and escape from, the monotony of ecocide. This metamorphosis channels radical new ways of thinking and connecting to the non-human.
'The forest is a place of escape. Where we can root ourselves in the practice of attention - the perfume of the forest floor, the texture of bark, the whispers between the trees. However, in recent decades the acceleration of ecological destruction, deterioration, decay and greed have become deep spiritual wounds of whiteness; a cultural forgetting, a deeply deliberate movement towards ecocide.
Our inter-generational histories have become haunted houses full of forgotten entities, ghosts that remind us of all that is lost. We grasp at the unnamable, our understanding limited by our human centred hierarchies. Confusion and disillusionment lie in the wake of grief, as we find ourselves unable to make amends or lay to rest that which has been erased. How do we bridge the emotional chasm of systemic inertia when we are caught in the immediacy of survival, desperately sticking plasters onto a bleeding wound instead of redirecting the course?
So as we teeter on the edge of a collapsing world I come to the heartland of Germany, a country of enchantment and the birthplace of fairy tales, to walk in the woods and to find the grotesques and gargoyles that invade our privacy, peering down at us from a time gone by. To observe the cultural histories that reference a country deep rooted in the forest, yet it is vastly depleted of this habitat.' Fragment of the essay A Haunted House.
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