Lois Andison and Simone Jones

Initially Lois Andison and Simone Jones were each invited separately to contribute artworks to the Tree Museum site this year. While discussing their projects between themselves, Andison and Jones arrived at a collaborative approach to produce Tidal Pool: Ode to Tom Thomson. As both artists usually employ and reference technology, it is not surprising that this work is activated by technological means as it simultaneously gently mocks ineffectual human intervention in the face of nature. The title, of course, specifically roots the work within tragic Canadian lore, referring to the renowned painter who was killed during one of his regular canoe forays into the wilderness.

Simone Jones

Initially Lois Andison and Simone Jones were each invited separately to contribute artworks to the Tree Museum site this year. While discussing their projects between themselves, Andison and Jones arrived at a collaborative approach to produce Tidal Pool: Ode to Tom Thomson. As both artists usually employ and reference technology, it is not surprising that this work is activated by technological means as it simultaneously gently mocks ineffectual human intervention in the face of nature. The title, of course, specifically roots the work within tragic Canadian lore, referring to the renowned painter who was killed during one of his regular canoe forays into the wilderness.

Reinhard Reitzenstein

Shed sets up what initially seems to be a classic confrontation between nature and artifice by using two fundamental and easily recognizable symbols: a house and a tree. The house is an archetypical dwelling, about 12 feet wide, 14 feet long and 10 feet high at its peak, with a frame fashioned from slim poplar logs extracted from the immediate area, and using old barn board for the roof and walls. The entire exterior of this rustic shelter is covered with hundreds of small discs, also cut from poplar logs, an element that is by now somewhat of a trademark for the artist.