equinox (n.) c. 1400, "point at which the sun crosses the earth's equator, making day and night of equal length everywhere," from Old French equinoce (12c.) or directly from Medieval Latin equinoxium "equality of night (and day)," from Latin aequinoctium, usually in plural, dies aequinoctii "the equinoxes," from aequus "equal" (see equal (adj.)) + nox (genitive noctis) "night" (see night). The Old English translation was efnniht. Related: Equinoctial (Online Etymology Dictionary).
equal (adj.) late 14c., "identical in amount, extent, or portion;" early 15c., "even or smooth of surface," from Latin aequalis "uniform, identical, equal," from aequus "level, even, flat; as tall as, on a level with; friendly, kind, just, fair, equitable, impartial; proportionate; calm, tranquil," which is of unknown origin. Parallel formation egal (from Old French egal) was in use late 14c.-17c. Equal rights is from 1752; by 1854 in American English in reference to men and women. Equal opportunity (adj.) in terms of hiring, etc. is recorded by 1925 (Online Etymology Dictionary).
Aequus "level, even, flat; as tall as, on a level with; friendly, kind, just, fair, equitable, impartial; proportionate; calm, tranquil," which is of unknown origin (Online Etymology Dictionary).
2
I am a white male settler (settlement is a continuous action), born and raised in Northeastern North America. I grew up on the indigenous land of the Musketaquid of the Massachusetts Confederation of the Algonquians. The then homeland of the Musketaquid became referred to as Concord by English Puritans in 1635. “Concord, signifying agreement and harmony, was incorporated as the first inland settlement in Massachusetts through a grant from the Massachusetts General Court dated September 12, 1635. As the scene of the first battle of the American Revolutionary War (War for Independence) on April 19, 1775, it is considered the birthplace of the nation, where the ‘shot heard ‘round the world’ for liberty and self government was fired” (Concordma.gov). The Plymouth Company, founded by James I of England, established the first New England colonial settlement in 1620. The settlers’ immigration would be financed in exchange “for repayments of their expenses and interest on all profits” (Wikipedia).
Growing up in Concord, I was steeped in American colonial history, 19th century American literature, and 20th century American environmental conservation efforts. In addition, I spent a great amount of time in Concord’s natural landscapes. Throughout my life I have become aware of the failures and successes of settler culture. Reckoning with these failures and solving for them, is the driving force in my artwork and beyond. I seek to repair my own relationship to land and people, reorienting my awareness and responsiveness. While I record and collect findings, my intention is non-exploitive extraction. I have grown to shift my practice to be personal or historical and pragmatic vs theoretical. While my art practice is deeply informed and inspired by theories and philosophy, my interest is to generate real change and learning within myself and my community.
4
Beginning on the 2021 spring equinox, I joined North County Land Trust (NCLT) as their first artist for their inaugural artist residency at the Trust’s newest property acquisition, Mt. Watatic in Ashburnham and Ashby, Massachusetts. As a graduating senior at Mass College of Art, my thesis revolved around bringing attention to the parts of nature often overlooked. I created multiple works that depicted what is below our feet, and, inversely, right above our heads. While on the land, I investigated the three spaces life exists in and on:
NCLT’s Executive Director, Anna Wilkins, and I connected last year. Wilkins invited me to use NCLT conservation areas for my investigation and subject matter. I volunteered to use this project, and the discoveries made through it, to raise awareness of NCLT’s work and the importance of natural areas. I am personally interested in the educational aspect of teaching people about nature and NCLT anticipates this collaboration will continue. Integrating the arts into their work helps broaden their reach and engage conversation.
Sky (Head in the sky) | Body (Tether) | Earth (Feet on the ground)
5
Mount Watatic Highest point Elevation
1,831 ft (558 m)
Prominence
502 ft (153 m)
Coordinates
42°41′48″N 71°53′33″W
Geography Location
Ashburnham and Ashby, Massachusetts, United States
Parent range
Wapack Range
Geological Age of rock
400 million years
Mountain type monadnock; metamorphic rock
6
What I learned making art outside for 168 hours: Sky (Head in the sky) A billion year old galaxy drifts overhead...stars move. Sun is everything...wind is cold and a compass...birds carry your spirits into the sky and tell you where you are...woodcock and grouse are invisible, when they want to be. Body (Tether) Being embedded in the context is transformational. Meeting one’s needs is all-encompassing and ruled by decisions. Shelter is essential...water is life...food is strength. Nights are cold...mornings are colder, for a little bit. Ground (Feet on the ground) On the ground, a club moss—the product of millions of years of evolution—catches the receding, western, evening light. Birch, willow, lichen, moss, pine, oak, maple resurrect soil...
wintergreen is sometimes red...red spruce feed red squirrels...blueberries grow down low and up high...ice melts in three days...porcupine are chill...deer are mountain goats...beech are king and queen. Coyote works the edges. Temporal Northeast is harsh and transitional, wait for it. There are right and wrong decisions made within a context, with immediate and unfolding consequences or, alternatively, successes. Life is resilient, responsive, adaptive, and old. Rocks are older.
8
1.
10
11
12
Mobile Art/Collection Kit 13
March Watatic Journal 2021 Watercolor, color pencil, on paper 6 x 9 inches
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
Preparatory notes
34
Preparatory sketches and notes
35
Preparatory painting
36
2
1
37
March Aequus—Afoot 2021 watercolor, gouache, color pencil, on paper 63 x 54 inches 38
March Aequus— Afoot detail 39
March Aequus— Afoot detail 40
March Aequus— Afoot details
41
March Aequus—Above 2021 180º view watercolor, gouache, color pencil, on colored paper 63 x 54 inches 42
March Aequus—Above 2021 0º view watercolor, gouache, color pencil, on colored paper 63 x 54 inches 43
March Aequus—Above 0º view detail 44
March Aequus—Above 180º view detail 45