Ginkgo biloba seeds from mother trees in Hiroshima, gifted to the Lord Provost in 2015, as part of the Mayors for Peace Project, have been nurtured by gardeners in the David Welch Winter Gardens within the Duthie Park in Aberdeen.  
An opportunity arose in late 2019 for me as an ethnobotanical artist to create an artistic response in 2020 to these Ginkgo biloba plants through an artist residency and school and family art workshops in collaboration with the Park Rangers at the Duthie Park, culminating in an exhibition of the achieved artworks of both participants and artist in the foyer of the winter gardens.

If you are in the area please feel free to come and meet some of the WASPS artists in their studios,  Click on the image below for more information on this free event. We look forward to sharing our art and craft practices with you.​

The Master students at Grays School of Art, have been allotted space for the MA show in August. Many of us are nervous with excitement and trepidation to curate our last MA show. All should be able to work with the space given. Although not the most significant area, my space has fitting walls for my artworks and another allocated wall in the corridor to exhibit the Sphagnum images currently on show at the Concourse Gallery, Sir Ian Wood Building. As with most art degree shows we will have to paint the floor and walls before setting up the display of work. ​So the paint has been ordered, and the scrubbing brush and mop looked out. Soon the drive towards the Grays School of Art Masters Show 2019 will begin.
The external examiner will be visiting the art school on the day of the private viewing, so it is unlikely that we will know our results at the opening event. The dates of which and the public show days will follow shortly. 

On 15th May, the moment after requesting of Sally Reaper, Director of the Look-Again Festival and RGU Arts & Heritage team, the opportunity to exhibit at the Concourse Gallery in the Sir Ian Wood Building at Robert Gordons University, my Master's dissertation was put on hold in order to concentrate on the solo exhibition SPHAGNUM. Elements of which, will also be shown at my final Masters Degree Show in August.
The show took six weeks to plan from start to finish with help from collections assistant George Cheyne, a seasoned expert in the set up of the Concourse Gallery events, although, in reality, the show was a year in the making prior to that.
The exhibition depicts an overview of my visual research in Sphagnum moss including; the wet and dry Sphagnum moss macro photographs shot with a digital camera in the photographic studio at Gray's School of Art, with assistance from Technician Services Officer (TSO), Fergus Connor. A selection of the microscopic images showing the intricate structures and patterns within Sphagnum moss was photographed using the School of Pharmacy and Life Sciences laboratory microscopes with assistance from TSO, Emily Hunter. 
As mentioned in earlier posts within this blog (1) (2) (3) (4) (5), I have been investigating the Sphagnum moss gathered and processed in the North East of Scotland during the era of the First World War, which is depicted by an infographic map that shows some of the moss locations, the towns and the communities involved in this vital activity.
In more recent years up to 2019, looking at what is happening now with regards to Sphagnum moss in the North East of Scotland, there is conservation underway to reclaim many of the drained or depleted Sphagnum moss bogs or peat bogs. One I recently visited is the Red Moss of Netherley, Stonehaven, where evidence is seen of barriers installed approximately a decade ago in order to rewet the bog. The surrounding area now has lush green pools filled with recovered Sphagnum.

As Masters students, we are encouraged to continually evolve and refine our practice. During the process, we present our progress through regular expositions. Shown here is my final exposition on display this week at Grays School of Art.

Sphagnum moss utilised during the first world war for bandages and wound dressings can soak up to 20 times its weight in liquid. The moss also has antiseptic properties. Through my research I have found that throughout the North East of Scotland communities gathered moss which they deposited in their local depots where it was dried and then sent to the regional headquarters in Aberdeen to be made into wound dressings. The display cabinet shows artefacts and ephemera including a wooden bandage roller, the design of which I have mimicked for my frames. 

Below are current photos taken of my busy studio space at Gray's School of Art. 

Today my search continued to discover Sphagnum moss sites in the North East of Scotland.
Many of the Sphagnum moss areas, identified from the past, have been drained on the whole to build new housing estates, used for farmland or to establish commercial forests.
​Located west of Peterhead, I visited Rora moss a largely forested wood with pine trees and a small area of birch holding pillows of the elusive Sphagnum moss. The land was quite sodden, but not enough to deter me. There appeared to be four types of sphagnum in the area, but on closer inspection only two types in different stages of growth. 

Through searching for Sphagnum moss in local bogs, thoughts of the practice of collector in wartime come to play a large part in the experience, where cold and dull overcast days didn't deter the hardy souls looking to collect the correct Sphagnum moss. This would be sent off from the local depot and forwarded on to the depot in Aberdeen, headquarters of the North East of Scotland. 
It will be cleaned, sorted and made into medical dressings and bandages, and would then be bundled up and sent on to the battlefields where it was to be used to stem the flow of blood on the injured or to the war hospitals here in Britain to help the recovery of the returning wounded soldiers. The moss can soak up to 20 times its weight in liquid and is antiseptic, making it ideal for use in a medical dressing.

Thank you Murray, for joining me on all the mossy adventures.

Further investigation into mono printing has included painting with oil paint onto an acrylic sheet. The oil paint is worked into an image using a palette knife. The outcome gives the impression of a matrix of spaces inside the moss. 
Very pleased with the progress so far. 
The next step is to print with oil paint onto the canvas before adding to stretchers.