Reconnecting with nature
Summoning a Forest
Summoning a Forest: Myth, Memory & Nonhuman Manifestos. Digital fabulations amid ecosystem crises.
In 1964, my grandfather bought a parcel of land planted with spruce seedlings. Decades later, in 2019, a bark beetle outbreak reduced the mature forest to a desolate clear-cut. Soon after, a global pandemic emerged, equally rooted in relentless interference with natural processes. In the years that followed, the terrain invited quiet reflection on land management, ecosystem degradation, the role of new mythologies, and the subtle power of 'doing nothing' in ecological regeneration across Europe.
Netherlands
Regional
The project is based on a small hectare of land in the south of the Netherlands, but engages with regional ecological dynamics that transcend national borders. The site is affected by cross-border issues such as excess nitrogen deposits, erratic weather patterns, the ongoing European spruce bark beetle outbreak, and Natura 2000 directives.
Mainly rural
It refers to other types of transformations (soft investment)
Yes
2024-10-01
No
No
No
As an individual
Summoning a Forest follows the transformation of a terrain of just under one hectare in the south of the Netherlands; from a small family forest to a desolate clear-cut and finally to a regenerating, resilient mixed forest. The project ran from late summer 2019 to 2024, beginning with the clearing of the stand after a European spruce bark beetle outbreak and ending once all evidence of the beetle had vanished beneath new growth.
During these five years, the terrain – dubbed 'The Plot' – inspired a multitude of narratives, both speculative and data-driven. 'The Plot' became an arena for addressing environmental emotions like ecological grief and for examining the friction between land management policies and nature’s pace. The project employs experimental digital technologies and new mythologies to bridge people and nonhuman entities, advocating a more integrated, less anthropocentric understanding of our interconnectedness.
The outcomes are twofold. On one hand, a diverse body of artworks has emerged in response to 'The Plot': digital animations, experimental short films, a custom font inspired by bark beetle tracks, a vinyl record featuring their sonification, 3D scans and virtual sculptures, and a series of information panels that link the physical land with its digital reinterpretation. On the other hand, the non-intervention approach on site has led to natural regeneration beyond expectations—demonstrating that a measure of ‘doing nothing’ can be a powerful form of ecological action.
Target audiences include local communities and regional visitors (such as those visiting the adjacent Natura 2000 area) as well as international art and research audiences. In doing so, 'Summoning a Forest' reconnects individuals and communities with nature, challenges prevailing paradigms of land management and ecological degradation, and exemplifies the goal of rethinking our relationship with the environment. The project is part of my artistic doctorate.
During these five years, the terrain – dubbed 'The Plot' – inspired a multitude of narratives, both speculative and data-driven. 'The Plot' became an arena for addressing environmental emotions like ecological grief and for examining the friction between land management policies and nature’s pace. The project employs experimental digital technologies and new mythologies to bridge people and nonhuman entities, advocating a more integrated, less anthropocentric understanding of our interconnectedness.
The outcomes are twofold. On one hand, a diverse body of artworks has emerged in response to 'The Plot': digital animations, experimental short films, a custom font inspired by bark beetle tracks, a vinyl record featuring their sonification, 3D scans and virtual sculptures, and a series of information panels that link the physical land with its digital reinterpretation. On the other hand, the non-intervention approach on site has led to natural regeneration beyond expectations—demonstrating that a measure of ‘doing nothing’ can be a powerful form of ecological action.
Target audiences include local communities and regional visitors (such as those visiting the adjacent Natura 2000 area) as well as international art and research audiences. In doing so, 'Summoning a Forest' reconnects individuals and communities with nature, challenges prevailing paradigms of land management and ecological degradation, and exemplifies the goal of rethinking our relationship with the environment. The project is part of my artistic doctorate.
Passive Regeneration
New Mythologies
Digital Speculation
Ecological Interconnectedness
Nonhuman Mediation
Summoning a Forest aims to demonstrate how minimal, thoughtful intervention – a deliberate 'doing nothing' – can catalyse ecological regeneration, and how art helps to convey science on an emotional level. The sustainability outcomes of the project are twofold.
1. Facilitating natural regeneration. The Netherlands has a long history of engineering landscape to fit human needs. In this context, the strategy of ‘doing nothing’ is a rather radical approach: doing nothing is often perceived as lazy and unproductive. ‘The Plot’ shows how inaction can be an effective course of action: respecting natural processes is a sustainable response to ecological degradation.
2. Reframing the data. Through experimental digital technologies, the project reimagines ecological data and spreadsheets. The projects advocates for an integrated, less anthropocentric perspective.
‘Summoning a Forest’ evidences that sustainability is not only about active intervention, but also about shaping our understanding of our environments through imaginative narratives.
Exemplary aspects
1. Inaction as action. Non-intervention can bring significant ecological benefits, challenging the belief that human intervention is necessary. This insight provides a replicable model for sustainable land management. In addition, choosing inaction – such as not mowing the lawn or reducing travel – can be an accessible form of climate activism.
2. Integrative approach. The project combines scientific data with artistic expression, making it emotionally resonant and urgent. It shows how art and science can work together to make environmental issues visible in this affluent part of the world – where climate disaster does not always 'register' yet in daily life.
3. Data-driven and experiential: The project combines scientific data with artistic expression, conveying a sense of urgency: how do we 'feel' about the data? It shows how art and science work together to convey environmental problems.
1. Facilitating natural regeneration. The Netherlands has a long history of engineering landscape to fit human needs. In this context, the strategy of ‘doing nothing’ is a rather radical approach: doing nothing is often perceived as lazy and unproductive. ‘The Plot’ shows how inaction can be an effective course of action: respecting natural processes is a sustainable response to ecological degradation.
2. Reframing the data. Through experimental digital technologies, the project reimagines ecological data and spreadsheets. The projects advocates for an integrated, less anthropocentric perspective.
‘Summoning a Forest’ evidences that sustainability is not only about active intervention, but also about shaping our understanding of our environments through imaginative narratives.
Exemplary aspects
1. Inaction as action. Non-intervention can bring significant ecological benefits, challenging the belief that human intervention is necessary. This insight provides a replicable model for sustainable land management. In addition, choosing inaction – such as not mowing the lawn or reducing travel – can be an accessible form of climate activism.
2. Integrative approach. The project combines scientific data with artistic expression, making it emotionally resonant and urgent. It shows how art and science can work together to make environmental issues visible in this affluent part of the world – where climate disaster does not always 'register' yet in daily life.
3. Data-driven and experiential: The project combines scientific data with artistic expression, conveying a sense of urgency: how do we 'feel' about the data? It shows how art and science work together to convey environmental problems.
'Summoning a Forest' looks at how creative and cultural interventions can enhance public engagement with disrupted landscapes. After the bark beetle outbreak cleared the mature forest, the resulting site became both a striking visual statement and a catalyst for conversation. This led to the installation of an information stand on the site with a regularly updated panel. The panel offers historical data and artistic insights via QR codes, presenting information about the site's history, and ecological changes, but also accesses art works.
The stand acts as a tangible bridge between the physical and digital realms, linking 'The Plot' with its virtual reinterpretations. Visitors can interact with 3D models through augmented reality and access a peer-reviewed multimedia article documenting the transformation and the role of the bark beetle. Complementary digital outputs – including short animated films, drone footage, 3D scans, photographs, audio recordings and text narratives – together form an online archive that captures the evolution of the landscape.
This integrated approach provides a multi-layered sensory experience: direct on-the-ground engagement with the terrain combined with expansive digital storytelling. The project has attracted local and regional media attention, engaged policy makers and, through lectures, enriched academic and educational discussions about the role of art in responding to ecological crises. While 'The Plot' is not conventional land art, its understated, non-interventionist presentation challenges established expectations and encourages a reconsideration of how subtle, thoughtful actions can influence our relationship with nature.
Overall, 'Summoning a Forest' combines factual historical context with creative reinterpretation, resulting in cultural interventions that can offer both concrete insights and evocative experiences.
The stand acts as a tangible bridge between the physical and digital realms, linking 'The Plot' with its virtual reinterpretations. Visitors can interact with 3D models through augmented reality and access a peer-reviewed multimedia article documenting the transformation and the role of the bark beetle. Complementary digital outputs – including short animated films, drone footage, 3D scans, photographs, audio recordings and text narratives – together form an online archive that captures the evolution of the landscape.
This integrated approach provides a multi-layered sensory experience: direct on-the-ground engagement with the terrain combined with expansive digital storytelling. The project has attracted local and regional media attention, engaged policy makers and, through lectures, enriched academic and educational discussions about the role of art in responding to ecological crises. While 'The Plot' is not conventional land art, its understated, non-interventionist presentation challenges established expectations and encourages a reconsideration of how subtle, thoughtful actions can influence our relationship with nature.
Overall, 'Summoning a Forest' combines factual historical context with creative reinterpretation, resulting in cultural interventions that can offer both concrete insights and evocative experiences.
Summoning a Forest redefines inclusion by recognising the land, its processes and the beetle as active participants in the ecosystem's story. The project treats the land not as a passive backdrop, but as a collaborative agent whose natural processes – like the beetle's role in the forest's transformation – are integral to its narrative.
Key aspects:
Recognition of non-human agency:
The project frames the terrain and the beetle as collaborators rather than mere subjects. This inclusive perspective challenges human-centred views and invites us to recognise nature itself as an active participant in environmental change.
Accessible, participatory engagement:
Through on-site installations and digital interfaces (QR-coded panels, interactive digital media), Summoning a Forest provides an accessible entry point for local communities, regional visitors and international audiences. These tools democratise the narrative by allowing everyone to experience and contribute to the evolving story of the land.
A new model of inclusion:
By treating the natural elements as stakeholders, the project encourages a model of environmental stewardship that balances human intervention with respect for nature's own agency. This approach not only broadens participation, but also inspires a shared sense of responsibility for the ecosystem.
Overall, 'Summoning a Forest' is exemplary in its inclusive design because it changes the way we think about participation in environmental processes, making the land and its natural agents co-authors of the narrative and inviting diverse audiences to participate in a collaborative, non-anthropocentric dialogue about ecological regeneration.
Key aspects:
Recognition of non-human agency:
The project frames the terrain and the beetle as collaborators rather than mere subjects. This inclusive perspective challenges human-centred views and invites us to recognise nature itself as an active participant in environmental change.
Accessible, participatory engagement:
Through on-site installations and digital interfaces (QR-coded panels, interactive digital media), Summoning a Forest provides an accessible entry point for local communities, regional visitors and international audiences. These tools democratise the narrative by allowing everyone to experience and contribute to the evolving story of the land.
A new model of inclusion:
By treating the natural elements as stakeholders, the project encourages a model of environmental stewardship that balances human intervention with respect for nature's own agency. This approach not only broadens participation, but also inspires a shared sense of responsibility for the ecosystem.
Overall, 'Summoning a Forest' is exemplary in its inclusive design because it changes the way we think about participation in environmental processes, making the land and its natural agents co-authors of the narrative and inviting diverse audiences to participate in a collaborative, non-anthropocentric dialogue about ecological regeneration.
Summoning a Forest has engaged a wide range of stakeholders whose contributions have enriched the narrative and impact of the project:
Local Region & Family:
The project site, located near the Strabrechtse Heide Nature Park, is a familiar destination for walkers and local visitors. This local engagement is complemented by multi-generational family engagement - from the deceased grandparents who purchased the land, to parents, aunts and uncles, to nieces and nephews - prompting a re-examination of tradition and the nature of our relationship with the land.
Local organisations:
A youth organisation has actively participated by helping to clear debris to be reused in wooden walls to benefit local insects, while demarcating the site. This hands-on involvement demonstrates how community action can directly contribute to ecological restoration.
Students & Academia:
Integrated into lectures and discussions, the project offers students practical insights into how art and activism can intersect to address important ecological issues. This educational component encourages a balanced response to environmental challenges while questioning traditional views of nature.
The art world:
The project has reached regional art communities as well as international audiences through its digital outputs. By disseminating its artistic narratives globally - through exhibitions, online platforms and interactive media - 'Summoning a Forest' appeals to art audiences invested in ecological issues, thereby extending the conversation beyond local boundaries.
Local Region & Family:
The project site, located near the Strabrechtse Heide Nature Park, is a familiar destination for walkers and local visitors. This local engagement is complemented by multi-generational family engagement - from the deceased grandparents who purchased the land, to parents, aunts and uncles, to nieces and nephews - prompting a re-examination of tradition and the nature of our relationship with the land.
Local organisations:
A youth organisation has actively participated by helping to clear debris to be reused in wooden walls to benefit local insects, while demarcating the site. This hands-on involvement demonstrates how community action can directly contribute to ecological restoration.
Students & Academia:
Integrated into lectures and discussions, the project offers students practical insights into how art and activism can intersect to address important ecological issues. This educational component encourages a balanced response to environmental challenges while questioning traditional views of nature.
The art world:
The project has reached regional art communities as well as international audiences through its digital outputs. By disseminating its artistic narratives globally - through exhibitions, online platforms and interactive media - 'Summoning a Forest' appeals to art audiences invested in ecological issues, thereby extending the conversation beyond local boundaries.
At the local level, the project is rooted in the historical identity of the land as 'wild land', with the community as a long-standing stakeholder. Members of the local community – hikers, residents and visitors to the adjacent nature reserve – contribute through informal feedback and dialogue, reinforcing the cultural significance of the site.
Regionally, Brabants Landschap has played an advisory and regulatory role. Despite regional regulations requiring reforestation within three years of deforestation, my mother (the current landowner) and I opted for a non-intervention strategy, allowing the land to regenerate on its own terms. This decision not only challenged conventional management practices, but also added critical depth to the project's sustainability narrative by highlighting nature's capacity for self-repair when left undisturbed.
At a European level, the project addresses the contrasting and complex policies embodied by the adjacent Strabrechtse Heide Natura 2000 Park. Under Natura 2000, 'nature' here is defined as the preservation of open, fragile heath landscapes that support a unique ecosystem. In contrast, regional and national directives call for active afforestation. Both strategies are being applied in and around the park, resulting in aggressive, ongoing conservation efforts and large-scale maintenance of so-called 'natural' landscapes. The spontaneous regeneration at The Plot stands in stark contrast to these managed practices, prompting a re-examination of what truly constitutes 'nature' – posing that nature is an active, self-organising force that resists rigid human-imposed definitions.
The involvement of these diverse stakeholders – from local community members and family to regional regulators and European conservation frameworks – has facilitated a critical inquiry that challenges traditional paradigms of human dominance over nature and expands our understanding of ecological stewardship at both local and European scales.
Regionally, Brabants Landschap has played an advisory and regulatory role. Despite regional regulations requiring reforestation within three years of deforestation, my mother (the current landowner) and I opted for a non-intervention strategy, allowing the land to regenerate on its own terms. This decision not only challenged conventional management practices, but also added critical depth to the project's sustainability narrative by highlighting nature's capacity for self-repair when left undisturbed.
At a European level, the project addresses the contrasting and complex policies embodied by the adjacent Strabrechtse Heide Natura 2000 Park. Under Natura 2000, 'nature' here is defined as the preservation of open, fragile heath landscapes that support a unique ecosystem. In contrast, regional and national directives call for active afforestation. Both strategies are being applied in and around the park, resulting in aggressive, ongoing conservation efforts and large-scale maintenance of so-called 'natural' landscapes. The spontaneous regeneration at The Plot stands in stark contrast to these managed practices, prompting a re-examination of what truly constitutes 'nature' – posing that nature is an active, self-organising force that resists rigid human-imposed definitions.
The involvement of these diverse stakeholders – from local community members and family to regional regulators and European conservation frameworks – has facilitated a critical inquiry that challenges traditional paradigms of human dominance over nature and expands our understanding of ecological stewardship at both local and European scales.
Interdisciplinary integration and added value
Summoning a Forest is inherently multidisciplinary, bridging several disciplines and fields of knowledge in its design and implementation. Key areas include
Ecological science and environmental policy:
The project is based on ecological principles, in particular the non-intervention strategy that allows for natural regeneration in a region that has traditionally actively shaped landscapes for centuries. It interacts with environmental policy debates, illustrated by contrasting passive regeneration with the Natura 2000 directive to preserve an open landscape and the regional emphasis on active reforestation.
Digital art and technology:
Digital media, including 3D scanning, augmented reality, digital animation and sound design (e.g. sonification of bark beetle tracks), transform ecological data and processes into accessible, immersive artistic experiences. Scientific data alone cannot convey the gravity of ecosystem issues; art, through technology, adds experiential layers.
Artistic research and myth-making:
The project uses relatively novel artistic research methods to create new narratives and mythologies that challenge traditional, anthropocentric views of nature. This narrative layer deepens public engagement with complex ecological phenomena.
Cultural heritage and local knowledge:
Family histories and long-standing identities as 'wild lands' provide a cultural and historical foundation. The insights and lived experiences of the local community further enrich the project narrative, ensuring that the regenerated landscape is seen not only as a natural process, but also as a cultural phenomenon.
Summoning a Forest is inherently multidisciplinary, bridging several disciplines and fields of knowledge in its design and implementation. Key areas include
Ecological science and environmental policy:
The project is based on ecological principles, in particular the non-intervention strategy that allows for natural regeneration in a region that has traditionally actively shaped landscapes for centuries. It interacts with environmental policy debates, illustrated by contrasting passive regeneration with the Natura 2000 directive to preserve an open landscape and the regional emphasis on active reforestation.
Digital art and technology:
Digital media, including 3D scanning, augmented reality, digital animation and sound design (e.g. sonification of bark beetle tracks), transform ecological data and processes into accessible, immersive artistic experiences. Scientific data alone cannot convey the gravity of ecosystem issues; art, through technology, adds experiential layers.
Artistic research and myth-making:
The project uses relatively novel artistic research methods to create new narratives and mythologies that challenge traditional, anthropocentric views of nature. This narrative layer deepens public engagement with complex ecological phenomena.
Cultural heritage and local knowledge:
Family histories and long-standing identities as 'wild lands' provide a cultural and historical foundation. The insights and lived experiences of the local community further enrich the project narrative, ensuring that the regenerated landscape is seen not only as a natural process, but also as a cultural phenomenon.
This project stands out for its non-interventionist approach to ecological regeneration - an alternative to conventional methods. It uniquely blends art, digital technology and ecological data to create a fusion that is rarely seen. The project's focus on new mythologies and bridging digital, ecological and cultural narratives through the land as an active agent in the process is also a significant innovation. This doesn't just add to the field; it attempts to reshape the way we think about ecological projects.
This interdisciplinary approach – combining ecological science, digital art and cultural heritage – offers a radical, sustainable alternative to conventional land management practices, while demonstrating how art can be part of formulating responses to ecosystem change.
At times these responses venture into the absurd or use ironic humour to reframe issues. The project values fiction and speculation in imagining future scenarios that serve not only as visions of what might be, but also as warnings of possible outcomes. In that sense, the project celebrates imagination and values affective relations with climate data over conventional data visualisation.
The explorative use of new media includes .gif animations and augmented reality – not to simply convey information, but to contribute artistic expressions to the discourse while being innovative in the context of the visual arts too.
This interdisciplinary approach – combining ecological science, digital art and cultural heritage – offers a radical, sustainable alternative to conventional land management practices, while demonstrating how art can be part of formulating responses to ecosystem change.
At times these responses venture into the absurd or use ironic humour to reframe issues. The project values fiction and speculation in imagining future scenarios that serve not only as visions of what might be, but also as warnings of possible outcomes. In that sense, the project celebrates imagination and values affective relations with climate data over conventional data visualisation.
The explorative use of new media includes .gif animations and augmented reality – not to simply convey information, but to contribute artistic expressions to the discourse while being innovative in the context of the visual arts too.
Summoning a Forest employs a multifaceted methodology that weaves together extensive literary research, practical experimentation, and a 'thinking with the land' attitude.
Literary and theoretical research:
Drawing on the insights of Amitav Ghosh - who identifies a 'crisis of imagination' in our responses to ecological change - and Donna Haraway's concept of integrated ecologies and multi-species kinship, the project rethinks traditional human-centred narratives. These literary frameworks inspire the creation of speculative digital narratives and new mythologies that challenge established notions of nature and encourage broader, more imaginative perspectives.
Hands-on research and ecological experimentation:
Central to the project is a deliberate strategy of non-intervention. Following a bark beetle outbreak, the land was left to regenerate naturally, transforming the site into a dynamic laboratory of ecological resilience. This approach - based on 'thinking with the land' - observes and documents nature's inherent capacity for self-organisation. Field observations, ecological data collection and ongoing monitoring inform the project's evolving narrative.
Digital art and interactive storytelling:
The empirical findings are then transformed into immersive digital narratives using tools such as 3D scanning, augmented reality, digital animation and sound design. These technologies not only capture the transformation of the landscape, but also engage audiences in an interactive dialogue with the site, effectively merging scientific data with artistic expression. Digital outcomes also facilitate a broadcast across networks, reaching a global audience.
Literary and theoretical research:
Drawing on the insights of Amitav Ghosh - who identifies a 'crisis of imagination' in our responses to ecological change - and Donna Haraway's concept of integrated ecologies and multi-species kinship, the project rethinks traditional human-centred narratives. These literary frameworks inspire the creation of speculative digital narratives and new mythologies that challenge established notions of nature and encourage broader, more imaginative perspectives.
Hands-on research and ecological experimentation:
Central to the project is a deliberate strategy of non-intervention. Following a bark beetle outbreak, the land was left to regenerate naturally, transforming the site into a dynamic laboratory of ecological resilience. This approach - based on 'thinking with the land' - observes and documents nature's inherent capacity for self-organisation. Field observations, ecological data collection and ongoing monitoring inform the project's evolving narrative.
Digital art and interactive storytelling:
The empirical findings are then transformed into immersive digital narratives using tools such as 3D scanning, augmented reality, digital animation and sound design. These technologies not only capture the transformation of the landscape, but also engage audiences in an interactive dialogue with the site, effectively merging scientific data with artistic expression. Digital outcomes also facilitate a broadcast across networks, reaching a global audience.
Non-intervention ecological strategy:
- The project's deliberate 'do nothing' approach allowed natural regeneration to take place. This low-impact method, in contrast to conventional reforestation practices, can be adapted to other degraded or disturbed ecosystems to explore sustainable land management, and further as a personal behavioural strategy.
Interdisciplinary integration:
- By combining literary research with hands-on ecological observation, the project provides a model for interdisciplinary inquiry. This approach can be transferred to other settings to promote innovative perspectives on environmental change.
Stakeholder engagement framework:
- The collaborative process of the project involves local communities, regional authorities and international art and research networks. This multi-level engagement model can be applied elsewhere to ensure that diverse stakeholders contribute to and benefit from environmental initiatives.
Artistic outcomes:
Digital storytelling and interactive technologies:
- Using tools such as 3D scanning, augmented reality and digital animation, the project transforms ecological data into immersive, accessible narratives. These technologies can be replicated in different contexts to engage diverse audiences and enhance environmental education.
Modular on-site information stand:
- The installation of an information stand linking the physical landscape with digital content through QR codes provides a scalable model for community engagement. Similar modular systems can be tailored to local histories and ecological data in other regions.
Comprehensive digital archive:
- The creation of a digital archive - including photographs, drone footage, 3D scans, audio recordings and narrative texts - serves as a replicable method for documenting ecological change. Such an archive can be adapted by other projects to monitor environmental change and share findings widely.
- The project's deliberate 'do nothing' approach allowed natural regeneration to take place. This low-impact method, in contrast to conventional reforestation practices, can be adapted to other degraded or disturbed ecosystems to explore sustainable land management, and further as a personal behavioural strategy.
Interdisciplinary integration:
- By combining literary research with hands-on ecological observation, the project provides a model for interdisciplinary inquiry. This approach can be transferred to other settings to promote innovative perspectives on environmental change.
Stakeholder engagement framework:
- The collaborative process of the project involves local communities, regional authorities and international art and research networks. This multi-level engagement model can be applied elsewhere to ensure that diverse stakeholders contribute to and benefit from environmental initiatives.
Artistic outcomes:
Digital storytelling and interactive technologies:
- Using tools such as 3D scanning, augmented reality and digital animation, the project transforms ecological data into immersive, accessible narratives. These technologies can be replicated in different contexts to engage diverse audiences and enhance environmental education.
Modular on-site information stand:
- The installation of an information stand linking the physical landscape with digital content through QR codes provides a scalable model for community engagement. Similar modular systems can be tailored to local histories and ecological data in other regions.
Comprehensive digital archive:
- The creation of a digital archive - including photographs, drone footage, 3D scans, audio recordings and narrative texts - serves as a replicable method for documenting ecological change. Such an archive can be adapted by other projects to monitor environmental change and share findings widely.
Meeting global challenges with local solutions
Ecological resilience and sustainable land management:
Summoning a Forest addresses global challenges such as biodiversity loss, unsustainable land management and climate change by demonstrating a non-intervention strategy at the local level. At a time when intensive human intervention often degrades ecosystems, the project demonstrates that allowing nature to recover on its own can build resilience and promote ecological balance. This approach offers a replicable model that challenges conventional reforestation methods and demonstrates how minimal intervention can lead to robust, self-sustaining ecosystems.
Rethinking human-nature relationships and the crisis of imagination:
In the face of a global 'crisis of imagination' and entrenched anthropocentrism, the project redefines our relationship with nature by integrating insights from Amitav Ghosh and Donna Haraway. By transforming ecological data into interactive digital narratives and speculative mythologies, Summoning a Forest positions nature not as a passive resource, but as an active, self-organising force. This local solution inspires a broader rethinking of environmental stewardship, demonstrating that innovative, inclusive perspectives can reshape policies and cultural attitudes towards a more sustainable future.
Ecological resilience and sustainable land management:
Summoning a Forest addresses global challenges such as biodiversity loss, unsustainable land management and climate change by demonstrating a non-intervention strategy at the local level. At a time when intensive human intervention often degrades ecosystems, the project demonstrates that allowing nature to recover on its own can build resilience and promote ecological balance. This approach offers a replicable model that challenges conventional reforestation methods and demonstrates how minimal intervention can lead to robust, self-sustaining ecosystems.
Rethinking human-nature relationships and the crisis of imagination:
In the face of a global 'crisis of imagination' and entrenched anthropocentrism, the project redefines our relationship with nature by integrating insights from Amitav Ghosh and Donna Haraway. By transforming ecological data into interactive digital narratives and speculative mythologies, Summoning a Forest positions nature not as a passive resource, but as an active, self-organising force. This local solution inspires a broader rethinking of environmental stewardship, demonstrating that innovative, inclusive perspectives can reshape policies and cultural attitudes towards a more sustainable future.
Summoning a Forest has produced a number of tangible outputs and measurable impacts, both locally and internationally:
Direct physical and digital outputs:
The installation of one or more on-site interpretive panels has engaged hundreds of local visitors - walkers, residents and nature enthusiasts - by presenting both historical and real-time ecological narratives.
Digital artefacts - including interactive animations, 3D scans, augmented reality experiences and sound designs - have been shared online, reaching thousands of viewers worldwide. They have also been exhibited in art institutions in the Netherlands, Belgium, Hungary and Germany.
Academic and cultural impact:
The project has contributed to scholarly debate through peer-reviewed publications and has been featured in lectures, seminars and guided walks on the site, deepening public and academic understanding of non-intervention strategies and ecological resilience.
It has stimulated discussion in the art world, linked with similar initiatives and fostered networking with projects in Thuringia and a Swedish residency working on bark beetle-affected forests.
Broader stakeholder engagement:
Regional politicians and local organisations have been involved, strengthening community dialogue on sustainable land management and the potential of non-intervention as a viable ecological strategy.
Indirect beneficiaries include academic institutions, environmental groups and international art and ecological research networks, all of whom have used the project as a replicable model for rethinking human-nature relationships.
Direct physical and digital outputs:
The installation of one or more on-site interpretive panels has engaged hundreds of local visitors - walkers, residents and nature enthusiasts - by presenting both historical and real-time ecological narratives.
Digital artefacts - including interactive animations, 3D scans, augmented reality experiences and sound designs - have been shared online, reaching thousands of viewers worldwide. They have also been exhibited in art institutions in the Netherlands, Belgium, Hungary and Germany.
Academic and cultural impact:
The project has contributed to scholarly debate through peer-reviewed publications and has been featured in lectures, seminars and guided walks on the site, deepening public and academic understanding of non-intervention strategies and ecological resilience.
It has stimulated discussion in the art world, linked with similar initiatives and fostered networking with projects in Thuringia and a Swedish residency working on bark beetle-affected forests.
Broader stakeholder engagement:
Regional politicians and local organisations have been involved, strengthening community dialogue on sustainable land management and the potential of non-intervention as a viable ecological strategy.
Indirect beneficiaries include academic institutions, environmental groups and international art and ecological research networks, all of whom have used the project as a replicable model for rethinking human-nature relationships.
