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Jessica Eastling just finished her senior year in Earth Systems and will pursue a master’s degree at Stanford this year. In a collaborative project, Jessica and Sarah McCurdy explored the evolution of the Stanford landscape and its original ecology. Over the years, the landscape has been transformed by an aesthetic vision that incorporates natural elements into a human-dominated society. This work is an artifact of Stanford’s original ecology.

Jessica Eastling

A Tribute to the History of Stanford’s Landscape

When I sat down to write this final reflection, I didn’t know where to start. Thinking through all of the up and downs, 360’s and forgotten ‘drawing board’ projects, it seemed appropriate to go in chronological order, because that was the only order or organization my TSR experience had. But, with yearlong courses, it is usually difficult to remember where you were when you started, what you were thinking, how you were feeling – that’s where reflection comes in.

The Ideal Experience

To be honest, when I signed up for Bio 196A in the beginning of my senior year, I had no idea what I was getting into. I had never taken a class before where the final product was an art piece, but having just come out of assisting with Stuart Thompson’s Sophomore College, the prospect seemed alluring (only those who have participated in his SoCo know why).

I remember attending my first section, still on the fence as to whether I could commit. But after walking away from the two hour casual, welcoming meeting of minds led by Sue and Andrew, I was hooked.

The course description says, “Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media.” As an Earth Systems major, immediately my mind jumped to environmental issues. Controversial environmental issues (as if there’s any other kind).

The most obvious obstacle to me however, was the lack of artistic experience I had had. No creative writing classes, no music instrument practice, no film productions. And I wasn’t even sure what ‘fine arts’ were. Thankfully, the one thing I did have was a camera. By no means was I professional or even proficient, but taking nature pictures was a hobby and a good place to start.

Looking back on my journal first dated on October 19th, 2011, the evolution of the project is very clear. The beginning is filled with questions, quotes, artists’ names and neat handwriting. Here are a couple tidbits from the first page:

* Make sure passion and enthusiasm come through
* Accidental inspiration
* “Organic design”
* Provocative public art, interactive; asking the viewers to engage, contemplate what’s inside and out
* Collaborative
* Art that won’t last
* “If art is the bridge between what you see in your mind and what the world sees, then skill is how you build that bridge” – Twyla Tharp

Reflecting on all of these ideal visions of how my artistic process and yearlong experience would be is laughable. Not any part of it was as elegant as the above words made it seem to be.

I remember doing an exercise on the first day where each of us came up with three words we thought of to describe ‘art’ and three for ‘science.’ Honestly, most of the words were expected: Art = creativity, fun, colorful; Science = structured, methodical, dry. This is what I wish someone had said: Art = brutal, forgiving, unexpected; Science = easy-compared-to-art.

~~~

“People try to avoid outward artistic expression – is that society that tells us not to be expressive or to be scared of judgment. Maybe because writing, art, speech are so meticulously criticized for their quality. What does a piece like this amount to. No one but me will probably ever read this. Which is safe. Is the quality worse or the value less? I’m not sure.”
-- Excerpt from free flow writing exercise 11.09.11

~~~

Two Tree-Huggers

With a new quarter came new sections and new fellow TSRs. Most of the students in my class I had never seen before, some were familiar. I remember having to explain my project idea for the class on the first day. It was extremely difficult, trying to bring my mind back from vacation and once again get used to the way art is discussed. Compared to scientific dialogue, where everything is a debate or regurgitation of facts – “I recently read this”, “Experts say this” -- creative conversations are fascinating. There’s no right answer in workshops and opinions are what matter. Everyone is an expert on his or her own opinions.

After a couple weeks while walking home from section with Sarah McCurdy, another TSR, we began to realize how similar our visions were, or at least the root of them. Both of us being intrigued by human interactions with and perceptions of the natural environment (and not having completely solidified project ideas), an unexpected partnership was formed. Although not common in The Senior Reflection, it seemed repetitive to have two parallel projects when combined a stronger project could be made. However, this decision brought us back to square one. What would our project be?

Reflecting on this turn in my TSR experience is uplifting. At the beginning of winter quarter I had lost inspiration and motivation, contemplating whether I would continue with the yearlong endeavor. Sarah completely turned my attitude around. Also, being able to start from scratch turned out to be a blessing because we were able to take the best parts of our previous, individual projects and blend or fold them into one another. Having morning coffees with Sarah, with would sit and bounce ideas off of each other usually building a grandiose vision that we imagined would make every Stanford student an environmentalist. Although we were not always realistic, the heart was back in the project.

The Tree

Throughout the multiple versions of our project idea, documented in our notebooks and on Sarah’s blog, there were multiple components that always stayed constant.

1. Human-Environment interactions
2. California native ecology
3. Stanford University
4. Use nature or natural objects

To incorporate all of these elements, we chose to somehow obtain a dead oak tree from Stanford’s campus, and make it a sculpture piece. To fulfill this vision, we contacted people who we would have never come into contact with otherwise. This list included the Stanford Arborist (n. A specialist in the care of woody plants, especially trees), who we came to call “Tree Mike,” a librarian who doubled as a Stanford vegetation expert, fire marshals and more.

With their help, we successfully adopted a dead oak tree, extracted for us by Tree Mike and his crew, which was sectioned into three trunk pieces and three large canopy branches. We ‘stored’ the tree behind a building over spring break, and when we returned, the three trunk pieces were gone. Of course, initially this was a big shock and a downer. But in retrospect, the tree thief – whomever it was – made our piece much more simple and our aesthetic process much easier. So, thank you.

The Bottles

During the course of winter quarter, Sarah stayed in contact with our artistic mentor, Kenny. In one of their meetings, he suggested we look up bottle trees – a tradition in the South. We added it to our list of ideas, but after Sarah stumbled upon a box of 12 empty blue beer bottles, the decision was made for us.

Fortunately, this also allowed us to incorporate another ‘drawing board’ idea of researching the history of Stanford’s landscape and ecology. We discovered amazing archived pictures, landscape plans – including Olmsted’s originals – and were able to get a glimpse of how much our campus has changed. The quotes we found especially powerful were those we chose to include in our project. My favorites are:

*"The few cherished trees that remain on campus today give but a faint idea of the groves that once stood there." --Teiser, 1948

*"As historic and precious elements of our lands...it is imperative that the vegetation be managed so that what we preserve, and change, leaves a legacy for the next 100 years and beyond." --Arboretum Region Plan, 1992

*“Men only plant trees when they grow wise, that is when they grow old, and realize the desirablility and necessity of it.” --John Evelyn (1620-1706)

*“The planting of a tree shows faith in the future.” –Lucy

After having completed the project, seen what the bottles add to the tree design and how they brought together other parts of our vision, the blue bottles are definitely my favorite part.