Restless Earth draws on camera expeditions into the Wisconsin woodlands supported by extensive historical research. Terri Warpinski offers a complex exploration of forests that reminds us of their significance and, more particularly, the inter-connectivity of environmental phenomena. We are invited to reflect on questions of sustainability through the accumulation of visual imagery and written comments. Large installations suggest the immersivity of woodland experiences. Smaller photographs draw attention to detail. But not all is what it might seem. For instance, on close inspection, the bird nests formed of twigs and grasses may also incorporate plastic fragments or shards of fishing line. Or, the fact that only 1% of Wisconsin’s trees remain unharvested provokes pause for reflection, especially since the largest single tract of virgin timberland is on the tribal land of the Menominee. The imagery does not shout at us; rather it quietly points to ecological entropy, reminding us of our responsibilities as stewards of our future.

Robin Wall Kimmerer, who is native American, a professor in environmental biology and author of Braiding Sweetgrass (2013), inter-relates indigenous wisdom and scientific knowledge within environmental conservation and renewal. She advocates against taking from the earth with no consideration for the future. Like-mindedly, Warpinski offers a unique insight that testifies to contemporary ecologically mindful approaches to safeguarding nature. This acts as an alert, and as evidence to be drawn upon within environmental politics. In considering the many excellent submissions for the inaugural Carol Crow environmental award, Restless Earth came to the fore for the integrity of ecological thinking, research methods and photographic realisation that underpins its aesthetic affects and cultural significance.

Reference: Robin Wall Kimmerer, Braiding Sweetgrass. Milkweed editions, 2013/Penguin Books, 2020.