What the frack?

A few months ago, I stumbled across a British blog (here in Canada, we can't say English when we refer to people from England because in our political context, English refers to the parts of Canada that aren't French) and have enjoyed its postings about the ups and downs of homeschooling a couple of boys. Selina Gough lives in rural England and describes The Mucky Root as The everyday journeys and stories of a nature loving, home educating amateur forager and mother.

Her most recent post describes a trip to the Barton Moss Community Protection Camp with her boys to support the camp's efforts to prevent fracking near the community of Salford outside Manchester. Brent Patterson of the Council of Canadians has put together a summary of the camp's activities to date - the company doing the exploration for shale gas is IGas, which, Patterson says is 20 per cent owned by Calgary-based Nexen Inc.

Thanks to Selina for taking me there. The British have a lot to teach us about long-term on-the-land protest. Selina writes:

There is a sign that declares that this camp is the frontline against fracking - and that is exactly what it feels like. I couldn't help but admire the commitment and resilience of this core group of protesters, who prefer to be called 'protectors'. I wanted to know more of who they are and what their stories were but I got a sense that for them, right now, this was the only story that mattered. We joined them on their afternoon walk-down, the boys and I, holding hands as campers and other protectors emerged from the depths of the dark communal tents and from the edges of the lane. Scattered bodies becoming one mass in front of the line of police and the slowly advancing trucks. There was no unruliness from this crowd - a little weariness, some stubbornness and a good helping of frustration but mostly just peaceful people, trying to register their objection, to resist big business and its continually callous agenda and to fight, in the only way they know how, for the very ground beneath our feet.

Peter von Tiesenhausen

from Peter von Tiesenhausen's The Watchers/Journey

It's been an overwhelming few months in the pipeline world that we're being dragged into here in northwestern BC. Frankly, it wasn't so much the JRP's recommendation that Enbridge's Northern Gateway pipeline be granted permission to proceed (with over 200 conditions) that overwhelmed me, but rather the plate of spaghetti that constitutes the "plans" for LNG pipelines revealed by a myriad of applications.

It's been our provincial governments touting of LNG as clean energy, even though it is a fossil fuel that has an enormous carbon footprint.

Most particularly it's the knowledge that LNG pipelines = fracking and all that entails: fracking both in ever increasing amounts in the beleaguered northeast, and inevitably (well, not really, I refuse to accept that) into this part of the country.

It's times like this you wonder: what is the point of writing poems, stories, and songs, of creating images and performing acts of wonder, love and encouragement? We're toast, we're hooped, we're fracked.

But then I remembered Peter von Tiesenhausen and cheered right up. He's a visual artist based in northern  Alberta whose work challenges the way in which the fossil fuel industry wreaks havoc on our idea of home: In a review of his work in Canadian Art, Robin Laurence writes: 


The petroleum industry, of course, casts a long shadow across the region. One of von Tiesenhausen’s legal strategies for resisting the industry’s incursions involved making a claim of copyright to the land on which he has installed a number of his environmental sculptures. It’s the land he grew up on, the land that used to belong to his parents, the land on which he and his family live and work.

Laurence goes on to discuss the way von Tiesenhausen creates alternative ways of seeing home: 


As Peter von Tiesenhausen tours me through “Elevations,” his solo exhibition at the Art Gallery of Grande Prairie, it is difficult to gauge whether he is more invested in the work on view here or in the new Demmitt Community Centre, an hour’s drive away. The internationally acclaimed environmental artist and activist talks about each—the art that symbolizes a spiritual journey, and the community centre that he has been instrumental in creating—with equal pride, passion, humour and angst. His conversation reveals how his art practice affected the way the community centre was conceived, and vice versa. Some of the images and materials in his mixed-media show, which functions as a mid-life meditation on creative aspiration and the making of meaning, are directly connected to the realization of the building.

Community = the land itself and the creatures that live on it, in it, with it, from it - including people. 

von Tiesenhausen's work includes the evocative The Watchers/Journey and the inspirational Passages. The Watchers consist of a group of charred figures which crossed Canada from 1997-2002, moving from exhibition to exhibition - a spooky and powerful presence wherever they stand. 

 

Passages charts the course of 100 tiny boats filled with earth from 100 different spots between the Bow River's source and Calgary after their release into the river in 2010. 

Seeing images of the hands holding out the tiny boats and letting them fall into the river reminded me of Ali Howard's first leap into the Skeena near its source in the Sacred Headwaters. Art and action bring us together and give us courage. Thanks to all of you who keep our hearts whole while we struggle to slow down the craziness.

The petroleum industry, of course, casts a long shadow across the region. One of von Tiesenhausen’s legal strategies for resisting the industry’s incursions involved making a claim of copyright to the land on which he has installed a number of his environmental sculptures. It’s the land he grew up on, the land that used to belong to his parents, the land on which he and his family live and work. - See more at: http://www.canadianart.ca/reviews/2013/02/06/peter-von-tiesenhausen/#sthash.0mJ9YULL.dpuf

The petroleum industry, of course, casts a long shadow across the region. One of von Tiesenhausen’s legal strategies for resisting the industry’s incursions involved making a claim of copyright to the land on which he has installed a number of his environmental sculptures. It’s the land he grew up on, the land that used to belong to his parents, the land on which he and his family live and work. - See more at: http://www.canadianart.ca/reviews/2013/02/06/peter-von-tiesenhausen/#sthash.0mJ9YULL.dpuf

The petroleum industry, of course, casts a long shadow across the region. One of von Tiesenhausen’s legal strategies for resisting the industry’s incursions involved making a claim of copyright to the land on which he has installed a number of his environmental sculptures. It’s the land he grew up on, the land that used to belong to his parents, the land on which he and his family live and work. - See more at: http://www.canadianart.ca/reviews/2013/02/06/peter-von-tiesenhausen/#sthash.0mJ9YULL.dpuf