This work is considered part of a larger body of garden and soil-related sculptural works. As part of that body, it continues the botanical concern, and shares in a regard for the character of found materials, and in the practice of time-intensive handmade processes.
Recently, the idea of “garden” expanded to include the asphalt plane. As with the work here, the gathering field became exclusive to paved surfaces. At a certain point asphalt seemed like soil, fertile and absorptive, its aggregated mass appearing as an endless seedbed. Upon its surface lie the materials of discard, like seeds that it takes unto itself.
This interest in seeds and roots directed me to seek imagery from a range of botanical sources. The photographs, and especially the drawings I encountered, were profoundly interesting unto themselves. One such source was Henry Thoreau’s last manuscript, The Dispersion of Seeds.
I discovered the beauty of line in his handwriting. I was inspired by the freshness and visual power of his seed and root sketches. As an installation this work owes greatly to his discussions of “fly-away” seeds, which described their falling and spreading action. As with the pitch pine seeds “falling in a dense shower…like grain scattered by the hand of a sower.” Or the seeds which “fill the air”, and the willow down that “floats in a meandering manner”, sometimes sailing upward “as high as rooftops”. These and other statements strongly suggested a means for spatial treatment.
Ultimately, however, Seed to Soil to Seed: Ad Infinitum evolved through a layering of sources, ideas, influences and experiences. To these I add the prevailing sense of continuity and endlessness that is echoed in the work, observing that the botanical cycle is both linear and circular.
Seed to Soil to Seed: Ad Infinitum will be on display from Friday, August 18- Saturday, September 9. An opening reception will be held on Friday, August 18 from 6 to 9 p.m. The evening’s festivities include light snacks and drinks, as well as free art making in the Make and Take.
Sara Good was born in Memphis, Tennessee, and spent her childhood in Memphis and Pecos, Texas. After beginning her undergraduate program at Memphis State University, she continued at the University of Houston, then completed with a BFA in 1990 from what would be renamed the University of Memphis. There, she received an MFA in Sculpture in 1994, where she later taught Studio Art and Art History classes. Sara lives and works as a full-time professional artist in Memphis.
Since 1992, Good has largely exhibited sculpture and sculptural installations in the South, Southeast, and Midwest, though this range continues as ever-expansive. Her record includes solo, group, and curated exhibitions in Virginia, Oklahoma, Texas, Missouri, Alabama, Louisiana, and Tennessee. Among many others, she has exhibited in the Dupont Gallery at Washington and Lee University, the Edwin A. Ulrich Museum at Wichita State, the Tennessee Arts Commission Gallery in Nashville, and the Alabama Center for the Arts in Decatur. Her work also includes various commissioned and collaborative projects within her own city.