How can I utilise local natural and/or weather phenomena as a collaborator within my practice?
At what point does the artwork transition from being a speculation/representation to being a direct product of the ecology/environment that it is about?
How can I make sure that the natural world retains its agency within my practice?
How is the ‘natural world’ defined within my practice? If it is all part of a larger ecological mesh, then where are the lines drawn between what is ‘natural’ and what is not? Are there even any lines, or are they just a concept derived from human-centric ways of thinking?
In the process of tracing points of interconnectivity within an ecology, does my art-making also become an active part of it?
How can my work become a conduit for the interaction between the human, organic, material and inanimate?
What forms of process and material-based methodology are going to be most applicable to drive the projects’ investigation into ecology?
How can I direct the process of my practice through the methodology in such a way that allows the world to imprint itself on my art? How do I give my pencil to the wind, or the paintbrush to ocean currents?