Map of Marizy by Emma Pavans de Ceccatty
Emma Pavans de Ceccatty and Joanne Matthews met on a permaculture design course in 2015 and have since developed a dialogue about art and sustainability. Both are artists, environmental explorers, and alchemists of empathy, experience and fact.
Over the month of November 2016 we collaborated in response to a call out for Remembrance Day for Lost Species. Delving into the systemic reasons for loss of species, we encountered the disconnect between humans in the city and their environment. The project, (re)visiting Marizy, was an intuitive and experimental series of attempts at connection with place.
Emma focused on reviving the relationship with her homeland, Marizy, France. Inspired by Emma’s place-specific intention, Joanne explored what it means to have empathy for a distant and abstract land. The Aral Sea, Uzbekistan, called to Joanne and she intuitively attempted to develop empathy for this place, as if it were her home.
Through conversations and creative exchanges, we embarked on this experimental collaboration. The on-going project flows in a reflective and constructive way, learning from our experiments to hone the next steps. The process has manifested in a series of performances, actions, rituals, paintings and poems, documented on a dedicated blog http://revisitingmarizy.wordpress.com
Ritual documentation by Emma Pavans de Ceccatty
Marizy, in the Saône-et-Loire area region of France, is a green and marshy land shaped by hedges, lakes, rivers, streams and ponds. It is lauded for its resilient ecosystem. As a predominantly smallholding, cow-grazing agricultural area, people’s livelihoods depend on the health of the land and the water. There has consequently been real effort and concern for the wellbeing of the wildlife and environment, though this is drying out with the urbanisation and industrialisation of local minds.
‘So far, the results of my exploration and connection with this land have brought me to challenge my assumptions that Marizy was an unhealthy landscape. I wonder now, is what I see here what stewarding Nature looks like? Is this contemporary romanticism?’
The Aral Sea was once the third-largest saltwater lake in the world. It is now reduced to a tenth of its original size, leaving a bare and deserted landscape behind. Industrial needs and large-scale agricultural greed drained and dammed the lake, ending the century-old fishing tradition and livelihood from the surrounding villages, in just one generation.
Ghost Factory sketch/ Aral Sea by Joanne Matthews
‘My relationship with the Aral Sea has just begun. I was drawn to the body of water through no logical means. I feel sad and regretful for the wate’rs demise, torture and the many disappearing species that have been lost.’
Through this place-specific attempt at connection, Emma and Joanne process and translate their intellectual research and embodied experience into illustrations, audio work, writing and performance language. We are continuing our work together beyond this initial month-long research period to now focus on the themes and questions that we have uncovered.