BY LILITH PIPER
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Lilith Piper works across painting, performance, land art, printmaking, photography and film, with each practice grounded in a deep reverence for landscape. Live performance is central to her work; and she is Creative Producer and Programmer of the Tree Stage in the Woodsies area at Glastonbury Festival. Lilly's practice investigates how we connect with landscape through attention, memory and ritual. She is interested in the ceremonial act of coming together in a specific time and space to share stories and connect more deeply to the land. As a painter, her work is deeply engaged with the materiality of landscape.
BY LILITH PIPER
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Lilith Piper works across painting, performance, land art, printmaking, photography and film, with each practice grounded in a deep reverence for landscape. Live performance is central to her work; and she is Creative Producer and Programmer of the Tree Stage in the Woodsies area at Glastonbury Festival. Lilly's practice investigates how we connect with landscape through attention, memory and ritual. She is interested in the ceremonial act of coming together in a specific time and space to share stories and connect more deeply to the land. As a painter, her work is deeply engaged with the materiality of landscape.
BY LILITH PIPER
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Lilith Piper works across painting, performance, land art, printmaking, photography and film, with each practice grounded in a deep reverence for landscape. Live performance is central to her work; and she is Creative Producer and Programmer of the Tree Stage in the Woodsies area at Glastonbury Festival. Lilly's practice investigates how we connect with landscape through attention, memory and ritual. She is interested in the ceremonial act of coming together in a specific time and space to share stories and connect more deeply to the land. As a painter, her work is deeply engaged with the materiality of landscape.
BY LILITH PIPER
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Spending time on Inis Oirr, one of the three Arran island, with no trees.
I am struck by the presence of limestone. Bare rock, but also worked by people. Each builder with particular
style that will always be remembered.
Fascinated by the geomorphology and culture that made the landscape here. The forces, natural and human
shape the place and thus the people. The people who first broke the stone to make the fields and walls that hug the land and break the wind.
I paint them like veins of the body, pathways, bloodlines, strong but fluid.
Like snakes weaving through... patchwork, a network of zigzagged patterns that layer and lace back and forth.I
feel these vital walls in my body. Limbs or bloodlines pumping through, in paint they become a self-portrait, a personal choreography, a biography.
– These patterns resonate in the same way with my tree drawings... branches and walls alike both enhance the
shape of the observed with their in-built pathways that are light-seeking or wind-breaking.
I’m thinking back to the experience of drawing with trees. Drawn in. How it feels to be that living, breathing thing in its surroundings... it feels to me a very contained and resonating experience. Held by the roots and levitated above in branches cradled above. Weaving together a formation to discover through my work...branches that caresses us, hug us and meet with the gentle breeze resilient yet like those walls formed through a connection with place.
IMAGE CREDITS
Heart Opening
Amulute of sun and moon
Red seed flower
Fluvial myths
Trees fall away at water samll
Landscape falls away
BrEATHING
Lilith Piper works across painting, performance, land art, printmaking, photography and film, with each practice grounded in a deep reverence for landscape. Live performance is central to her work; and she is Creative Producer and Programmer of the Tree Stage in the Woodsies area at Glastonbury Festival. Lilly's practice investigates how we connect with landscape through attention, memory and ritual. She is interested in the ceremonial act of coming together in a specific time and space to share stories and connect more deeply to the land. As a painter, her work is deeply engaged with the materiality of landscape.