Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24CEDRA WOOD Ucross is useful to many people for many reasons; the ranch supports efforts that are agricultural and economical, narrative and aesthetic, observational and analytical; but one element seemingly central from every angle is the abundant plant life—fodder for conversation as well as for cattle. With this in mind, and with nods to history, fantasy, and utility, I referenced clothing patterns from the late 1800s to create homesteading-era costumes, covering the garments with hand-gathered plant materials that ranged from grasses to cottonwood fluff to leafy spurge. Some of these plants are native to Wyoming, others invasive; some cherished, some loathed. The task required me to become familiar with these species and their surroundings—to be aware of their material characteristics, needs, and cycles. In a larger sense, and beyond this direct engagement, I wanted to create a metaphor for the ways in which we approach unfamiliar places…the mingled futility and necessity of imposing familiar processes on new environments where those traditions may or may not be practical, and where our habitual worldviews may either fail to take root, or invade aggressively. Colleagues Cynthia Brinich-Langlois and Joseph Mougel gave breath to the characters that wore these garments in a performance. The resulting photographic documentation has provided imagery for an extended series of paintings and drawings, in which final works continue to explore the metaphor for the transplanting of ideas and ideals. Opposite: Transplants I (installation view), 2014/2015, 4x8’ / variable, acrylic on panel / components of costume making, mixed natural medium This page top: Transplants III, 2015, 22x30”, graphite on paper. bottom: Transplants II, 2015, 18x24”, acrylic on panel