The project that was conjured for Wild Remembering was following two previous exhibitions which included textiles, installation and performance. My practice and my doctoral research sits within a framework that re-considers human relationships with the material world, from a less human-centric approach, and the Anthropocene is a new era in the history of the Earth in which, geologists and evolutionary scientists suggest humans are responsible for negatively impacting on global ecologies. The current acceleration of ecological impact is the impetus for me to seek artistic responses that offer a sense of hope, rather than despair. And so, my creative experiments are based around practices of alchemy as it offers optimism through wonder, endeavor, and discovery. Alchemy consists of theories that suggest all matter, living or not, are connected and operate in relation to each other. Alchemy also fits within the concept of a sustainable art practice when generating something new out of existing waste materials, as in my recent studio experiments, as it is a process of experimenting to create something valuable out of base materials. It’s important to me to consider the sources of my materials and so rather than creating more un-sustainably produced art, I had begun to use recycled and salvaged materials, as much as possible. So, ‘Remembering’ was about reconnecting and recalling connections with the environment, after a prolonged and continued disconnection through industrialisation and capitalism. ‘Wild’ is about the elemental, and the natural, both within and without. ‘Wild’ is described in detail in the book Wild: An Elemental Journey, by Jay Griffiths, but a phrase I keep referring to as I am creating work lately is how Griffiths describes humans longing for this past and now missing sense of wild as “homesick for wildness”.