Tyler Moorehead

Welcome to WOOD.LAND. is being developed as a practice methodology based on experimentation and exchange between artist and subject, in order to gain deeper, mutual, access to narratives that transform our experiences of physical difference in public spaces.

Interventions and outreach activities address the impacts of low cultural diversity on bio-diversity in urban woods.

At the core of Welcome to WOOD.LAND. is research demonstrating the vital role cultural diversity must play in environmental justice and habitat protection.

Designed project rituals create a liminal space that allow vulnerability for difficult and unexpected conversation to emerge. A playful re-imagining of new forms of public ease in a body or cultural identity that is other than 'white'. 

WOOD.LAND. research and methodology supports a portfolio of activity designed to activate the first generation of bio and culturally aware citizens as essential stewards of woodland and green spaces in cities worldwide.

Welcome to WOOD.LAND. is being developed as a practice methodology based on experimentation and exchange between artist and subject, in order to gain deeper, mutual, access to narratives that transform our experiences of physical difference in public spaces.

Interventions and outreach activities address the impacts of low cultural diversity on bio-diversity in urban woods.

At the core of Welcome to WOOD.LAND. is research demonstrating the vital role cultural diversity must play in environmental justice and habitat protection.

Designed project rituals create a liminal space that allow vulnerability for difficult and unexpected conversation to emerge. A playful re-imagining of new forms of public ease in a body or cultural identity that is other than 'white'. 

WOOD.LAND. research and methodology supports a portfolio of activity designed to activate the first generation of bio and culturally aware citizens as essential stewards of woodland and green spaces in cities worldwide.

Offcuts of vegetable-tanned leather and silk organza are soaked, formed, then fired or dried into padded armour and masks. Leather pieces are lined in vintage silk.

They are concealed then presented to portrait subjects in silk to suggest a special, otherworldly object, neither of the city nor of the woods.

Wearable objects as speculative design experiments in the embodied language of self-protection of people from Black, Asian and ethnic minorities in the woodland environment.

Physical experiments in self-protection in the woods, wearing a range of soft and hard armour designed to both facilitate and obstruct interaction and to answer the questions: What do we need protection from? What do we give up when we insulate ourselves from harm? What are the ways we can re-negotiate woodland territory?

Exploration of bio-diversity through 'positional empathy' with the deadwood, found in urban woods, that host and feed hundreds of species of funghi, invertebrates, lichen and other forms of life.

An immersive sound installation that imagines ocean noise from a plankton’s point of view to highlight the impact of human activity on the microscopic marine organisms that form the foundation of our ecosystem.

Microscopic organisms make up 90% of all marine life. Ocean Drifters employs a mix of low frequency, high decibel and explosive sonic events to simulate a dynamic, vibrational ocean environment, intensified by human activities and changing weather patterns. Low frequency vibrations are heavily used to create a feeling of deep sea sonic resonance that can, at times, be uncomfortable for humans. 

In the physical installation, a controller triggers electro magnetic sounds in response to movement towards the Ocean Drifters installation, a reminder of the dangers humans pose to ocean life. The buzzing and high frequency sounds were recorded from electronic devices using pick up mics.