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Experimental Design

Tyler Moorehead

Tyler Moorehead is an artist and designer with a background in environmental justice and social advocacy. Her practice incorporates Inclusive design, Speculative design, Public Art and Sound installation.

Tyler worked in the environmental sector for many years and is included in the title '100 words, 200 visionaries share their hopes for the future.' Conari Press. Her projects pursue social change and new forms of leadership, design as social intervention, and art as both output and input.

Exhibitions in New York and London include work shown in Tate Modern’s ‘Art on the Air’ residency in 2019. Tyler's relational work was awarded 'Art installation of the year' by Design in Mental Health. Her environmental sound installation, Ocean Drifters, was presented at IRCAM, Paris in 2020, and at the London Design Biennale in 2021.

Tyler's current installation Welcome to WOOD.LAND. can be seen 23rd July - 25th July, 2021 at the RCA IED show BEEP BEEP - The end of the end of the world, Menier Gallery, 51-53 Southwark Street, London SE1 1RU.

DJ mixes from the Welcome to WOOD.LAND. sound recordings will be played at the RCA sound event, Leave No Trace, 30 June - 1 July, 2021, IKLECTIK Old Paradise Yard, 20 Carlisle Lane, London SE1 7LG.

Tyler is based in the UK and Italy.

Welcome to WOOD.LAND. is a set of design interventions - portraits, recordings and wearable objects - exploring the unfolding crises linked to the structural absence of ethnic minorities in woodland and green spaces in cities around the world. 

The project uses wearable 'armour', ritual fittings and ritual wood-walks as design methodology, to create a sacred space for more meaningful conversations around race, the environment and inclusion among people who identify with Global Majority ethnicities.

The aims are to re-negotiate woodland spaces, redefine 'urban' narratives applied to Black, Asian and other ethnic minority citizens, and activate a generation of bio AND culturally aware citizens in environmental justice and habitat protection.

My work explores the universality of emotional pain and suffering, using installation, ritual, sculpture and sound.

I'm drawn to the richness of life at the edge of emotion and aim to address the monumental through the personal and the specific.

I encourage my audiences to engage in quietly radical acts of empathy for the chance to have an extraordinary encounter with another being.

I find beauty - and opportunity - in the precarity of these times of shared unravelling: for people, for culture, for ecology.

I seek to honour Zanele Muholi's cry for 'creation as a call to action,' to challenge and participate in the re-writing of our future.


Comments, questions, challenges, compliments are all welcomed on my IED Hotline at extension 214

To leave a message, dial the IED Hotline on 020 3983 1592 then dial 214 when prompted.

Overseas callers dial +44 20 3983 1592, then dial 214 when prompted. Standard international call rates apply for overseas calls. Thank you!

Welcome to WOOD.LAND. — Portraits of ritual fittings and wood walks to unlock conversation and new forms of expression at the intersection of nature, disconnection and cultural identity. Four x large scale photographic pieces mounted on shingled box frame allowing 360 degree installation display. Welcome to WOOD.LAND. immersive installation can be seen 23rd July - 25th July, 2021 at the RCA IED show BEEP BEEP - The end of the end of the world, Menier Gallery, 51-53 Southwark Street, London SE1 1RU.
Welcome to WOOD.LAND. — Sounds from the urban woods, but not as you know it. Dub, hip hop, spoken word and soul mixes, combining field recordings of birds, squirrels, wind and human life as the beat of the Urban Woods. Collaboration with Raphael Mann.

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.

Medium:

Photograph portraits mounted on shingled box frame with sound installation

Size:

Quadriptych of 4 x large scale photographic panels 230cm x 83cm
WOOD.LAND. Portrait - Jacqui
WOOD.LAND. Portrait - Dave
WOOD.LAND. Portrait - Art
WOOD.LAND. Portrait - Lehni

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.



Medium:

Photographic portraiture as methodology, activation and installation

Size:

Quadriptych panels each 230 cm x 83 cm x 5cm
Welcome to WOOD.LAND. — Armour
Welcome to WOOD.LAND. — Armour
Welcome to WOOD.LAND. — Armour
Welcome to WOOD.LAND. — Armour
Welcome to WOOD.LAND. — Armour

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.

Medium:

Wearable objects in leather and silk as methodology and installation

Size:

Various
Blooming the Bio-Culturals
Blooming the Bio-Culturals
Blooming the Bio-Culturals
Blooming the Bio-Culturals

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.

Medium:

Plaster, leather, elastic, quilting

Size:

Various
Blooming the Bio-Culturals
Blooming the Bio-Culturals

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?

Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits
Dancing with Deadwood - Portraits

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.

Medium:

Photograph portraits and sound recordings
Ocean Drifters - Collaboration with Lucy Papadopoulos — 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.

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.

Medium:

Sound Installation with visual - collaboration with Lucy Papadopoulos

Size:

Duration 10:32