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Craft ACT Artist-in-residence 2014: Bogs and Fens

Sally Blake, Annee Miron and Satoshi Fujinama

Sally Blake, Annee Miron and Satoshi Fujinama

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<strong>Bogs</strong> <strong>and</strong> <strong>Fens</strong>: a rtist-<strong>in</strong>-<strong>residence</strong><br />

Catalogue essay<br />

What word is that?<br />

<strong>Bogs</strong>, fens <strong>and</strong> how we underst<strong>and</strong> them<br />

By Rosanna Stevens<br />

Aurally, ‘bog’ isn’t a particularly pleasant<br />

word. It’s squat <strong>and</strong> round at the front,<br />

monosyllabic, <strong>and</strong> the end of the<br />

word gets stuck <strong>in</strong> your throat – ‘bog’.<br />

Perhaps I take this view because <strong>in</strong><br />

modern Australia, the term connotes<br />

too many th<strong>in</strong>gs that are not specifically<br />

the ecology <strong>and</strong> state of a ‘wet, muddy<br />

ground too soft to support a heavy body’.<br />

‘Bog’ has always existed <strong>in</strong> my vernacular<br />

as either a figurative or slang term. In<br />

fact, I can’t recall a time where I sat <strong>in</strong> a<br />

classroom <strong>and</strong> was taught the gorgeous<br />

factual <strong>in</strong>tricacies of what a bog truly<br />

is, <strong>and</strong> how it functions. Similarly a ‘fen’<br />

is a monosyllabic term that for too long<br />

escaped me: soft, verdant <strong>and</strong> feathery<br />

<strong>in</strong> sound, the word never immediately<br />

summoned marsh or wetl<strong>and</strong>, because<br />

it summoned noth<strong>in</strong>g at all: it’s not<br />

a term we are encouraged to use <strong>in</strong><br />

pass<strong>in</strong>g conversation, unless perhaps<br />

we visited one recently on one of those<br />

marshl<strong>and</strong> holidays the tourism <strong>in</strong>dustry<br />

so commonly capitalises on.<br />

Recently, lead<strong>in</strong>g British nature writer<br />

Robert MacFarlane delved <strong>in</strong>to this<br />

change <strong>in</strong> awareness of environmental<br />

language <strong>in</strong> The Guardian. In draw<strong>in</strong>g to<br />

the public attention the loss of words<br />

that connote or describe our natural<br />

environment, he discussed the most<br />

recent edition of the Oxford Junior<br />

Dictionary, which has removed a list<br />

of nature-related terms – from acorn<br />

to willow – <strong>and</strong> replaced them with a<br />

technological lexicon. What does this<br />

loss mean? Are we forgett<strong>in</strong>g how to<br />

see <strong>and</strong> describe the very th<strong>in</strong>g that<br />

builds us <strong>and</strong> gives us life?<br />

For bogs <strong>and</strong> fens, while their exact<br />

mean<strong>in</strong>gs slowly eek from the Austral<br />

vernacular, their rich watery bodies lie<br />

patiently, still there, but <strong>in</strong>creas<strong>in</strong>gly<br />

threatened by exactly that which the<br />

Oxford Junior Dictionary has almost<br />

too poetically decided to replace<br />

environmental worlds with: human stuff.<br />

Alp<strong>in</strong>e Sphagnum <strong>Bogs</strong> <strong>and</strong> Associated<br />

<strong>Fens</strong> – those bogs <strong>and</strong> fens which<br />

specifically populate the <strong>ACT</strong> region,<br />

as well as outcrops <strong>in</strong> areas of southern<br />

New South Wales, Victoria <strong>and</strong> Tasmania<br />

– are complex ecosystems which act<br />

as significant habitats for a number of<br />

endemic plant species <strong>and</strong> threatened<br />

animals. Yet, due to their sporadic <strong>and</strong><br />

small geographic distribution, these<br />

Left: Annee Miron, Borrowed Time (detail), 2015, found cardboard <strong>and</strong> gouache.<br />

Photography: Brent Edwards.<br />

PAGE 11

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