Ree Nancarrow
Nancarrow has a background as artist—she moved to Alaska in 1964 with a degree in art education—and a biologist—she is close to earning her master’s degree in botany. She also has a great deal of experience turning to nature for inspiration: Her husband, William Nancarrow, was Denali National Park’s first naturalist and is considered by some to be a “Denali-area legend,” according to Frank Norris, author of “Crown Jewel of the North: An Administrative History of Denali National Park and Preserve.” Nancarrow and her husband have spent much of their married life observing changes in the park area—a tundra pond’s transition into a meadow, decreasing number of moose near their home in the park, changes in temperature patterns and snowfall.
Nancarrow has participated in previous “In a Time of Change” events, and her involvement in the network has altered the focus of her work.
“Now I want to tell viewers more about the subject I am depicting,” she said. “I’m concentrating on finding ways to express underlying natural changes that are occurring, often ones that scientists are researching.”
Driving back and forth between her home in Denali National Park and Fairbanks, where she gets most of her groceries, Nancarrow has had plenty of opportunity to witness and document the changes fire can bring to a landscape.
“Year after year I watch what happens with succession, and I’ve wanted for some time to do something with these images and ideas,” she said of her work related to fire. “I feel like I am just barely getting started. I could spend a whole lifetime on this subject and images.”
Her goal for “The Art of Fire” pieces is to incorporate more meaning and substance, rather than just a “typical Alaska landscape,” she said. While an untrained eye may miss the deeper meaning of that scientific substance, it’s enough for her to know it is there.
“A scientist may see it and say, ‘Hey, I know about what is going on there,’ and recognize that aspect. I think that’s fascinating,” she said. “I don’t know that I’m successful in that yet but it’s my goal to incorporate that deeper representation in my work.”
Fairbanks Summer Arts Festival poster artist, winner of Interior Mayor Arts award »
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Artist Statement
A plant ecology class at the University of Minnesota in the early 1960's introduced me to fire and plant succession. After moving to Alaska I saw fires burning along the Parks Highway south of Nenana, and then watched the areas change over the years as plant succession occurred. I took snapshots documenting the changes, and always intended to do a series using those images.
The field trips organized for the artists accepted into this show were valuable, providing a wealth of information in a relatively short time. The Alaska Fire Service tour on Fort Wainwright helped me understand the magnitude of fire in Alaska, and the professional, efficient way they handle an overwhelming job. The Denali National Park field trip consisted of time in a classroom, where I was particularly awed by the presentation of time-lapse photography showing fire moving into an area of forest. In the field portion of the day, we examined an area previously burned, and discussed studies that are ongoing.
Last summer I also spent many hours studying with Joan Foote. She retired from the Forest Service several years ago, having specialized in plant succession following wild-land fires in Alaska. I learned from her that plant succession isn't a single process going from burned ground to re-vegetation. What happens in each area is determined by an incredible number of variables. These include the type of fire, how hot it was, and how deeply the fire burned into the ground. The time of year the fire occurs affects the outcome, as does the proximity of seed sources. There are many more.
I produce all the fabric I use in my wall quilts, so my first step was to make new fabrics. I found that silk-screening was the easiest way for me to develop fire images. I used both traditional and deconstructed silk-screening processes.
The pieces in this show deal mainly with the fire process and the charred wasteland that follows. I included elements in each piece that will have great impact on what is to follow. The seeds that are buried underground and do not burn will affect what happens next. Some plants have roots that will re-grow new plants, some do not. My next pieces would have addressed further stages in plant succession. I hope to continue this series in the future.
