Artist as Family: uncapitalised medicine

Sunday, 15 March 2020

Collective preparedness

Back in 2018 Artist as Family was asked to be involved in an art event called Pandemic at Arts House in North Melbourne. The exhibition, coordinated by artists Lizzy Sampson & Asha Bee Abraham, was one of a number of Refuge events centred on where art meets emergency.

Artist as Family's role was to address the topic of Collective Preparedness. A dinner was held and Patrick joined a Médecins Sans Frontières field coordinator, a herbalist, an epidemiologist, a Melbourne Uni outbreak forecaster, an Indigenous Futurist, a medical ethicist, and a human rights academic as one of eight Sanatorium Hosts.

Photo: Lizzy Sampson

This was one of the questions he was asked:

What do you do individually and what should we be doing collectively to prepare for the future?

And this was his reply:

[We are] learning ever more knowledges that decouple our household further from the monetary economy and help model ecologically focussed and resilient communities of place. [We are] re-establishing economies that make returns to people, biomes and the future.

Patrick took some talking point objects and brews with him. Our hand-made hunting and fishing equipment, hand carved tools, medicinal mushrooms, shade-dried herbs, Meg's fermented mistress tonic, elderberry syrup, and our hawthorn fruit leathers as our walked-for Vitamin C, "fermented by the sun."

Photo: Lizzy Sampson

Nearly two years later, we find ourselves no longer in an art event, no longer in a dress rehearsal, but actually cancelling house and garden tours (today's was again fully booked), cancelling visitors, volunteers, public talks, play dates, community meetings and events, and basically every social hang. Today we also cancelled all future bookings for our Permie Love Shack. A first known case of Coronavirus, albeit still unofficial, has landed in our small town.

Things have been moving pretty fast over the past two weeks and we've been following the speed of the Coronavirus pandemic closely. However, this morning when a friend sent a link to Coronavirus: Why You Must Act Now, we decided we wouldn't wait for our leadershipless leaders to finally recommend everyone socially distance themselves. After reading the article we feel it is a social responsibility to act now, for the sake of health-compromised people and the health system more generally. There will be medical shortages, and therefore those of us who are prepared and have good health must step back from services and equipment that will be vital for those at greater risk.

Today we are pressing grapes to make wine, stewing and bottling apples, quince and pears, chopping and bringing in firewood, making bread and pancakes and pickling gherkins.

Photo: Michal Krawczyk

We do these things as we always do them, but now with a greater sense of urgency and intent. Our non-monetary home chemist will keep us as well as we can be.

Photo: Michal Krawczyk

Several weeks back, after the bushfire crisis, we were in Melbourne to speak as part of another art-meets-emergency event, Earth: A Place of Reconciliation, a Reconciliation of Place. Listening back to that talk is a strange thing now, as world events race across our local places and intersect with our local lives. One crisis follows another. The next will be another global recession.

Innumerable well-meaning folk have said to us over the years, "When the shit hits the fan, we'll be knocking on your door." While this comment is perhaps supposed to compliment us, it actually always makes us feel vulnerable and angry. The comment isn't "we can see the resilience, economic logic and environmentalism of what you're doing, and we're also going to get on with our transition before the shit hits the fan."

It's time we all share in the responsibility of the predicaments of our time. We've been advocating for years decoupling from the Capitalocene before affluence-descent sends smug Modernity into chaos. Those luxurious days are numbered. Speaking of luxuries: five years of using family cloth, and these little op-shopped squares of soft flannel cotton are still going strong!

We'll keep blogging in this time of social distancing and keep our sharing going digitally. We're looking forward to honing our hunting, sewing, repairing and foraging skills. Reading all those books we haven't had time for. Carving new objects, fixing tools, sowing more veg, and generally resting. We'll prepare another post on what we're up to shortly. You might find yourselves having more time for things you've been meaning to do too. We hope so. In grief there is learning, there is praise, there is renewal and opportunity.

We hope, Dear Reader, while this pandemic is still largely an abstract and mediated phenomenon, you are not vulnerable, not in despair or panic, but are preparing as adults in any capacity to meet this global predicament, remaining eternal students within this shapeshifting world as the Anthropocene matures deeper into systemic crises and calls on our adult selves to step forward.

Much love, community-immunity, social warming and joy,
Patrick, Meg, Woody and Zero

About Us

Hello! We are Artist as Family – Zero, Meg, Patrick, Blackwood (Woody), and back in the day, Zephyr. We live in Daylesford, Australia on a quarter-acre permaculture plot, home to our School of Applied Neopeasantry at Tree Elbow University on Djaara peoples' country.

We base our creative practice on our concept of permapoesis, which simply means permanent making or regenerative living – an antidote to disposable culture. We practice an art that participates in what it represents; an art of social warming in an era of global warming. Food ethics and politics are central to our practice. Generating food that brings human and ecological health and global justice is our creative call to arms, within the sphere of the local. We teach a unique skill set of radical neopeasant homemaking, community economy making and other accountable living skills to volunteers called SWAPs (Social Warming Artists and Permaculturists) and teach Permaculture Living Courses (PLCs). We are bloggers, fermentors, writers, public speakers, poets, artists, video makers who also make music, but mostly we're a family who belong to a bloody great community and therefore we're much more than the sum of our parts.

Past and current projects

Artist as Family have conducted a number of fruitful projects in the past including '17 Days' (2009), commissioned by the Lock-up Cultural Centre in Newcastle and 'Food Forest' (2010–), commissioned by the Museum of Contemporary Art in Sydney, our work was featured in the international anthology of ecological art, 'Art & Ecology Now' (2014), and we wrote the Art of Free Travel (2015) about our 400 day cycle adventure to Cape York and home again in Central Victoria, which was shortlisted for an ABIA in 2016. We continue to give talks to sustainability groups, art schools, university students and community organisations. We teach Permaculture Living Courses (PLCs) from our home, at Tree Elbow University, which is the site for The School of Applied Neopeasantry in Daylesford, Victoria.

17 Days (2009)

'17 Days' involved foraging for anthropogenic waste along the coastline and throughout the city of Newcastle. Day after day we carried out the same simple task of walking or bike riding to collect countless bags of rubbish. We swam, played in the sand, picnicked, rested, communed with locals, gazed (as inlanders) in awe at the sea and picked up other people’s discarded refuse. After 17 days we had amassed a monumental pile of industrial food and drink packaging, which we exhibited at the Lock-up Cultural Centre as simply: the everyday detritus of hypertechnocivility as collected by a family on holiday.

Food Forest (2010–)

'Food Forest' is a public artwork that doubles as a community garden, a work that aims to foreground biodiversity and demonstrate that materially art can be generative, can be a resource unto itself, rather than just an extractor or exploiter of resources to make market desirable products. In other words art can be generative contiguous with ecological functioning. Food Forest is therefore a work that attempts to blur the traditional western line between art and that estranging term ‘nature’.