Exquisite Cords, a conversation with Lisa Moro.

I was lucky enough to meet the artist Lisa Moro as she was preparing for her new exhibition Exquisite Cords, which recently opened at the Allsop Gallery in Bridport. Lisa describes Exquisite Cords as "an exhibition which explores a future where your DNA makes your life rosier by making all your decisions for you".

Visit EXQUISITE CORDS.

For part of my journey back to London, Lisa and I were on the same train, and our conversation turned to the philosophical conundrum that is DNA research, and the effects it might have on biodiversity and our connection with nature.

 

Jennifer Mitchell: I recently had an epiphany about the question of free will vs determinism (or predestination if you prefer). I realized that they might not be mutually exclusive. If, I said to myself, I was to be put into the same situation over and over again by some mechanism of time travel, with all foreknowledge erased regarding the effects of the decision I had previously made in that situation, I believe that I would keep making the same choice over and over again infinitely, because I am me, and that is the choice I would make. Surely though, this unwaveringness reinforces the notion that I have an essential "me-ness", rather than eroding it. Predestination must exist BECAUSE we have freedom of choice, not because we don't. If you were to replay a person's entire "timeline" over and over again, they would always end up in the same place, not because their fate has been decided by external forces, but because they are themselves, and they will always make the same choices.

Having said that, your latest artwork throws something of a spanner in the works of my epiphany. As I understand it, you posit that fate is a force not external, but internal. That there is no "me". I am simply a biological computer, programmed to generate a predetermined output based on a specific input.

Would you say that your artwork is suggesting, somewhat nihilistically, that rather than looking upwards, outside of the universe, for the personification of "Fate" or some other omnipotent deity/s, we should be looking inwards - that we are being tyrannised by our own biology? Or, are you suggesting, more satirically, that our search for God/Fate in our DNA is ultimately foolish and doomed to fail because we are so much more than mere biological matter?

Lisa Moro: The idea for my exhibition - having a machine that scans your DNA, then uses the information to meet your needs - does use the idea of predetermination, but I play with the idea that both the technology is imperfect and that commercial interests will skew the outcome.

A few years ago, when there was a concern about Google using our data, I looked at the profile Google had given me and it had classed me as a man in his 60s rather than a woman in her 30s. I realised that commercial entities will look to categorise us within a definition they can sell on or to fit their range of products. Who we actually are is not of concern. What they are interested in is that some of the behaviour I have is similar to a man in his 60s. That information is more useful to them than the truth.

I am also poking at the rise in identity politics, in a world where we have become much more accepting of difference, we are also creating endless identity boxes to define ourselves and communicate this to others. In my world these identities become scientific fact. The stakes are raised. I’m not late because I’m a bit disorganised, I’m late because I am genetically predisposed and it can be proved. With this knowledge and scientific assessment I have the evidence to demand my needs are met and can start a new rights movement.

I do like to paint this as a kind of tyranny. The idea is attractive but the consumer becomes a by product in their own life where they are placed in the middle of transactions between their biology - genetic code in every cell - and the commercial world. The system created knows what is best for you, even if you don’t like the sound of it.

Your Perfect Life Awaits, by Lisa Moro.

Jennifer Mitchell: I've heard it suggested that the human species, or whatever we were just before we were us, was singled out by extraterrestrial scientists when they visited our planet prehistorically (prehistorically for us anyway) and used their own gene editing science to augment our DNA by splicing it with their own, and that this event explains our disproportionately rapid evolution compared to other species. What do you think of this theory? Do you have your own theory to explain why we are the only advanced species on Earth?

Lisa Moro: This is a very interesting idea. Is this the only way for this to have happened? Perhaps just some DNA arrived on Earth (somehow) and the DNA information has infected a line of species on Earth. I suppose I would have to ask what would be in it for the ET scientists? Are they still here? They don’t seem to be. Why cross-breed to create a lesser being? While I like the idea, I tend to assume cock-up over conspiracy.

In my recent exhibition Figli Del Mare, I play with the idea of a fish trader making a deal with a mysterious old man that he might be delivered of 100 children to help make his business successful. The grubby nature of the deal leads to the children arriving one day, but they have been misproduced, and their faces are the faces of fish, perhaps from the large amount of fish he handles. The half-fish nature of the children makes them lazy and they become a burden rather than a help.

The Arrival of the Fish Headed Children, by Lisa Moro.

Jennifer Mitchell: It seems that scientists, as they master the art of manipulating DNA, are coming closer to perfecting the process of de-extinction. Now, my inner child would love to see creatures such as the elephant birds, which have been lost forever, brought back to life... but my outer adult is conflicted. There's a difference between being excited about something in principle and believing that it would be a good idea in practice, because in practice we have human nature to contend with. How do you feel about de-extinction?

Would you say that we, the human species, stand above nature (perhaps because of our alien DNA), and if we succeed in our experiments with de-extinction then we have a moral responsibility to bring back any creatures that we cause to go extinct? Alternatively, are we part of nature, and are our endeavors to improve our own situation, clumsy and destructive as they may be, simply a part of the process of natural selection and the evolution of the planet? Thus, should any species that we wipe out stay extinct?

Or (this one gets a bit existential) are our endeavors to use cloning and gene editing to bring extinct species back to life, themselves a part of the process of natural selection and the evolution of the planet?

Lisa Moro: Bringing anything back other than the most recently extinct gives me great worries about unexpected impact. Horrible diseases returning, and the potential to wipe out other species in the process. This could well include ourselves.

At the point a species becomes extinct, it is usually because its existence is untenable on the planet, so by bringing it back we will only have the same thing happen again unless we move to ensure the Earth is habitable for them.

As we are able to augment our own DNA as a species there will always be motivations which are not to the benefit of humans as a whole. Parents who spend a lot of money on creating a superior child may not wish their child’s line, and their investment to be ruined through future mating. They could prevent the ability to procreate with inferior humans via the DNA, creating a new super human category. This would not be natural selection - more unnatural selection. Picking out characteristics we find pleasing does not compare to the refinement of a species over millions of years and we leave ourselves vulnerable as we choose superficial characteristics.

Visit LISA'S WEBSITE.

The Chess Atrium Garden

 

A glass atrium forms the membrane around this oxygen pod, which is a futuristic, industrial-style reimagining of the chess-inspired garden I designed in 2011.

Two armies, represented in botanical form by almost-black or variegated varieties of air-purifying indoor plants, watch from the battlements of 3D-chessboard-inspired planters. The steampunk aesthetic of the rust-converted treadplate throne counterpoints the utopian minimalism of the mirror throne.

Neomachi Garden

 

For me, the story of the Neomachi Garden, a concept garden designed to exist within a conceptual city, begins when I was a teenager reading The Best of Omni Science Fiction no. 6, an anthology of short stories published in 1983. Those futuristic and alien worlds, such as William Gibson's "the Sprawl", would go on to inform my ideas and design style for the rest of my life, making it no surprise that the cyberpunk apparel of visionary Rosalie Mellström, and the immersive retrofuturistic world she has created around it, inspired me to imagine the garden that might exist within the city of Neomachi.

Visit NEOMACHI.

My interpretation of Rosalie's vision, which was inspired by the neon lights of Japan, is based on an ultra-minimal colour palette of neon green and neon pink, against a backdrop of grey urban materials: stone, steel and concrete. The entire garden is mirrored along the diagonal to create a mindbending kaleidoscopic effect, evoking the iconic reflections of neon city imagery, the otherworldly multiverses of science fiction, and the feeling of stepping through the looking-glass into Rosalie's virtual world. This kaleidoscopic geometry is outlined by neon LED strip lights, turning the garden into a cybernetic-organism with green light flowing through its botanical circuitry like the life-force of nature flows through the veins of a leaf.

Throughout the long winter nights, the seedhead spires of Dispacus fullonum and Phlomis tuberosa are bathed in a neon-green glow, as they rise from between domes of evergreen foliage. Then, as the expanding daylight hours of summer melt away the darkness of winter, the garden undergoes its seasonal metamorphosis and those dense beds of native and pollinator-friendly planting burst into neon-pink bloom, like the strange meadows of another world glowing under an alien sun.

The Neurodivergent Spider Garden

The Neurodivergent Spider Garden is a futuristic spider-themed reimagining of a concept garden that I designed in 2018, while living in a house-share which was occupied by an ever-changing group of six professional adults.

A live-out landlord wants a garden that is a) low maintenance and b) has a unique and relevant style that will make the house attractive to good tenants.

This garden will be shared between three groups: introverts, extroverts and (as is my ongoing mission) the local wildlife.

With new tenants frequently moving into a house-share, it is neither useful nor fair to design for specific interests or hobbies. Tenants do however fall into two distinct general groups that by definition, struggle to share spaces: introvert and extrovert. These opposite personality types form the inspiration for my design.

A wildlife-friendly garden has an exclusion area for shy species and an open area for more flamboyant species. I’ve used this model for my introvert and extrovert spaces.

For social activities, there is a seating area around a built-in table, with permanent gabion bench seating and space for extra free-standing chairs to be added. There will also be a place for nature at the table, or rather under it, as I've left a gap in the resin bound stone in order to use this space for planting. The table top must be made from spiderweb-inspired ORNILUX mikado Bird Protection Laminated Safety Glass.

Furthest from the house, is the seclusion / introvert space with separate gabion benches. (Gabions can be filled with stone, upcycled broken pavers, old bricks, logs and terracotta pots etc, and they make a wonderful habitat for wildlife.) Along the back wall is a densely planted seclusion habitat for shy species that will coexist harmoniously with quiet human activities like reading or appreciating nature.

Both humans and shy animals will be more comfortable traversing the garden without going through the open area, so I've designed a bespoke tunnel structure, running from the door of the house to the seclusion / introvert area, supporting decorative steel screens covered in climbing plants and a raised walkway, made from spiderweb-inspired ORNILUX mikado Bird Protection Laminated Safety Glass, which will be underplanted to maximise the area of greenery. You will feel like you're walking through a forest, but without disturbing nature or getting muddy shoes. This tunnel also makes one's journey through the garden more maze-like and interesting, thus creating the illusion of a larger space.

The Simplicity Garden

Three years ago, inspired by the events surrounding the COVID-19 pandemic, I designed the #StayHome Garden. Due to the unusual conditions of self-isolation, I tried to envision how the concept of a grow-your-own kit might be scaled up to the size and complexity of a garden, with the added element of being customisable via e-design.

This concept relies on two design elements...

• an adaptable layout and

• a simple palette of plants and materials.

My biomimetic design style already lends itself to this purpose.

The Simplicity Garden, a reimagining of my original #StayHome Garden design, is not a template, but is a demonstration of how I would apply these elements to a bespoke project.

Each of us has a unique connection with nature that is influenced by what inspires us. My bespoke e-design will bring those sources of inspiration to life as a cohesive garden concept that you can use to transform your space into your favourite place to be.

I have based this sample design on a fusion of Japanese and Bauhaus design tenets, to bring my own vision of serenity to life. These contrasting styles both grew from philosophies inspired by nature. From the Japanese style, I have taken inspiration for this simple, harmonious nature-inspired colour palette of timber, stone-grey and green. The layout of the garden is inspired by a Bauhaus-style geometry that is bold, but can be adapted to fit an irregular space and compensate for inexact measurements. This design can also be tailored to suit different self-build skills and resources. For instance, I have shown the space encircled by vertical railway sleepers as a simple low-growing wildflower lawn, but it could also be transformed into a more complex biodiverse pond and wetland habitat.

I have used a simple palette of materials to create the geometry of the design, and a simple palette of plants to inhabit it with life. Timber structures rise from a stone-grey landscape, surrounded by dense beds of mostly evergreen, undemanding native and pollinator-friendly greenery.

The design is punctuated by biomorphic features, such as the pebble-inspired creations of Darren Rumley (oneartisan.co.uk) and a bespoke sculpture, inspired by the unfurling fronds of a fern, which I designed in consultation with sculptor Simon Probyn (simonprobyn.co.uk), to be made from steel wrapped around bundles of bamboo poles to form a microhabitat for wildlife.

Read more about e-Design here.

The Fern Sculpture

I designed the FERN SCULPTURE in July 2022, in consultation with sculptor Simon Probyn, for my Tremlyn Garden project. It was inspired by the magical geometry of fractals found in living botanical structures, especially the unfurling fronds of a fern, and functions as both a decorative garden feature / contemporary artwork, celebrating the beauty of nature, and a wildlife microhabitat / insect hotel / bee hotel, which supports biodiversity. It is a modular design, consisting of scalable FROND modules (steel wrapped around bundles of bamboo poles), which can be installed individually or configured into groups of two or three.

Going forward, I envision the FERN SCULPTURE in the following three sizes:

SMALL, consisting of FRONDS that are 400 mm wide, 100 mm deep, and 900, 1000 and 1100 mm high;

MEDIUM, consisting of FRONDS 600 mm wide, 150 mm deep, and 1350, 1500 and 1650 mm high;

and LARGE, consisting of FRONDS 800 mm wide, 200 mm deep, and 1800, 2000 and 2200 mm high.

Read more about the Tremlyn Garden project here.

Fantasy and Science Fiction

These two concept gardens were inspired by my ongoing fascination with the genres of fantasy and science fiction.

Garathorm Garden

This garden is inspired by the artwork Illian of Garathorm by one of my favourite artists, Rodney Matthews. His portal into a fantasy world of giant foliage, has been on my wall since I can remember and has inspired my own creative endeavours to make magical planted places.

(The flower and horse in this concept sketch are not my own, they are traced directly from Rodney Matthews' artwork.)

The giant tree/cave structure is made from Corten steel. The trunk is formed from a wide pipe and arches form the branches. This structure is brought to life by evergreen winter-flowering climbers Clematis cirrhosa Wisley Cream. One's journey into the garden is framed by smaller planted Corten arches.

Using some poetic licence, I imagined the place surrounding the giant tree to be something like a natural rock formation or the ruins of an old castle. Stone walls (gabions) and stone paving enclose the space and create levels.

On the lower level I have used Fatsia japonica Spider's Web to create a sense of depth. These are wildlife-friendly architectural evergreen shrubs. To provide consistent evergreen coverage alongside the paving at both levels, I have used Lamium maculatum Pink Pewter, a wildlife-friendly evergreen ground cover. This design also features seasonal bulbs including Tulipa Tender Whisper, and herbaceous perennials including Digitalis x valinii Foxlight Plum Gold.

The metal horse sculpture will be a bespoke life-size artwork. I've added a giant metal flower sculpture to distort the scale of the space.

Alien Artefact Garden

I had this idea while watching a friend play video games. This garden was mostly inspired by the landscape of the planet Zeffo, in the game Star Wars Jedi: Fallen Order.

Is the alien artefact part of a space craft? Perhaps the rest of the structure is underground. Or are the concrete and metal discs the cogs from a giant machine, covered by earth and overgrown with native plants?

My vision for the planting was to create an alien meadow... almost familiar, but too green, with flowers that bloomed under an alien sun.

The #StayHome Garden

The #StayHome Garden is inspired by the events surrounding the COVID-19 pandemic. Due to the unusual conditions of self-isolation, I tried to envision how the concept of a grow-your-own kit might be scaled up to the size and complexity of a garden, with the added element of being customisable via e-design.

This concept relies on two design elements...

• an adaptable layout and

• a simple palette of plants and materials.

My biomimetic design style already lends itself to this purpose.

The #StayHome Garden is not a template, but is a demonstration of how I would apply these elements to a bespoke project. Everyone has their own favourite natural place, be it the African veld or the top of Ben Nevis. The mission of the #StayHome Garden is to bring a memory of that place to you. I have based this sample design on my personal travels to various coastal places.

From a distance, nature tends to paint like Mondrian, using strong geometric elements, and blocks of colour from a simple palette. I have designed this layout with a geometry that is strong, but can be easily adapted to fit an irregular space and compensate for inexact measurements.

I have used a simple palette of materials to define the geometry of the design. Decking and a timber pergola create spaces for furniture. (Picture from edecks.co.uk) Cladding the boundaries with woven hazel panels is a simple way to update existing mismatched fences. (Picture from waltons.co.uk) To create the effect of an old pier rising out of the sea, I have used vertical reclaimed sleepers. (Picture from railwaysleepers.com)

To inhabit this design geometry with life, I have used a simple palette of undemanding plants. This design can be tailored to different self-build skills and resources. I have shown the central space as a low-growing wild flower lawn (from wildflowerlawnsandmeadows.com) but it could also be a biodiverse water feature.

The design is punctuated by elements that are smooth and bleached, to evoke the feeling of stones and shells in an abstract way. These include a Beepost and a modular bird table (from greenandblue.co.uk), and a Luna concrete sphere light (from oneartisan.co.uk)

Read more about e-Design here.

The Bat Garden

This is a guest post that I wrote for the gardening blog sprig.co.za while I was designing wildlife-friendly gardens in South Africa.

Hello,

My name is Jennifer and I’m a Garden e-Designer. My aim is to design gardens that are not only fantasy / futuristic in style, but also provide a habitat for urban wildlife. I have found that it is possible to create interesting and harmonious designs by combining these elements. Even if one’s dream garden, or vision of the future, is a rectilinear design in steel and glass, it can still include urban wildlife habitats. I for one, imagine a future where new design solutions and nature form symbiotic gardens. Urban wildlife is adaptable, and may feel as much at home in a suitable man-made structure, as in the wild. Plants come in so many forms that there are species to compliment any concept, no matter how unusual. South Africa has a great many unusual plant species to choose from.

I designed the Bat Garden to show how the same spatial concept and wildlife-friendly elements can be brought to life in two entirely different styles.

The Formal Bat Garden is made up of straight lines and modern materials, while the Informal Bat Garden uses curved lines and natural materials.

Through the use of colour, shape and optical illusion, the Bat Garden design adds a feeling of space to this small site. Both of these designs use flowering plants and invertebrate towers to support insect life, which in turn, attracts insectivorous bats to the bat boxes on the second story wall. Bat boxes (or owl / bird homes) make an interesting feature for a high and inaccessible space, which is often ignored, but can still serve a very important function. The bats feel secure in this space, and add interest to the garden.

See the complete Bat Garden design here.

The Meteorite Garden

The Meteorite Garden is a fantasy / futuristic concept design for a wetland swimming pool (swimming pond) inspired by the notion of a flooded meteorite impact crater.

Growing understanding of the impact we can have on our own health and the health of the planet, makes a wetland pool the ethically responsible option for future gardens. The wetland pool is a biomimetic concept, which mimics natural ecosystems by using a wetland garden as a living filter to maintain perfectly pure water. The wetland garden and swimming pond form living habitats, which we can share with other beautiful and fascinating forms of life, supporting biodiversity and our symbiotic connection with nature. This pure water and joyful interaction with nature also improves our mental and physical wellness.

Meteorite Garden - 3D View.jpg

Once again, the perfect answer is the simple solution that nature has already invented, ready to be shaped into unique spaces like the Meteorite Garden. This design was inspired by my love of science-fiction, and the song Breeze by The Nine. While listening to Breeze, I imagined walking across the surface of a lake, between the fingers of a half-submerged metal hand. A garden, like any artwork, should describe a narrative, so that the visitor can imagine their own story for the space. My story for the Meteorite Garden is that a meteorite crater has flooded, forming an oasis for strange plant life to overgrow. Later, the space is inhabited by someone who builds the steel and glass walkways. Perhaps they were built by scientists to aid their research, touching the ground lightly so as not to disturb this alien biome.

The crater would be sculpted from something like textured concrete, with a raised circumferential section, to add drama and better describe the devastation caused at the moment of impact. The walkways would be made of anti-slip glass. A group of tall copper pipes would rise out of the water like the fingers of a giant hand, forming the water feature from my original vision.

Trees in Small Spaces

Trees are a vital element of urban greening. They provide natural climate control, support our connection with the natural world through sensory experience, and stitch together the canopy corridor along which wildlife can move safely and freely. London provides so many opportunities to create three-dimensional designs for compact spaces, and I love the way a tree defines three-dimensional space.

I believe we must plant trees in any and every space we can. Why?

Nature often provides perfect solutions to the problems we face, and planting trees is now more important than ever, as we suffer the effects of air pollution and the extreme weather effects caused by climate change. Trees provide natural air purification and natural climate control in the form of shelter and shade. In architecture, we call this 'passive climate control' because it adapts to changing conditions without our intervention. Plant a deciduous tree on the sunny side of a building, and you'll have shade in summer, and sun in winter when the tree sheds its leaves. Perfect. On the shaded side of a house, plant a dense evergreen tree. The tree will act as insulation all year round, and a sheltered space for planting. This side of the house is already in shade, and most shade-loving plants are less hardy.

Why do we feel more connected with nature in the presence of trees? Trees support our connection with nature through sensory experience. Beneath a tree, we breathe fresh air, feel cool shade... and who can resist reaching out to touch the bark? From my own childhood, I remember the smell of pine needles and eucalyptus. We hear the sound of the wind in the leaves, and we see... fractals. Trees are the archetype of fractal geometry found in nature. I believe that the fractal repetition of natural elements is soothing and beautiful, like visual music. Each green canopy of leaves creates a unique quality of dappled light, and frames space.

This is why there's no need to be afraid that a tree will completely fill a small space. A carefully chosen tree in a good design doesn't fill a space, it frames it. Framed spaces and views feel more special and memorable. That's what gives 'tree space' its magical quality. The tree is a magician, seamlessly hiding us from the outside world, whilst framing beautiful views and patches of sky to create the illusion of seclusion so often needed in a garden designed for a small space.

I believe that any space can be a garden, and that all gardens should be a habitat for biodiversity. Sharing our spaces with other forms of life requires more than just the provision of food plants; habitats are physical structures. Trees add one of the most important dimensions to your wildlife garden. My dream is that enough trees will be planted to create a canopy corridor along which wildlife can move safely and freely throughout all of London, and in every city.

If I've convinced you to plant a tree, and I hope that I have, then I recommend Prunus spinosa, the Blackthorn. This is my favourite tree for small spaces. It's native to the UK, pollinator friendly, deciduous and has spectacular flowers in Spring.

Higher Ground Garden - Section.jpg

This alternative garden design concept is inspired by the song Higher Ground from the album On The Wire by tenek. You can listen to / download the album from www.tenek.co.uk

The song, Higher Ground, becomes more uplifting as it progresses, while retaining the contrast between verse and chorus.

As you ascend through the garden, the spaces become progressively lighter and more open, while still alternating between the contrasts of open 'double-volume' and enclosed 'overlapping' walkways.

The ground level of the garden is enclosed and shaded. It is inspired by the rich verses of the song. This level contrasts with the highest level of the walkway, which rises above the canopy. This highest level is inspired by the uplifting chorus of the song.

'You can't hide forever / This is now or never' – tenek

The garden allows you to ascend from the enclosed, pleasantly shaded and secure ground level, to a walkway above the canopy. This is a garden for those brave enough to take on new experiences.

See the complete Higher Ground Garden design here.