North Forest Lights
Colette Copeland
February 2021
North Forest Lights, image courtesy of the author
This was my third trip to Crystal Bridges Museum and my second visit to North Forest Lights. Nestled in the Ozark landscape, designed by renowned architect Moshe Safdie, the museum is surrounded by water, trees, trails, and a sculpture garden. It’s breath-taking. The American art collection is impressive, spanning U.S. history from its inception to contemporary times. Recent acquisitions show a dedication to collecting artists of color, with a strong emphasis on Native American art. As a former Northeasterner, Arkansas previously wasn’t on my radar as an art destination. But with Crystal Bridges, Momentary, and 21c Art Hotel, there is a lot of excellent art to enjoy. With brewpubs and farm to table restaurants like the Preacher’s Son (housed in a former church), it was a special weekend getaway.
Dale Chihuly, Fiori Boat, 2016 image courtesy of the author
North Forest Lights is a nighttime, outdoor, immersive event with five light and sound installations. Not to be confused with holiday light shows, the focus is to connect with nature. Walking through the dark forest at night with a chill in the air and remnants of snow on the ground, sets the stage for a magical experience. While I enjoyed last year’s visit, it was very crowded, resembling a night-time theme park. This year with the covid restrictions in place reducing capacity, it was possible to immerse oneself within the environment, without feeling rushed or pressured to move to the next attraction. After so many months of quarantining and virtual art experiences, this felt deliciously decadent and freeing.
The Whispering Tree, image courtesy of the author
The Whispering Tree was a highlight. Last year, the lines were too long and I missed the opportunity to sing to the tree. This year, my poorly sung ballad told her she was sentient and beautiful, thanking her for providing us with oxygen, shade and shelter. I wished her a long life, free from disease and the ravages of human development. She in turn told me the color of my voice is magenta, an aura that represents creativity and independence. Thus my encounter was over.
The Whispering Tree reminded me of Peter Wohllenben’s book, The Hidden Life of Trees, a text that presents us with the secret world of how trees feel and communicate. “We have learned that mother trees recognize and talk with their kin, shaping future generations. In addition, injured trees pass their legacies on to their neighbors, affecting gene regulation, defense chemistry and resilience in the forest community.” I suspect we could learn a lot from the trees, if we just took the time to listen.
The Hearth, image courtesy of the author
September 4, 2020 – April 4, 2021
Crystal Bridges Museum of American Art
Bentonville, Arkansas
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Inspired by Dada, and Situationist Theater, Colette Copeland is a multi-media visual artist whose work examines issues surrounding gender, death and contemporary culture. Sourcing personal narratives and popular media, she utilizes video, photography, performance and sculptural installation to question societal roles and the pervasive influence of media, and technology on our communal enculturation. Her videos employ experimental narrative techniques, and absurdist humor to explore the landscape of human relationships.
Over the past 26 years, Copeland’s work has been exhibited in 25 solo exhibitions and 141 group exhibitions/festivals spanning 35 countries. She received her BFA from Pratt Institute in New York and her MFA from Syracuse University. Currently she teaches art and digital media at University of Texas, and Collin Colleges in Dallas, Texas.
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