LIFE FORCE & MOTHER's DAY, Louesa Roebuck Of Foraged Flora

Automatic TRANSCRIPT

This is cultivating place conversations on natural history and the human impulse to garden from nor state public radio in northern California. I'm Jennifer jewel in honor of mother's day here in the US this coming weekend were joined by artist floral, designer textile designer and all around creative Louisa Roebuck talking about her book. Foraged flora stay with us. So I have a long line of women who embrace beauty created beauty celebrated beauty and I'm not ashamed of the domestic arts. You know? I think the domestic arts are extraordinarily valuable infinitely valuable in our home is our home and to create a beautiful nest to me seems to be one of the most noble endeavors. This is cultivating place. I'm Jennifer Joel in honor of mother's day here in the US this coming weekend, we're joined by artist floral, designer textile designer and all around creative Louisa robuck speaking with us about her book foraged flora, which she co created with Sarah Lonsdale and photographer Laurie Frankel for Louisa. And then tangentially for us. The foraged beauty of her landscape offers out a lovely and loving reframing of how to be in our spaces. How to foster deeper seeing and how to offer our mothers, physical and earthly gratitude and love with intentional time. And gesture perhaps the best mother's day offerings of all Louisa joins us today via Skype from her home and garden in Ohio, California where we can. Here the breeze and hear the birds welcome Louisa while thank you, Jennifer. I that's the most extraordinary introduction very moving. And I'm just thrilled to be here. And I feel very lucky to be having this conversation today when I first got your book, I of course, fell in love with just the holding of the book, and then the the beautiful pictures and just a few months ago. I thought that is the perfect mothers day, not to offer listeners is this conversation with you about this work that you do in that shows up so tangibly beautifully in in the book itself. So I want you to describe for listeners exactly what you do because it is multifaceted and interwoven with all kinds of creative endeavors. Well, thank you. I I want to say that. My mother is sitting ten feet from me right now. She's visiting. From Ohio mother and all senses of the word. I loved it. You invoked that? But it's pretty special that my mom's here right now. And of course, so much comes from our mothers, and one of my favorite compliments are when people say they've given it to their mother may just that just makes my heart really, really really warm. What am I doing? I'm thrilled to be living in ohi-. It's another, you know, kind of garden of Eden for me in California. I most recently lived in west Marin, and Stinson beach and we've been here about three years. Currently I'm still madly in love with forged flora we have been lucky enough to to speak about the book. It's all across America and about. The work and the message, and the beauty and an what I'm really passionate about as you know, which is kind of the environmental imperative and that intersection. So that's one thing that we've been doing. We just were up in Morenz became Ross. We've spoken recently in Carmel, we're going to Oklahoma City and speaking to the myriad gardens, and may so that's turned into a really lovely endeavor. I would say, and I also continue to paint my mono- print artist and ohi have a studio for the first time in my life, a proper studio where doing interior plant skates. We just weren't Sebastian bowl at California carnivores. I don't know if you know. To which we love my gosh. I mean, that's just always a peak experience Damon is fantastic and doing incredible conservation. So we're trying to take the same approach not engaging in agribusiness to installing beautiful interior plant skates for clients. We're doing a little bit of garden design, and no textile design at the moment. But I just yesterday was speaking about doing a line of forged flora inspired bedding so stages. I would say so yeah, let's step back a little bit because you're creative. Life is like a garden of diversity pardon pardon, the pun, but that was so easy to to because you just see all of these different things growing in sort of insen biotic relationship with one another, you know, you're. Your mom is there you said she was visiting from Ohio. Take us back to your early influences who who were the the people in the places in the plants that grew you into a person that was so both emotionally creatively. Intellectually engaged with the world in this way. Why think any artist especially a woman artist would be remiss not to thank their mothers their grandmothers great grandmothers. I my mom is a great great lover of beauty and created just the most harmonies, she's a libra. So she's full of harmony and beauty and peas, and I grew up in just gorgeous home, beautiful textiles, beautiful art. She's a water colorist. She's an incredible caulk. She's of course, gardener migrate grandmother. We were just talking about her was an art educator in. Little town in Ohio, Medina, Ohio. And we just remembering that she would. She had passion vines growing inside the house and blooming. She was an animal artist. So I have a a long line of women who embrace beauty created beauty celebrated beauty and I'm not ashamed of the domestic arts. You know? I think the domestic arts are extraordinarily valuable infinitely valuable. I mean, our home is our home and to create a beautiful nest to me seems to be one of the most noble endeavors. My father was part Cherokee, and I speak about this. I really believe that he helped to teach me to see in a different way than. Kind of conventional culture at that time in the sixties. So he was a deep lover of the natural world and a spent a lot of time outdoors with my family, and he really taught me about seeing as an active an active endeavor. And as a way to experience the world in deeper way, I've been using this Gramma del Toro quote frequently seeing as love, and that's one of my mantras n I think my earliest memories. Some of my earliest memories, they're very emotional. I'm very non linear person. And so I have childhood memories that. Are very rooted in having a spiritual experience looking at the clouds are looking at trees or being on a stream and Kentucky a stream on the side of a stream with watercress beds. I was always rescuing animals little critters, snakes and lizards and mice. And I think also, you know in the book, I begin the book was speaking about my beloved rescue dog scrap. And so I think that was also always part of me was that the so many things that needed rescued, and and my floral work is really foraging and gleaning is very connected to that. You know that there's enough we don't need to purchase there's so many creatures at need our love. And I also think as a child I really I did not by the human Centric worldview. I wasn't such a big fan of humans. And I I really always talk Solis in nature and creatures and and deeply believed in experience that we can understand what animals and plants are saying to us, and the magical realism what we call magical realism, but a lot of people just considered truth of communication with non humans. And I think I always thought that we kind of defined everything too much through human eyes as a child who walk us through the journey that got you from there. Seven. And that person that you started off as we're we're molded into. And and what got you to, you know, the the kind of cusp of forged flora in your work in the bay area at chez panisse, which is where it may be all started to come together for you. Yeah. Well, so I went to art school briefly. I had a brief stint on risky and did what a lot of people. Do. I waited tables. I worked in the restaurant business. I moved to California when I was thirty two with my first husband, and yeah, I started working at shape knees. Five days later, and I. I think in a really wonderful way open hearted way. I did not know what I was entering into. I wasn't starstruck. I didn't know a lot of the history. I was kind of entering into it. With a lot of naive wonder and away that I wasn't. I wasn't schooled in Alice. You know, and and I think that really served me. But I just was immediately completely seduced by the beauty and the passion, and the soul and the level of craft in the attention to detail. And of course, the hyper season Audi, and hyper locality and how with that. As a structure guiding structure, so much abundance and beauty and craft and luxury can come out of that that construct and then I. I also just you know, madly in love with California walking around the hills in Berkeley to me was like narnia not believe coming from Ohio like what there's lady banks growing three stories up Redwood and jasmine and next to protea 's and palm trees and redwoods and just the like wonky mash up and the. Incredible for Tilleke. And and also I became really really fascinated with the eco-systems micro-climates, and the fact that every couple weeks something was different, you know, than almost very quickly in California. Right. Like, it's like, you know, so and then I started I had this very interesting. I was living part time in Oakland in the hood and part time in Marshall. And I started driving a lot a lot a lot spending a lot of time in west Marin and driving. And and that takes me to the Gary Snyder idea of pass, and I started just really observing my pass and wanting to bring what I saw in side into my shops in that. That's and I also saw an I think I've talked about this law that. Mike community that was so committed to hyper local, hyper seasonal and local for living with their food. We're not making the connection with the flora world. And so I saw that as an opportunity, you know, to to take the same ethos to the flora world in honestly wasn't happening. No one was doing it without cheating. No one was doing it. Like a hundred percent like Alice waters doesn't one hundred percent. And I wanted to take that same level of commitment to the flora world. So in in this description, you've referred to that you're shops, and we referred to your work at sheep knees. What were you actually doing? What does it shape in east? I was just a server I and then. Later, and then I had clothing stores. I had a community hub are clothing shop in Oakland and rock ridge called August. And I was an early proponent of the same concept. I say it's all one song that you can have beautiful clothing that is environmentally sensitive. No sweat shops. You can have luxury without compromising sustainability. I curated art. And and I started doing the work in those stores, I started bringing in huge magnolia branches. And I could do whatever I wanted 'cause I had two thousand square feet. So if I wanted to bring in my wagon full of wisteria and bees to my shop, it was my shop, and I can do that. So that was really really freeing what year was this. So the shop was two thousand five to two thousand nine pre Instagram, and then I lost those businesses and the economic crash. And I was reabsorbed into my shape. Niece community to to do the work with my friends who are shafts in caterers started a hiring me to do avent's. Because no one else was doing it completely simpatico. You know, the same narrative the same approach has shaped shapeliness in. So at what point do you decide I'm going to put this together into a book? There's something here because I think that there has been great progress. Yes. The beauty of your book is just one great example of that. But at this point that you are thinking about these things, and they are starting to come together for you. There was no progress. And no. And it was it was a concept that was just an enormous cultural blind spot for people whose hearts were absolutely in the right place. They were in the right place. A lot of it was it was just an ascent like not connecting the dots. Raya right. Right. Tell us where how you go from this kind of budding. I just I'm gonna work that metaphor Louisa his budding interesting awareness of your own that then brought you into relationship with Sarah Lonsdale, your co-creator on this book, and you guys decided to do this greet experiment. Yeah. Well, I I think you know, that community is such an pardon. We're going to do another silly punny metaphor the fertile ground. Right. I mean, and there's so much commitment to what we're talking about the environment to look for at the same time to this ascetic rigor and craft and what happened was it's interesting, Sarah. And is started doing some remodel east oppose around my work. And I want to say that was around two thousand ten maybe two thousand nine because I lost the shop in two thousand eight nine right in the crash, and and then all the same time like I had been doing the work. But all of a sudden, I think the collective consciousness gestalt started to also see. Wow. Like, this is something interesting. That's happening were pushing the needle. We're we're starting to figure it out with our food. And now, let's look at it with our flora work and Sarah did a few post on remodel East Asia. It was early days of remodel Easter also and they were well received and then shape knees had their fortieth birthday celebration. And I was chosen to do. I don't know if you remember. But for the fortieth birthday they had a series of dinner parties raising money for edible school yard. And I was chosen to do. I think three houses and parts of the after party. I mean that was my community. And so I did like Michael pollen's house, and I did three houses and the work started to get more attention in the press. And then I was really lucky Sylvan Measham Michelle bracket who owns taro in San Francisco he and I were colleagues from shape unease. In fact, he says I hired him for his first gig at August, which is adorable and his wife Jennie wapner was an. Editor ten speed press. Jennie had been observing what I was doing doing these huge installations. And and it was like a labor of passion. I was barely keeping my head of flow and Jenny came to me and said you wanna do a book with ten speed. And I said, you know, Johnny. I I do I love ten speed. She said I want to document what you're doing. I said you're like a believe this. I said, I don't need another labor of love. Labor, and then Sarah bumped into someone from ten speed. And I think a year or two later, and she said we still want to do this book with Louisa and with co author, and I was newly in love with Curtis. And I knew he would be really helpful the timing was right. I as you as you noticed, I love collaborations, and Sarah are very yin and Yang. You know, she I'm on moody and in non linear, and you know, out there and a super pagan hippy, and she's like British and very structured, and it was a very great collaboration. So when Sarah came to me, I said, yeah, let's do it. It's been the most rewarding creative project of my life. And it's still I mean people still contact me every single day. Luisa rulebook is an artist and writer her book forged flora a year. Of gathering and arranging wild plants and flowers is a lovely reminder of the heart of mother's day offerings the world over we'll be right back after a break to hear more. Stay with us. You all might have noticed. How I love a seasonally aligned calendar date these past few weeks, especially we kicked off our habitat series with the vernal equinox. We ended it with Earth Day May Day was last week and mother's day this week, it could be I'm brainwashed handmaiden for marketing, or or let's hope for this one, shall we that I'm tapping into something I personally long for increasing in my own life and daily rhythms. And that's this. This very idea of seasonal alignment and the natural impulse to ritually market and celebrated Earth Day and mother's day were chosen to happen with the heady first flush of spring for good reasons. Your own natural energy is ready. For such generative acknowledgement and reflective creativity. The vernal equinox is celestial and May Day is an ancient day of spring fete as well while anything can be reduced to a soundbite and a grocery store greeting card. It's up to us to reclaim these days and seasons in our own ways to our own expansion, and deepening individually and culturally not because someone told us to or we feel obligated to but because our cellular impulse calls us to this marking of time space place, and meaning happy mother's day to anyone who's ever mothered another and anyone who has ever been fortunate enough to be mothered by person or by place this greatly transcends, gender or sexual orientation as. Anyone in the above two groups knows? And if there's ever a time of year to lay down in full body contact with this generous earth who carries us along our way every day of our lives, providing the air water food beauty daylight and nighttime we need to thrive. This is that season. Do it lay down on her put your bare feet to her? And remember you are reliably held by her carried by her through everything. I know I get a little touchy feely, sometimes, maybe you're rolling your eyes. But no one else has to see you do this. So just humor me. You'll be glad you did. Now back to our conversation with Louisa Roebuck of foraged flora. This is vague in place. I'm Jennifer jewel in celebration of mothers day were speaking today with Louisa Roebuck co author with Sarah Lonsdale of forged flora of visual and narrative year of seeing exploring and interacting with the forged beauty of their landscapes. Welcome back. I'm absolutely sure that has to do with your nasty clear. But I will also say that it has to do with the fact that it tapped into something that was really important. And even though we have seen good progress. These last five six years, we've all our progress to make and I they're they're a couple of things I wanna follow up on there in the first one is the. The crazy truth of the fact that the economic downturn took your stores away, but cleared your plate for this next chapter of your life and. I wish that culturally it had shifted as many people's lives as it has yours and mine, I think to really re calibrate what is valuable and what is a meaningful and important life. And this is a this is a recurring theme that sustainable. Yeah. Yeah. On all levels like yeah. Environmentally emotional economic all of those all of those things you touched on the idea of this kind of cultural gestalt is Sarah was the founder of remodel Easter. She was one of the founders. Yeah. And then so we'll say co founder, and yes, and then eventually gardening STA came out of that. But this was prior to to to that at this point because remodeling still was so new and so the two of you come together with Lori Frankel. And as you noted that was one of the first things, I did notice is that you are clear. Nearly a very place based and collaborative person on a variety of levels talk about how the three of you developed the idea for the book, and then went about putting it in place in in the kind of conceit of the book that is both romantic in in very pragmatic. The combination of pragmatic and romantic is so integral and I'm also thankful to Jenny at ten speed for that. Because. I wanted the book to reach as many is as possible, and I knew left to my own devices. It would be more like an art book. Right. And so Sarah and the team at ten speed where really explore Neri it kind of forcing upon me a container that then I could work in in. That's also one of the things I learned it shape. Unease I mean shape nieces, extremely codified. It's extremely rigorous. I mean, there is a lot of rules. You know, and one of the things I saw. Was that in that structure that really really almost like Japanese, obviously, French old world structure, you would see the creativity from each chef come through. And I knew that about myself. I needed the structure of Sarah Lonsdale of ten speed to then create in a way that could could see the to be out there in the world and not just amongst the two percent or one percent. The funny thing about the structure is nature provided the structure, and so I think a lot of humans. We like to take credit for things that we shouldn't take credit for and the book is structured every chapter is different month. Every chapter is a different location in California every place that we shot and you're right. I'm Gary Snyder head I mean, everything is about place to me almost. Is someone in our lives. Like, we didn't rent a studio in bring props like each chapter is, you know, Sylvan the retard chapters at his restaurant. He's one of the most important people in my life. David Hoffman logging. He'd us is a member of our community, and this biodynamic, you know, God to me like I mean, he's like it's bonkers what he's created. We thought at my friend's apartment in the Gaylord in LA where Curtis my spent several months of our lives. So each location was somebody that's really important our life. And I think that even if the reader doesn't know that that has a emotion are, you know, it creates intrinsically feeling of place because we're connected to that place it because orcas, hyper seasonal the idea that I wanted to articulate in. It's nature's idea not my idea. Is that every month? I wanted to document and work with what was most beautiful in that month in that location, and that comes back to shape in east to right? Like, there's a time. There's a specific two week window when the artichokes are the most incredible there's a specific window for salmon there's a specific window for there's a specific window for Philadelphia's. There's a specific window for lady banks roses, so everything in my mind. And this is why it's actually the other thing. I wanted to say is it's a lot harder to do work this way going to the flower markets, really easy to think about okay win or we going to get the Buckeye branches. When they're first starting degreen out. And then when are we going, and then we're gonna mic we're going to combine that with magnolias, you know, our we're going to to to to to work with and document those combination. As they're happening in real time, most photographers and art directors don't wanna work that way. It's hard you assuming it is a labor of love it. It's an we shop for thirteen months. Most people don't do that when they create a book either. So this structure was provided by our twelve months. And then there's a thirteen month that's Applejack because I love death and decay. And so I wanted to articulate a chapter that was all these kind of decayed bits from all the months, I love the seasonally in love the each month, and then the different places within each month. And one of the things that I I do love about it is that I don't necessarily know any of these people, you know, in clearly some Ganor or famous and important, and I still don't is still doesn't matter. Right. Because it's the it's the universal in that particular that you are inviting all of us to engage more deeply with the people in our lives. That we love with the spaces and the clearly display throughout seasons that are hours. You're not saying here's mine, you know, mimic, it, you're saying learn learn from it and go out and do this in your world because it will it will make your your life better. And we wanted it to it's a natural extension of our community. But we didn't want it to be esoteric are rarefied and that way. And and that's exactly right. I mean, the best compliment on one of the things I love hearing more than anything is that I exactly what you articulated as that. I want people to notice their backyard there pass their neighbors persimmon Trie, you know, it's about you of serving your place. Absolutely no formulas ever and bringing the beauty that you observe in the natural world into. Your life in that moment in time. No matter how big or small we need to give a shout out to Laurie. The dog refer the beauty of the work that we did together. I mean, the book would not be the book without her extrordinary, photography it. That's a difficult thing to do. She captured the moody nece the evocative nece. So I just want to make sure that Lori gets a really big shout out. Laurie Frankel for that work. Louise, Roebuck book is an artist and writer her book for JD. Flora reminds us of the heart of mother's day offerings time intention gratitude. And that seeing really seeing someone or some place is an act of deep love. We'll be right back after a break to humour. Okay. So thinking out loud here. This thing of seeing seeing really seeing being an act of deep love think about this. Give yourself some time to think about this. And then consider it as you consider your own mother or father, your siblings, your children, your friends your garden, your larger landscape that generally just with his by these in some form or another all constitute your home. That's it. That's all what do you really see? I hope you really see and really love them all embracing in the ways that work for you the domestic arts that constitute caring for all these lives that help make up our. Home. Now back to our conversation with Louisa Roebuck. This is vague place. I'm Jennifer jewel in celebration of mothers day, we're joined today in conversation by Louisa Roebuck co author was Sarah Lonsdale of forged flora a visual narrative year of seeing exploring and interacting with the foraged beauty of the landscape around her can you think of anything better for mother's day than offering your mother or whomsoever nurtured you in this life, a picked Posey a walk in the woods a picnic by a stream or in a park. I can't we're back now with Louis Roebuck to hear more. So as I look at each chapter there couple of elements that really stand out to me one is the element in which you and Sarah are in conversation. And she is asking you questions about what are you doing? Why do you do it that way? Way why why these plants, and I love that very simple back and forth between the two of you. Because the it holds so much information that is very easily absorbed from that conversational perspective. Yeah. And I so thankful for Sarah and Jenny again. I think that interviews are as you said a great mechanism for for conveying information, both personal and non personal dot was our approach to having an educational arm without feeling to like craft show DIY formula that was a great way to just be a natural dialogue. Sometimes it's all in my head and without someone like Sarah asking really, which to me would feel like obvious questions. I'm not gonna be able to articulate process without being crowded little bit. It kind of goes back to that concept. You were mentioning earlier about the freedom of being able to be exuberant and wild within a structure and a conditioner sort of walking through what you do and letting each person take. What they wanted from that. Which I I really love. Now, there were a couple of really standout plants all the way across Ross all seasons, which I think probably bear quite a bit of symbolism in meaning for for you, or or that is how it felt to me by the end. And I get a strong sense that probably you don't have a favorite chapter in that. They're they're all your favorites. But one of the ones that really resonated for me was the chapter with David Hoffman who reference just a little earlier walk us through that one. We know what I'd love to do since you've given me permission to requests. Yes. This is one of my favorite quotes. And I titled this chapter of March which in of itself, I think is a it's a really great reference because also Marin county has been threatening to tear his whole property down. I don't know if you know that. So there was a there's a level of. The trail with David Hoffman property that he's built this biodynamic. Visionary property that is more. My belief system that his guiding principle is mother earth, not west Moran and Morenz zoning commission, and he he ends. So the Eid's March. That's why titled at is March. But the quote is I have said to the worm thou art, my mother and my sister William Blake. And to me that says everything and and David is. He is a soil. He's in soil aficionado, and he has worked for years and years and years do bring the soil on that property to the most high vibration, rich by out an amick state. It can be an I firmly believe that one of the reasons that are not one of the reasons the reason that the apple Lawson's there, and the forget me nots, and you know, what we forged in gleaned that I'm using the word gleaned, more and more. And I do want to talk about that that the apple blossom there was much more alive because his soil stewardship. Most of the the photographs in the book are they have a lush simplicity may be is a good. I like that to to put it. And but I felt this particularly in these photographs and cultural and spiritual overtones in in these installation arrangements is as strong as it is anywhere in the book, and you know, the way. The the plants and the vines in the branches are kind of almost starting to grow into the the places in the things around them, whether they're t- baskets or looking at that image. Yeah. Or the stone temple. You know, they're they're just really beautiful, and there are whole narratives in each of these images, which is both the genius of the of Lori. And of what you're doing there talk, and we joke that there could have been a whole book from the day, but Hoffman. Yes, we had three thousand images from David Hoffman something near there, and editing. That chapter was so painful for me. He's had San Buddhist monks coming, and there's been people working on this property for I don't know twenty plus years, and it really is like being an eighteenth century Chinese village his level that level of beauty and artifacts. And everything was like a temple or a ruin. There was all also parts of the property that reminded me of like Terry Gilliam, set, you know, mind boggling, so for me, it really was at my work as you know, it's all. All about it's in relationship to whatever the architecture, whatever the room, whatever the vessels. And so, you know, the whole the whole property is full of poor. He would just throw to wear cakes on the side of the hill for compos, you know, like the T baskets in. In, you know, the countless t- vessels. And yes, so that I mean, I almost feel like I can't take credit. I mean, it's really get out of the way, right? Like bring bring as many beautiful materials to the site is possible. And it was we had red bud and lady banks and roses from the police station on Ross, I'm not kidding. And you know, lilac wisteria and apple blossoms from David right there. And forget me nots that were like cut know little picked like on the steps where we you know, where we did that installation. So really for those types of. Installations, I really need. It's about quieting the mind it really is. And getting out of the way and letting that lady banks Bramble go where it wants to go, and we call it Jenga. And just, you know, no chickenwire knows structure besides the natural structures vassal and the architecture, and it it's that chapter. I just I mean, I still would like to do a book with the remaining outtakes. I mean, it's just it's yeah. Yeah. And I think that. I don't know if it's a parable. I don't know if it's a mantra. But that statement learning to get out of the way, sometimes is it comes back to what it means to to be a good gardener or learning to see is getting out of our own way and letting it happen. And then seeing it for what it is. And valuing it for just that then being slow because that's something that we haven't said, right? You know, shape, unease and that world is all about slow food. Right. And that's the other thing that I started to see in the flora world that people. I mean, Deborah printing, slow flowers that's become a phrase, but that was not a phrase than I was when I began during the work and. David's property, evolved. Very slowly. And so we spent two days. I mean, we spent two thirteen hour days on that property shooting. And so there's something also about observing and doing the work. It's a weird combination of slowly and quickly right because you're working with perishable things. But there needs to be a slowness about it. Also, I want you to elaborate a little bit on your definitions of for gene in gleaning and the importance in the differentiation for you. Yeah. I'm really talking about this. Every time I present our speak, so foraging the Latin root of forging is more related to I say jokingly, but it's kinda true pillaging going out into the fields in a more aggressive manner and taking right in. And and when I forging for me would be in my definition when I Trump. Round on the mountain amount Tam, for instance, and I'm cutting bay or I'm looking for wild fennel on the road. And I wanna say I my ethics August back to nature. So I don't ever cut Trillium. I don't ever pull likened from the branches. I only cut bay because I know the parks there's more than enough bay. You know, what I mean, I cut fennel because the park service wants to Radic eight it. So forging was like the roses on the side of the road in Lima. Right. When I'm like out driving around, and I'm are like Buckeye branches. But gleaming, then I just went to see Agnes Varda's film again. The gleaners have you seen the gleaners? Yeah. So gleaning is this ancient idea? You know, these are all ancient ancient ancient ancient ideas on I heard someone the other day goes back to the bible, and I was like yet. No it goes back way before the by. Maybe last. Because we're a western Centric culture. I talk about in Europe, especially medieval Europe, and still, you know, the Agnes Varda film talks about it so eloquently the aristocrats took the first picks. The best grains, unblemished, fruit, the best, hops. And then whatever was blemished are starting to turn our fell on the ground the servce, right? Where allowed to come in and take. And it was kind of I say, you know, it was like food stamps in a way. I mean, it was a full cycle. And I talk about snout detail in my work. Also. So it was an effort to have they're not be waste agrarian waste in an effort also to feed your agrarian workers and in this country forty percent of all food is wasted. And I don't even wanna know how much in the floral industry. It's probably worse. I don't. No. But so gleaning is when like Cindy, Doug, for instance, you know, from Shad, let me go onto their home farm and yells Berg and cut whenever I want our when I walk around town and say to people are you going to cut your persimmons, are you using those oranges? Or can I trim your jazzmen when you're on someone's property with permission? And you're you're taking the bounty the abundance what to not being used, what's overlooked. What's considered a weed? What isn't the perfect blossom that's leaning? I mean and much more that's a very cursory definite. But what I do actually more. What I do is gleaning. That's the irony. And in fact, we wanted use the word I wanted us Ord gleaning and the subtitle, but but it was determined. It was not unattractive word. The way things happen. I appreciate that. I really do. Appreciate that glossing because it does get to some of the issues around for djing in our world. And it gets to some of the issues around waste as well. Lucia, which I I think is a wonderful thing to highlight the so now I wanna come back to the slow because we're coming very close to the end of our time, and I want, you know, I think we we talk about slow we read about slow. We encourage ourselves to slow down. But how often we actually do it is? You know, it goes back and forth. I guess especially on a holiday that is supposed to celebrate one of the people in our lives to give everything speaking of labors of love right mother who writes is one of those and and fatherhood as well. As I mean parenthood. It's not about gender. It's about this ROY play nurturing. Yeah. And cara. Taking. Yeah. And so I just loved the idea of encouraging listeners young and old to say, how can I not succumb to marketing of the world. And how can I go spend time or allow my mother time to go out and be in this world and glean some beauty and glean a little floral or fully Adj range -ment together or allow her to do it on her own if you were going to give these permission slips to mothers and the and the fantails. Yeah. The families that are trying to support them in this world. What would those permission slips be Louisa? Well, first of all, I was so thrilled. When I saw that, you know, I just I'm so thrilled that you're talking about this because it's one of my again, mantras and. The the one metaphor. I like to us is that our culture is so tight bay and so- action. Busy obsessed in a very unhealthy way. Maurice sendak spoke very eloquently about his childhood and where his imagination came from. And he speaks very eloquently about him being sick child. And there's a lot of connection between children who have time in bed daydreaming and being sick being creative. And there's a lot of science for it. And this idea what I deeply believe is that we all need fallow time, just like a garden. A garden isn't always active in isn't always growing. We need fallow time we need follow time. Spiritually physically creatively? We need to lay around we need to daydream. We need to take to our walks. We need to look to our animal brothers and sisters for lessons than napping and just walking. And I think you're right. When we. Wander around our neighborhood and pick flowers for mother's which is what I did all the time as a child and my mother never reprimanded me for it. When I speak so many women come up to me. And they said I've been doing this forever. And they remember they have a connection to the flowers that they picked for their mother or the flowers at their children pick for their them Nate them in sacred vase, and they don't do that with the poisonous lilies. From the Lilly ranch. I'm really conscious. I I'm a very very radical environmentalists. And I could go on for hours about the evils of agribusiness and poisoning, our water sheds, and our soil sheds and the women who grow that. And to me when I see an agribusiness arose are a lily grown with horrific pesticides on the Smith river, one of the most beautiful rivers on the planet and the Oregon California border. It's hideous to me because I look at that in icy the cost to the soil shed watershed the animal. Nls. You know, every part of the chain nothing is cheap. Everything that we feel is cheap. You know, fourteen ninety nine bouquet of roses comes at tremendous cost. We just don't see it. So I'm gonna I'm gonna summarize here. My my first permission slip. I'm getting from. You is get yourself fallow time, take fellow time and protected. My second permission slip is see the cost in the things that that are available or come to us in life and really seek out the ones that have a local cost to the world and a high value to you. The third permission slip would be what I think. I think that the connection that we have when we give a gift to our mothers are toward children to anyone when we have harvested that when we've grown it when we've collected it when we picked it with our own hand when our friend grew it. That's a more meaningful powerful beautiful. Full of life force gift. And I think even if people don't intellectually break it down in that way. There's something so prime on us that we remember that that we all if we go with our mothers into the garden. I mean, what could be a bigger metaphor than that. Right and pick flowers together the difference between that experience and getting agribusiness that's been sprayed pesticides grown with underprivileged workers refrigerated transported across the globe. I mean to me those aren't even in the same. Universe. And I think that. Increasingly I'm feeling like any way that I can do. No harm. I'm thankful for that. You know, it's a really complicated landscape out there right now environmentally, and and flowers are such a silly reason to harm the. To me, you know, terrible irony there yet. There's terrible Ernie. And I think that's what I was looting to the irony that something that's meant to be beautiful ends up being. So hideous to me when it's a when it's agribusiness, and I think that I think that we are returning. I think as a species I hope that were returning to Wanning. The William Blake, quote, you know, I said to the worm that are my mother and my sister. I I think that we we are really craving that kind of immediate, you know, naturally occurring beauty in our lives. And in we as a species, the resonate. So deeply with us. When it's, you know, an heirloom rose that we grew our when it's jasmine on the side of the house, or, you know, the wisteria on the side of the road, and you can see the bees and the pollinators are have passion vines blooming right now. My backyard that's utterly different experience than a Colombian rose or a penny flown from New Zealand. I don't wanna pick on the peonies. But I do, but you know, we know in our hearts and our souls. We know the difference in our mothers. No the. Difference. And I think that's why mothers love to receive a handpicked anything us. Yeah. Thank you very much for being a guest today. It has been a pleasure to speak with you. Thank you, Jennifer. I been a wonderful our on my deck and ohi. Thank you so much. Artist floral, designer textile designer and all around creative. Louisa Roebuck is the co creator of the book foraged flora a year of gathering in arranging wild plants and flowers from ten speed press for Louisa intentially for us. The foraged beauty of her landscape offers out a lovely and loving re framing of how to be in our spaces. How to foster deeper seeing an how to offer your mother physical and earthly gratitude and love with intentional time. And gesture because seeing really seeing a person or place, the gardener or garden is a profound act of deep love happy mother's day, cultivating places, a listener supported co-production of north state public radio for more information and. Many photos from forged flora seed this week's show notes under the podcast tab, Eckelt averting, place dot com. Our engineer is sky scoffield original theme music is by Mont muse, accompanied by Joe craven, and Sam Bevan cultivating places distributed nationally by p r x public radio exchange until next week. Enjoy the cultivation of your place. I'm Jennifer jewel.

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