Art Gallery of Guelph Field Trip
Sheri Osden Nault, returning the bones (52 days), 2025
The first piece I’m discussing is “returning the bones (52 days),” a time-lapse video of the dissolving bison skull sculpture made of unfired local clay mixed with seeds. They made a sculpture that would release medicines and plants into the local wildlife, the piece giving back to its surroundings. I bet it’s heavily influenced by animal decomposition, temporarily enriching the soil and making it more fertile for plant life. It’s like a cycle; animals rely on the land they live on for food, water, and shelter, and after they die, they give back to the earth that once sustained them. I learned that Nault chose specific seeds for their sculpture based on the location it was at, ensuring they were native to the area, since non-native plants can become invasive and outcompete local species. Overall, this work encourages us to consider our own impact on the environment, especially as artists.
Devlin Macpherson, ICFWYWM, 2022
ICFWYWM is a printer-like machine that is tasked with drawing tiny perfect squares repeatedly, but when the machine is observed, it becomes “nervous” and draws imperfect squares. When my friend Abby and I entered this space in the Gallery, we were very confused about the machine’s purpose. At first, I thought the machine had made a mechanical mistake along the way, noticing only a small section on the long sheet of paper. After learning what the machine actually does, we were both intrigued to approach it again and see for ourselves with this understanding. What I took away from this piece is how relatable it is. As someone with anxiety, it’s hard not to feel like everyone is watching, watching your every move, waiting for you to mess up. Overall, this piece for me displayed how invisible experiences like mental health can be visible and tangible, allowing others to see and feel what it’s like to navigate the pressure of being observed.
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