Heaven and Earth 1: 2009 Heaven and Earth 2: 2010 Heaven and Earth 3: 2011 Heaven and Earth 4: 2012 Printable Maps (pdf format): letter size: 8 1/2" x 11" tabloid size: 11" x 17" original size: 17.5" x 14" Participating Artists: Seattle: Julie Lindell Joe Reno Miguel Edwards Viewlands Group Peppé Brenda Scallon Alan Fulle Suze Woolf Cameron Mason & Lara McIntosh Josho Somine Rebecca Maxim Garry Golightly The Unearth Collective Bellevue and Sammamish: Fox Anthony Spears Suzanne Tidwell California: Judy Shintani Oregon: Lee Imonen Vancouver BC: Tiki Mulvihill Sponsored by: Center on Contemporary Art Carkeek Park Advisory Council Seattle Parks and Recreation Associated Recreational Council Seattle Office of Arts & Cultural Affairs 4Culture Site Specific Supported by: QFC: Quality Food Centers University Bookstore Pacific Industrial Supply Pacific Topsoils, Inc. Green Bean Coffee House The Revere Group Jonathon Cluts contact David Francis or Ray Freeman to help support this year's show and artists.		Site 16: Tiki Mulvihill North Vancouver, BC, Canada Fruitless Grafting 2012 An orchard marks a compelling intersection between nature and culture, a place where humans propagate fruit through controlling strategies of grafting and pruning. Addition and subtraction of limbs and branches result in eccentric bends reflective of a tree’s ability to adjust and overcome human interventions. The installation ‘Fruitless Grafting’ combines components from nature (green-waste) and culture (copper) to create a new hybrid, which both mimics and acknowledges the orchard-tree form. These hybrids gracefully bow down, gravitating towards the earth, while succumbing to the slope of the site. Although splicing proves in vain and the harvest fruitless, the hybrids yearn to reconnect with the land; to lay down roots with nature. This installation underlines the dichotomy between the natural and the fabricated to tease the supposed truths we humans’ construct in our conflicted relationships with place. Bio: West Coast artist Tiki Mulvihill lives and works on the North Shore in British Columbia, high above the Burrard Inlet. Her practice focuses on site-generated installations, which tease the supposed truths we construct in our conflicted relationships with place. Mulvihill works to engage viewers’ minds, bodies and senses, essentially inviting them to play, respond and think within an artwork. Mulvihill employs a wide-range of sculptural processes such as casting, wood construction, metal fabrication, and assemblage. Drawing and performance along with media elements of audio and video round out her practice. All these materials and means intentionally support concepts underlying each immersive installation. Mulvihill’s installations realized through a pseudo-scientific perspective to research and expanded via viewer interaction and engagement, bridge the gap between the imaginary and the actual. Her work voices contradictions of belonging in disparate environments while responding to sites as diverse as Wollongong in Australia and Banff in the Canadian Rockies. In the past few years she embarked on a number of collaborative installations and performance-based projects with fellow Lower-mainland artist Fae Logie, jointly responding to place through a playful correspondence of locomotion and landscape. In 2010, Mulvihill joined Vancouver-based Art is Land Network (AILN) a collective of artists who employ natural or re-purposed materials in their engagement with environments. Her work for the AILN’s 2011 exhibition on Granville Island floated and submerged just offshore in the water. Educated in both Canada and the United States, Mulvihill received her MA from University of Idaho and her second master’s degree (MFA) from the University of Calgary. Mulvihill currently teaches part time for Capilano University in North Vancouver, BC.