Josh Krute

I often explore outside of city limits, being immersed in diverse natural settings along the coast or cascade mountain ranges. I am inspired when finding the remains of tree forms – whether I come across a tree clearing, and slash and burn pile, or an abandoned structure, these forms and environments exist because of the alterations made by our human kind. I understand it is my responsibility to convey and preserve a wooden object’s character, ecological history, and the relationship between the natural world and man’s adaptation of it, including my own.

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Ellie Tu

Introduction Ellie Yun -Hui Tu earned a Bachelor Degree in Advertisement from Taiwan and later finished Product Design study in Paris, France. She has been working as a product designer for more than a decade; one of her candle holder designs won the iF Design Award in 2008. She currently works as a product designer, illustrator, and translator in Ventura, California. Her most recent work is a series of pen & ink native plant illustrations for Channel Islands National Park guide books. In 2016, her watercolor painting ‘Dudleya greenei’ will represent Channel Islands National Park in ‘Flora of National...

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Paul Miller

Miller wrote Heart of the Forest after four artist residencies at the HJ Andrews Experimental Forest in the Cascade Range. The artist residencies are part of the Spring Creek Project’s Long-Term Ecological Reflections program, which invites writers and artists to interact with environmental scientists, explore the forest, and write or create art. The program, in its twelfth year, is designed to collect reflections on the forest for the next two hundred years.

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Kathleen Caprario

In August, 2015, Kathleen Caprario spent ten days as an artist in residence at the HJ Andrews Experimental Forest. Kathleen traded the concrete canyons of the New York/New Jersey Metro Area for the real canyons and broad skies of the Pacific NW in the late 1970’s. Her early work reflected the experience of living and growing up in an urban area. But living in Oregon transformed the architecturally inspired work she had been doing into the architectonic shapes and patterns of the high desert, coastal rock formations and the openness of the seemingly infinite space that was her new home.

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