CHRIS FREMANTLE
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- About
- Blog
- Initiatives
- Producing, Project Managing, Researching
- Writing
- A Call to Farms: SW Scotland
- A co-operative future
- Bob Dylan acknowledges a debt
- Habitat for…
- Half-Life
- Interview: Wilhelm Scherubl (2000)
- Sweeping
- Iron Conference: the art of recidivism?
- Place of Origin
- John Latham
- Soil: A Virtue
- Not place but context
- Soil
- Earthworks, Brian Aldiss
- On The Edge (Phase 1) Papers
- Exploring Places
from ecoartscotland.net
- The Right Tree in the Right Place?
- Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities
- Art and Activism towards COP – Guest Review by Marc Herbst
- Shelby Bennett reviews Robyn Woolston’s ‘Yours, in Extraction’
- Erika Cann and Siân Goldby: Towards a geological-artistic practice
- ecoartscotland library as bing
- Beverly Naidus reviews ‘We are nature defending itself’
- Inge Panneels on ‘Ocean ARTic’, ecoart, and big data
- BD Owens reviews ‘Assuming the Ecosexual Position’ by Beth Stephens and Annie Sprinkle
- Becoming Earthly 2022
My Networks
- Ayr Converses
- Ayrshire Arts Network
- CORE
- Curatorial Network
- EcoArt Network
- Greenmuseum.org
- Greenspace Scotland
- On The Edge Research
- PAR+RS
- Public Art Online
- Scottish Artists Union
- VAGA
- Visiting Arts
- Voluntary Arts Scotland
- Yasmin
CHRIS FREMANTLE 
My friend Lorna Waite, when she saw this, commented that the form – the rigid axes – was very male, and didn’t account for the cyclical nature of life. As ever the other eyes see the obvious.