In 2021, Chrysalis Arts Development (CAD) secured a ten-year lease on Marton Wood, a 6-hectare part-managed/part neglected woodland near Boroughbridge, NorthYorkshire. The wood inspired a pilot programme of ecological and climate research, educational, community and student art initiatives and consultation and environmental arts training.

Mapping Marton Wood is a project based on the development of this previous work and funded by an ArtsCouncil England project grant, National Lottery Community Fund and ChrysalisArts. The project had two strong threads of work: a place-based community engagement programme and supporting artists’ environmental practice development.

The creative ecological initiative explored the multiple layers of the wood as a catalyst for arts-led environmental practices, outdoor learning and engagement, health and wellbeing, and cross disciplinary collaboration, whilst raising critical socio-environmental issues.

Project activity included:

·      A programme of community engagement with local residents, schools and Orb Arts.

·      Four artist commissions in collaboration with climate specialists.

·      Artist learning and practice development opportunities including, ‘An Unremarkable Wood’ – a one day symposium in partnership with the University of York St. John

·      A touring exhibition

The project took place over from Spring 2024 – Autumn 2025. Yorkshire based freelance curator Hazel Colquhoun was Project Manager and Rosie Barret managed the community engagement programme. Kaitlyn Badger provided marketing and communications and the project was overseen by Chrysalis Directors, Christine Keogh and Rick Faulkner. The Symposium was jointly organised with Helen Turner, York St John University.

Project Evaluation Overview

Mapping Marton Wood has had a significant and multi-layered impact across artistic, ecological, educational, and community sectors. Over its eighteen months (Spring 2024–Autumn 2025), the project connected artists, ecology specialists, residents, students, and community groups through a shared creative and ecological exploration of Marton Wood.

The project fostered deepened environmental understanding, emotional connection, and creative reflection.Participants consistently reported increased appreciation for local nature and a renewed sense of responsibility for looking after woodland.

Community sessions, school workshops, and collaborations with Orb Arts collectively engaged 497 participants, with enjoyment and inspiration ratings consistently high (8–10/10).

Artist commissions—combining ecological data, sound, textiles, and mapping—demonstrated the value of Slow Art, place-based inspiration and interdisciplinary collaboration. The synergy between artists and ecologists, particularly in Voice of the Wood and A Score for Marton Wood, led to unique creative methodologies grounded in environmental awareness and sensory immersion.

The touring exhibition amplified these impacts, reaching new audiences across North Yorkshire. It was rated an average of 9.5/10 for quality, inspiring reflection on personal connection to place and motivating many to explore or protect local woodlands.

The “An Unremarkable Wood” symposium further extended the project’s influence, uniting artists, academics, and community participants in critical dialogue. Participants described feeling part of a community of environmentally engaged practitioners, while Orb Arts’ contribution was a highlight for many. Watch a short highlight video.

Overall, Mapping Marton Wood has established a model for arts-led ecological engagement—where creativity, science, and community intersect to generate learning, wellbeing, and lasting stewardship.

 Project Participants Said

“Just spending time in the wood with somebody with a different skill set, but a very similar mindset — that’s a great thing. That comes as close to play as I get these days.” Simon Pickles

Working with Simon has been an inspiration, as he is so knowledgeable, but also as equally inspired and fascinated by the sounds of the wood as I am. You could say Marton Wood in many ways is fairly unremarkable, an every-wood. But visiting it time and time again has revealed the wonder of the every day with so much wildlife and activity packed into its few acres.” Rob Mackay

“I learnt so many interesting things about nature I never knew before. I found it very interesting and inspiring.  It has shifted my perspective a lot.” Participant, Botany Walk

“Things as simple as fungi can be beautiful art.” School pupil feedback when working with Jane Carlisle Bellerby

“We used an accessible medium and it was an adventure of discovery, which was invigorating to me, as well as to them, it felt fabulous.” SueHarrison, artist, reflecting on working with Orb

‘It’s so lovely to bring so many different types of people together. I learned so much from the ecology, data side of stuff, that’s not what I would naturally engage with. I’m much more of an intuitive, holistic kind of person. So then to be met with learning stuff I had no idea about birds or ecological processes going on, to me that wasn’t separate to my beliefs or connections, it actually enhanced them and made me understand deeper and I wouldn’t have had that opportunity without this project.’  Orb Arts Participant

“It made me keen to go to the woods in my local area.” Exhibition audience member

“The exhibition has inspired me to appreciate what’s there and preserve it for future generations.” Exhibition audience member

“Really good, really good. I think it’s the breadth of the speakers, it’s been fascinating.”  Symposium audience member

“Today reminded me I am part of a community of artists that are all concerned with the same values and experience the same pressures on our creative time.” Symposium audience member

“Thank you! The programme was varied and introduced me to new practitioners and approaches. I now want another reading list.” Symposium audience member

“It isn't about funds, it's about enabling people to meet up, to explore and to talk about it together and the to take it somewhere else if they want to. I’d really miss this if it no longer happened” Sue Harrison, artist