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EARTHflows and EARTHpours

These are community events, often improvised with a small group of performers.

Ritual performances using sound, movement, and wild, site-specific clay as a liquid that flows and cracks, creating monumental Calligraphic Action Paintings and Tectonic Flow Conversations. EARTHflows mimic natural environments and processes —micro and macro — by utilizing flow, evaporation, and erosion. 

EARTHflows 2025 Colorado State University Gallery, Pueblo

This installation features EARTHflows from four events. During EARTHflows 2025, a community ritual performance titled Widdershins Pour took place, accompanied by the installation video Toad Song. Cracked Earth/Rising Blue at BloBack Gallery, Pueblo 2023, and EARTHpours from FlowRate, and EARTHflow Rebirth at Studio 121 and the gallery at Colorado State University, Pueblo in took place in 2023 and 2024

Widdershins Pour

Concept Helen Eberhardie Dunn aka Hella Song Beetle

Performers: Emily De Smidt, Matte Refic, Bob Marsh, Hella Song Beetle

Toad Song installation video

Concept Helen Eberhardie Dunn aka Hella Song Beetle


Filmed by Jimmie Dunn, edited by Hella Song Beetle

Earth Flow Rebirth

Gallery 121  CSU Pueblo April 2024

Concept: Helen Eberhardie Dunn aka Hella Son Beetle and Tei Kobayashi
 

EARTHflow Rebirth 

Colorado State University Pueblo Gallery

April 8 2024

Tei Kobayashi led the visiting artist workshop at CSU Pueblo, introducing students to Butoh and Katsugen Undo performance and healing techniques. 

Earth Flow Rebirth was a collaborative performance that emerged from the workshop. Pueblo Clay was poured and yoiked, a vocal embodied healing, as Tei slowly pulled the 40-foot canvas, allowing the painting to grow.  The rebirth evolved as Tei slowly wrapped and unwrapped using traditional Japanese cloth soaked in mud.

Performers: Tei Kobayashi, Bob Marsh, Helen Eberhardie Dunn, Karen Yescavage, Veronica Moffitt, and Ember Peaslee.

Water Breathing [activate sound for full experience]

Exploring impermanence through water immersion in the San Luis Valley, this 33-minute video induces a sense of deep calm, simultaneously evoking thoughts of dying

Ceremonial performative ideogram transforming cultural and inherited expectations

Water Meditation - an immersive video for live performance

[activate sound]

Exploring water immersion in the San Luis Valley this video will accompany a tree offering this Fall in Abiquiu New Mexico.

Sound Healing + Ceremony
March 2024

Big Ol' Picnic
June 2024

Sky Soul Studio
Sound Healing and Earth Prints for WeMend Womanifesto project Thailand

Hella Song Beetle
Ember Peaslee
Emily DeSmitt

Ceremony
Liz Guerra - Curandera

TIME = ART

‘How do evolving timelines invite intersections with ecology, expansion, and contraction?’

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As an interdisciplinary artist, I explore conversations about spiritual ecology, creating immersive experiences through sculpture, performance, and installation that invite expansive awareness. I aim to create spaces for connection, reflection, and alternate perspectives. I am committed to contributing to a more just and compassionate world.

 

How can art catalyze change and inspire us to reimagine intersections between social and environmental justice and personal and collective change? My work is led by investigative approaches, incorporating locality, clays, found objects, pigments, fibers, plants, film, photography, sound, and light.

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‘Can we experience spatial relationships through vibration, harmony, and dissonance?’

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This work centers on curating collaborative ritual performances informed by solastalgia, our experience of climate change. EARTHflows is an ongoing project based on locality, reverence for the natural environment, and community collaboration. It includes EARTHflow Ritual Performances, Earth Experiments, and Ritual Action Flow Paintings.

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As the director of the ecological art collective SkySoul Studio, I host a platform that explores solastalgia. We are a developing collective of environmentally aware creatives collaborating on investigations into impermanence and ecofeminism. Public engagement in community events offers the potential for reframing ideologies of contraction. Art can unite people, challenge assumptions, and inspire us to envision new possibilities.

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Personal Reflection: What Is Home?

 

Born in the UK and raised traveling with a mother who loved camping, I have lived transiently in several countries. The difference between 'living somewhere' and feeling it as 'home' has always fascinated me. Is home inside us, or is it something we make? My mother’s pale‑blue Moonraker VW bus carried us from the Isle of Wight to Scotland, where we learned to settle into a sense of timelessness and oneness with the land. Walking in the rain, skinny-dipping in icy rivers, collecting sea-smoothed serpentine, basalt, and granite pebbles, and hauling larger rocks—these elemental immersions taught me that home can be felt in the vibrations of stones, oceans, waterfalls, and boggy moors.

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On the shortest day of the year, the longest night, I sit in Pueblo, Colorado, contemplating home amid grey green fields of cholla cactus that bloom once a year in majestic magenta cups against a cerulean sky. We moved here for the art studio—Sky Soul Studio—and the sky is vast. Pueblo City sits on ancestral Anasazi and Ute lands, built on clay, at the confluence of the Arkansas River and Fountain Creek. Pueblo's industrial past, its reputation for crime, and its underground histories remind me that home can be a layered, sometimes unsafe space, especially in the city. Creating Sky Soul Studio gave me a way to connect to Pueblo's culture and an amazing group of like-minded souls, a physical place to make art and explore materiality, a place to walk the rivers, befriend plants, lie on the earth, and celebrate spring wildflowers, shouting their songs to the sky.

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Recently, mud cracks have become a metaphor for home. Friends built an adobe floor of cracked earth, and I wondered what would happen if I poured a ton of local clay onto a gallery floor. Cracked Earth / Rising Blue emerged at the BloBack Gallery through communal preparation: wet mud cracked, water flooded the space, beeswax candles contributed the soft scent of sun and bees, and seeds sprouted in the mud, nourishing participants. The process invited these questions: 

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Is home the land, the Earth herself, family, or cultivated peace we find inside ourselves?

Is our current culture of fear rooted in the feeling that home is threatened?

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Reading Terry Tempest Williams' recent article in Emergence magazine, 'Hollow Bone', on the Great Salt Lake reinforces for me that home is both a landscape and an inner stillness, especially in hard times. Like solitary bees finding ecstasy in Spring flowers, I feel a sense of expansion in mud cracks—the liminal signs of transformation, death, and the potentiality of impermanence.

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Hella SongBeetle, Pueblo West, Dec 21 2025

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