The Long Grass (2022–24)

The Long Grass (2022–24) is an artwork that takes on a number of perspectives, encompassing issues related to nature conservation, contested land use, (post-)colonial identity and belonging. The artwork’s subject matter stems from long-term research surrounding the corncrake – a bird that has taken on symbolic meaning in relation to Irish independence.

Once prosperous and widespread across Ireland and Britain, the corncrake was known as the sound of the Irish summer, with its distinctive call permeating the countryside’s soundscape. The corncrake is now almost extinct, due to the rapid development in mechanised farming over the last fifty years. The bird’s call is now only heard in remote sections of Ireland’s west coast, areas closely linked with the Irish language (known as the Gaeltacht).

For The Long Grass, Steenson conducted field research with Corncrake LIFE – a conservation group who have been working with local communities in the west of Ireland to restore corncrake habitats and change farming practices that affect the bird’s chances of survival. This research residency was commissioned by Ormston House, a contemporary art gallery and cultural resource centre based in Limerick.

The Long Grass takes the form of a 35mm slide projection, consisting of both photographic and synchronised sound elements. The work draws together phrases and moments stemming from field research, alongside texts from oral histories of the Troubles in the North of Ireland, interviews with the artist’s family members, and the National Folklore Collection.

These sources – which sometimes originate from oppositional points of view – represent a multitude of experiences, ranging from Irish farmers’ feelings towards the EU, to second-hand recollections of army patrols during the North of Ireland conflict. Presented together, and with their original provenance removed, these seemingly contrasting voices combine to generate universal and shared meanings.

The use of asterisms – which punctuate the different sections of the work – reinforces the anonymity of the texts’ sources, whilst also locating the work within the seasonal cycle of corncrake, who use an imprinted map of the stars to guide their migratory patterns. The corncrake’s call is heard in synchronicity with endpoint of each slide projection cycle. Listened to in this way, the bird’s call serves as a gesture towards shared issues of land and environment; and calls for freedom, to and from distant places.

The work has been previously shown as part of the group exhibitions: ‘New Contemporaries’ at South London Gallery and MIMA, Middlesborough (both 2026); ‘The Sky is Falling!’, Ormston House, Limerick, Ireland (2024); ‘inching towards’ at Freelands Foundation, London (2024); and ‘mother tongue’ at The MAC, Belfast (2024), as well as the solo exhibition ‘They haven’t gone away you know’, at mother’s tankstation, Dublin, Ireland.

A publication designed to accompany The Long Grass slide projection work, titled Each one started, each one started, each one started, – A Reader for The Long Grass (2022–2024) is available here.