Numbers
Visitors: the public
14th May 2006 (the first public day) 15 people approx
28th May (public day 2) 68 people
29th May (last public day at the woods) 62 people
10th June (the review at the village hall) 20 people
The visitors came from a variety of backgrounds and locations, many from all around the UK, but also from as far a field as Denmark, South Africa, Ireland, America and Spain.
Probably a third of visitors to the woods were from North Devon Arts (NDA), a third were children from Georgeham School bringing their families to show and continue with what they were working on, and a third were people in the area who followed signs or had seen the publicity.
I recognised some people visiting more than once and bringing others with them.
Visitors: the school
About 120 pupils from Georgeham School visited, brought by 1 to 7 supervisors and teachers.  They visited in class groups, consisting of approximately 25 (younger years) or 35 (older years) pupils per group.  Most days different classes visited the morning and afternoon sessions.  Several classes visited more than once.  Ages ranged from 4 to 11 years.
The children clearly enjoyed themselves (despite the weather which was mainly wet, cold and overcast with occasional sights of the sun) and were enthusiastic to return (and many did, some in their own time).

Children and teachers
Georgeham School
Teachers found it interesting observing the children's behaviour taking particular pleasure in discussing the more egocentric individuals.  Lucy Rinvolucri the art teacher from Georgeham School wrote "I have enjoyed the experience of working with you on the project.  I am very grateful for the opportunity to see my class in another way, which has been fascinating for me.  The children have all got very fond memories of the project and still talk about it now.  Thank you Emily from everyone at Georgeham School."

I too enjoyed watching the children and their actions/reactions to the ever changing nature of the project.  I was surprised at how possessive most of the children became about 'their bit' - I suspect this was due to the large scale of the piece - it meant that, especially at the beginning, they were able to work on distinct bits that later joined together ('I can't find a tree' was another odd cry - they couldn't find a tree unaffected by the growing sculpture).  I was also interested to see how the children's' behaviour changed within the different age groups, especially how the older groups split into boys and girls- the girls picked flowers and added them, while the boys made 'spiders webs' and 'traps'.  I also particularly remember an Autistic boy not noticing the dirt on his trousers and shoes (remarked upon by his helper) as he was so caught up in what he was doing (he returned on one of the public days with his family).
The walk from the school to the woods is not a short one and I was impressed at the school's commitment bringing children as young as 4 through the pouring rain to take part.
I have found the drawings and writings done since by the school most illuminating and entertaining.  These were displayed on the 10th June in the village hall, thanks to Lucy who gave up her time to set up a display and talk to visitors.

Hugh and Frances
As a consequence of the project a film maker (Hugh Hartford) and poet (Frances Thompson) were given funding by Devon Artsculture to respond to the project.
Frances seemed to throw herself whole heartedly into the project visiting several times, talking to school children and people involved and devoting time and resources. She spent the whole day at the review on the 10th (providing a public reading of her poem BirdsWords) as well as meeting to record her poem for use on the website on her own time.
Hugh chose to film on only one occasion, avoiding showing the evolution of the project.  Sadly Hugh was unable to organise the screening of his film on the 10th, as agreed, leaving it to me or Stella Levy to provide a means of showing it.
I intend the poem (and reading), and excerpts from the film to be accessible on the internet.

NDA and members
This project would have been difficult if not impossible to have achieved without the support of the NDA and its members.
I was pleased at how members joined in - either adding to the sculpture or responding to it.  Ros Osborne provided a subtle touch with her ceramic 'fish out of water' and Tim Saunders and Joan Stribling d'Launy worked on images inspired by the sculpture.
I cannot thank Stella Levy enough.  She spent hours making it possible to do this project and achieved a widespread advertising campaign and general support throughout all stages of the project.
John Andow, photographer, generously took the photos that were used for the publicity.
Members gave up their time to help me steward the event.
And of course, Gerry Bonnichi, the owner of Pickwell Manor Woods, and a NDA member, provided much more than just a venue including time, food and company as well as a full buffet and opened his home to visitors on the last evening.

Others
The finishing night was greatly enhanced by music kindly provided by M'Larkey.

Venue
I had to change venue well into the planning of the project due to the RSPB changing the parameters after several meetings and advertising had already been put to press (we had to fund an advertising campaign to counteract this).  The project they had initially agreed to had not been altered in any way.  They attempted to fundamentally change the project and refused any compromise.  They ignored all materials provided to them to assuage any concerns.  All of this was solved by changing the venue to Pickwell Manor Woods where I received nothing but support and encouragement from Gerry.  This is the only other woods within walking distance of the school and, as this was by then a constraint of the project, I was fortunate to be able to use it.
Georgeham Village Hall was helpful in providing the facilities for the review.

Disjointed observations
I gave two talks before the project started, both to NDA and to the assembly at Georgeham School. I am not sure which was more nerve-racking but both seemed to go well (with cheers in assembly when they heard what they would be doing).
One particular point of interest was when a barn owl flew through the wood in the middle of one of the public days, effortlessly slipping in and out of the project, amazing everyone on site.
The constant change of light in the wood greatly enhanced the project providing some truly breathtaking moments.
The weather regardless of sun or rain didn't seem to affect participant's enthusiasm and enhanced the changeable nature of the project.
Some visitors asked about entry fees.  I was pleased not to have to charge them as I felt that they were able to enjoy the project more openly because they did not have to 'get something out of it' and hence got more.
It would be good to do this project again somewhere where it could be left up until it deteriorates and vanishes and where it is open to the public for this time.  I had to explain to visitors to the review that it was held in a private wood and, due to management considerations, the sculpture had been taken down.  People who were not able to come on the public days have also expressed an interest in going to see it.
I have a large collection of photographs documenting the project which will be shown on my website.
Watching people work on the piece, I became more aware of the physical and mental dimensions of it.  Faces were concentrated and absorbed.  The thread was fine and hard to see so while it was being worked on it appeared that many mimes were taking place. Those who wanted to move through the installation discovered an assault course.
It was exciting seeing how each person approached it differently.
I found it was as much a study of people and behaviours as an art project.  From the way people approached the project, behaved in groups and took part you were often given an idea of how they worked and behaved normally.  The teachers commented on and confirmed this as they were able to watch the children they know in a new environment.  Many of the artists who visited it were more analytical of what they should do and what it should be.  Nobody knew quite what to expect but were enthusiastic and concentrated joining in.
The school group provided a different dynamic from a family.  They took to heart the 'partners' they had been joined up with for the walk over and worked mainly in groups.  Families with children often demonstrated the differences and behaviours of the individuals within that group and their relationships with each other.
Some people went away talking about doing their own.  One girl from the school had already started one in her garden.
On the first day I discovered that the wool I had intended to use would not work.  It was clearly the 'easy choice' and meant that participants did not have to commit much time or attention to make a strong impact. The cotton could be worked in more ways to create many effects and I felt that the wool became a constraint while the cotton encouraged diversity and invention.

With hindsight
I had not realised that the project would be as successful as it was and that so many threads would be used.  My usual supplier was unable to provide extra threads in time for the second school week but I was able to buy some (less economically) from a store in Barnstaple to cover the shortfall until the order arrived.  My final thread cost was nearer £500 than the estimated £260 and could easily have been more.
It would have been better to have more people involved in the day dismantling the piece.  I found the taking down an interesting part of the process, allowing for creativeness even then.

Quotes from the on site sketchbook

'A fantastic display of art and imagination as well as a fabulous community project. Truly inspirational - thank you!' (Chris)

'Engaging and being an active participant in a process that involves both the body and the mind is a very freeing experience.  The act of doing is what every artist has to consider when they have that blank canvas in front of them.  The mind is a strange animal - sometimes philosophical sometimes blank but always active.  It is where we point that beam that illuminates the world around us.'

'A great piece of artwork, available to everyone.  Lots of interesting detail and a perfect setting.' (Caroline Hart, Co. Durham)

'Thank you for such an inspiring experience.  The gossamer like texture, and dappled light and shade beneath the canopy of tree's felt like a childhood memory.' (Ros Denby and family, Derbyshire)

'Not enough rabbits!' (Morris the whippet)

'What a lot of fun - Inspiring - so many forms, so many shapes, great ideas.' (Nick Kidwell)

'Emily, I enjoyed seeing the development of the project and this exhibition ties it all together.  The reading of Frances BirdsWords was a particular treat. The children's words were great fun too.' (Karen)

'A unique experience that showed just what imagination and inspiration is all about.  I have never been artistic and seeing such a display of nature, art and human interaction was something I would never thought I would see.  I really enjoyed seeing the display and to know the fun the children had on the various days.' (Claudia)