After Life for Design: Exhibition Showcases Sustainable Burial Practices

Related question: what made *you* think about it? Was it any incident or something that set you thinking?
Sherry Haar: I was part of a design forum on textiles and place.  The burial garments by Pia Interlandi, Jae Rhim Lee and Mark Mitchell were presented as case studies by Gwendolyn Michel & Young-A Lee (Fashion & Textiles, 2017).  At the time I was investigating how to strengthen the dye bond between regional plants and fibre.  And I thought, why am I trying to strengthen this bond?  I’d rather work to decrease the bond for decomposition and design for an underserved market.

It is a very personal subject, a tricky terrain that not many would like to venture into. Comments, please.
Sherry Haar: Dying and death are personal, emotional, and heart breaking.  I cry a lot when researching and creating.  I’m very intentional that my designs don’t ‘shout’ a message.  Rather the forms subtly draw the viewer in, while the intricacy of methods give the viewer pause – to stop – to look closer – and then to be curious about green burial, to ponder end-of-life options, and perhaps consider how their body and textiles may contribute to environmental sustainability.

Your exhibition at the Marianna Kistler Beach Museum of Art is ongoing. What has been the reaction so far? Could you share any anecdotes with us?
Sherry Haar: Most visitors were not aware that natural burial is an option in the US, so they were surprised but interested to learn more and tell others about the exhibit and green burial.  Visitors shared how the exhibition experience made them reflect on current and past relationships and their relationship with dying, burial plans, and death. The other key reaction was appreciation for the level of skill and care shown in the designs.

What are the fibres and dyes that you have been working with? 
Sherry Haar: The fibres are all natural, including alpaca, cotton, hemp, flax, bamboo, wool, and silk.  The 26 dyes are also all natural with a focus on regional plants, such as coreopsis, goldenrod, osage orange, sumac, sunflower, and walnut.  The prints are from transferring prairie grasses onto the textiles with pressure and steam. 

In addition to a local soil-to-soil colouration system, the designs include sustainable design strategies for multi-use, decomposition, and meaningful engagement.

And importantly, have you been designing actual burial wear that has been used by people?
Sherry Haar: My current aim is to bring awareness to green burial through my fibre art. However, moving forward I will be collaborating with individuals who want to naturally colour and print their burial textiles.

Going back to the earlier question. This is obviously something immensely personal, religious too. Do you think there would one day be legislations about how one can bury a near and dear one? Then again, there are not just burials, but cremations too.
Sherry Haar: Each state in the US already has regulations for burials and funerals on public land, private land, and for specific religious practices.  Seven states have approved human compositing.  You mentioned cremation by fossil fuels, which is the most popular option in the US, but does emit toxic pollutants. There is also alkaline hydrolysis water cremation, which uses less fuel.

Please tell us about your own work otherwise. It is also not always that one sees a professor of fashion studies at a College of Health and Human Sciences.
Sherry Haar: I’ve been researching and designing with natural dyes for over two decades.  I’m a professor at Kansas State University, the first land-grant institute in the US, which started with studies in agriculture and domestic science (sewing, cooking, home health and welfare).  We’re one of the remaining original programmes that maintained strong ties to a college that focuses on the well-being of the individual, family and community.

One last question. Please tell us about the title of your exhibition, especially the "prairie" bit.
Sherry Haar: Actually, this should probably be one of the first questions, as my work is framed by the ecology of place.  My place is amongst the Kansas Flint Hills and Tall Grass Prairie. The Flint Hills ecoregion has most of the remaining 4% of original tall grass prairie in North America.  I gather and grow prairie plants to dye and print fibre, which then can be returned to the prairie at burial.  This unique landscape is evident in my work through representations of the prairie’s tall grasses with deep roots, vibrant wildflowers, and vast horizons.