Artist Jennifer Leach offers a ‘case study with no answers’; how (and whether) to engage with issues of right land relationship with resistance but not aggression: pausing, listening, acting with integrity, and being at peace with our choices.
2,270 words: estimated reading time = 9 minutes
How to be in this world right now, how to act, how best to use our creative gifts, and what voice to speak out with – a case study with no answers.
There is a strong argument growing right now, that engaging oppositionally with systemic injustice only serves to fuel polarities and division within a system that is heading for collapse. The advocates of this argument, many of them community leaders engaged in stunning endeavours of nurture and growth, are encouraging us to transfer our energies into laying fresh foundations for a more loving, more equitable world. I, like many activists, artists, and people with heart, find myself caught deep in this place of ‘no longer and not yet’. And I personally have been deeply impacted by the Walk for Peace monks in the USA, who have so visibly demonstrated radical change through embodied non-engagement with any political landscape. I find myself arriving in an internal place of peace beyond conflict, whose rules of reflection in the outer world I do not yet understand. I am unsure whether there remains any useful place, for me, for protest and challenge. Others of you may feel the same, and I share here a case study that illustrates this dilemma.
Standing tall with the more-than-human
In 2023, our community fought hard to prevent a local golf course, a major green lung of Reading, from being swallowed up by naked greed in the form of a large deluxe housing estate. In the history of planning in the UK, there had never been any application with a greater number of objections, over 4,000. Planning was denied twice, but on the third time of asking (like a bad fairytale), the Council voted in favour of the scheme. We, the community, gasped, we shouted, we cried, we were reprimanded for bad behaviour in the Council chamber. The scheme rolled inexorably ahead.
It felt important to bear witness to this swallowing of the land, in particular to the 112 trees that were to be felled. With Andrea Carr, friend and fellow ClimateCultures member, we came together with the community to do just this. We bound each doomed tree with a white band of muslin, photographed and honoured it. I had already spent months with the trees, photographing and recording each one of them, and I believe they reciprocated by revealing to me their unique energies in the photographs I took. Our project, Standing Tall, can be seen on the Outrider Anthems website.
The trees were felled, the deluxe detached houses are being built, with a token number of ‘affordable’ terraced houses (costing £500,000+) available through shared ownership with housing associations. And with the cement mixers still churning, the developers moved on to Phase II.
How then to participate in this second phase of landgrab within my community? By the time it raised its head, I was shifting further away from resistance, to focus more on the resolution of inner conflict and division, learning to be more humble in my judgement of ‘right’ and ‘wrong’, ‘good’ and ‘bad’. Concentrating on becoming the peace I wish to see in the world. And yet, the land, the beautiful land! How could I not help defend it?
I felt that using my creativity to reflect a changed dialogue might be the most helpful course of action, and so I made two small physical books, one called Standing Tall, the other The Land in Relationship. These small books are things of beauty, and in their own quiet way, radical. Standing Tall is a portrait of the land and the trees, a record of the art intervention led by Andrea and myself, and a pictorial record of the land during and after building. The loss of habitat is quietly evidenced. When the huge ‘protected’ oak sheds a limb through stress, it reads like a climactic moment in a story of loss. The book concludes with the words: “Fairfax Ltd is now submitting applications to build on the remaining golf course land. We dream that they may not succeed. We dream of a world where housing is no longer built for excessive profit and gain. Where housing is not seen as an investment. Where people own only the one home they live in. We dream of a time when, in the making of all decisions, the land, the community, and the more-than-human will, at last, be honoured again.”
The second book, The Land in Relationship, maps out the reality of inappropriate, insensitive planning actions, by placing the proposed site (always so prettily coloured in the application paperwork) within its landscape, naming all that is bound in relationship to it – the land surrounding it, the fauna and flora, the community, the ecosystem, the planet. It ends with the text: “It is time – long past time – to move back into right relationship with the land. There is no greater priority.”
These books are intended to re-establish contact with a truth nearly always crushed by the language and aggression of planning.
Creativity and witnessing for land relationship
Having completed the books, and not sure how best to share them, I was invited to speak at the government inquiry that was set up to decide on the Phase II planning application once South Oxfordshire District Council had turned it down and the planners had put in their inevitable appeal. And in this forum came the greatest ethical and spiritual rub for me. I did not know what I should say, nor what voice to use. I did not know how to use my creativity in the best interests of the land and the community, in a system that is inherently undemocratic and whose language is strident and disassociated. Should I be poetic, sharp, gentle, visionary, forceful?
After much thought, I wrote a story, The Oligopoly, using the language of my profession as artist and storyteller. I took three small oak trees up to the stand with me, and I shared my story. It was a tale that took no prisoners, and which, according to my own truth, laid bare the underlying narrative of bullying, greed and systematic aggression that underpins the highway to societal and environmental collapse. It ended with a provocation: “Change must start here, now, in rooms such as these. With acts of principled wisdom and clear thinking, based on necessity. If not for [the people] themselves, then for their children, and the children of all species.”
You can listen to my recording of The Oligopoly here:
Throughout my delivery, I could see the developers squirming. What was worse, I could feel the whole room squirming. At the end of my tale, I gave the inspector, and the developers, a copy each of the government’s 2026 Joint Committee of Intelligence National Security Report, and a copy of my two small books; they were filed under evidence.
I returned to my seat, feeling the intense discomfort not only of the developers, but of ‘my side’ too. I felt deeply uncomfortable. Exposed. I felt confrontational. Had I overstepped the mark? Had I alienated the inspector? Had I imposed my own act of hostility, and furthered rigidity and conflict, with a horrible sense of moral superiority, through the telling of my story? Could I have told a different story or used a different voice? Reader, I do not know.
What I do know is that local naturalists spoke knowledgably and movingly about the bats and the wildlife and the ancient wonder of the local Cucumber Wood, and conscientious volunteers and low-paid councillors from local neighbourhood groups and parish councils, who had spent months preparing a case to save the land, committed to five full days of the excruciating minutiae and scrutiny of planning-speak. And what I also know is that the inspector, when visiting the site itself, spent longer there, and walked further, than in any other site visit the lawyers could recall.
A few days ago, against all the odds, against all the predictions, the planning application was turned down. The inspector’s report was attentive and balanced; he had recognised the beyond-monetary value of the land, he had recognised the land in relationship, and he had honoured it.
I wonder still about my role, and inner conflict remains. Did I ‘grab the burning rope’ of resistance, and fight against a development that may indeed need to happen, before something better is born? Am I guilty of delaying the inevitable death of a system, I who believe so strongly in allowing the natural arrival of endings? Are acerbic acts of truthtelling helpful, or are they simply aggressive? Do they belong to the old adversarial system, or can they be supportive because they are ultimately rooted in acceptance rather than in conflict and anger? Perhaps in this instance the creative shake up was necessary, so that the inspector could see and listen differently. Perhaps it allowed the pleas of the community to be heard, and the quieter voice of the books to seed better. Perhaps it had no impact whatever. Who knows?
As a codicil to the story, Fairfax Housing and Reading Golf Club have just put in an appeal to the High Court, citing injustice and unfairness in the inspector’s report. Should the High Court accept their appeal, a different inspector will be appointed and the inquiry will begin all over again. The unremitting process continues. In light of this, I feel happier that I named and framed the developers’ merciless persistence within the context of a process that masquerades as democratic.
And so, for now, the case study ends. What is my conclusion? All I can really say, after much consideration, is this: in an extremely difficult time of shift, flux and changing systems, as we are compelled to face with renewed honesty our own individual approaches, pausing long, listening deeply and acting authentically are the best yardsticks, perhaps the only yardsticks, we have. And if we act so, we should then accept that we have then done our best, made the best decisions we could, and have acted with integrity. And that we should be at peace with our choices.
Find more
You can find more on Outrider Anthems’ Standing Tall project — along with digital flipbooks of the two books Jennifer presented to the council meeting — here on the OA website, and in Jennifer’s piece for our Creative Showcase: Standing Tall, 2022.
Jennifer has shared the text of her story, The Oligopoly, on her new Substack: “This substack space is going to be a mixture of myself and the organisation I founded in 2011 – Outrider Anthems. I am an artist, writer, advocate for the Earth, and a fan of life cycles and endings rather than exponential growth curves. I believe we as a global society have entered the ragged space between ‘the no longer and the not yet’, and we will need to work hard and listen well to find a new way forward in community. This is what I will be exploring here, hopefully in conversation with others.”
As reported by the CIEEM (Chartered Institute of Ecology and Environmental Management) and The Guardian, the UK’s Joint Committee of Intelligence report, National security assessment on global ecosystems, was published in January 2026 “with no press briefing, headlines or apparent ministerial comment, the report has landed amid a news cycle dominated by the World Economic Forum in Davos. Yet its conclusions are stark and far-reaching, with profound implications for environmental policy, planning and public investment in nature.” The CIIEM continues: “Of particular concern is the report’s conclusion that, if current trends continue, every critical ecosystem is on a pathway to collapse, and that ecosystem collapse is highly likely to drive national security risk.”
The Walk for Peace, led by Venerable Bhikkhu Pannakara, is a journey dedicated to raising awareness of peace, loving-kindness, compassion, and unity. This historic journey began at the Hương Đạo Vipassana Bhavana Center in Fort Worth, Texas, and travelled over 2,300 miles to reach its destination in Washington, D.C.
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From 2026, ClimateCultures is inviting members to say a sentence or two about how they use AI in their work and in their posts for us. We will be exploring this in future posts here and at our ClimateCultures & more Substack.
Jennifer – “The question of AI? Intrinsically I do not like it. I do not like who has inputted the data, how the data has been sourced, its internal biases, and who is seeking to make money, and gain power, from its use. I do not like how it has become our path, without debate and without consensus. I do not like how it replaces human effort and makes it easy to relieve ourselves of critical thinking. I do not like the cheesy, saccharine images that are its representation of spirituality, nor the ‘wonders of nature’ that it seeks to fabricate and enhance, as if they are not naturally wonderful enough. To the new parameters of ‘perfection’ it sets, I find myself responding with more mess, more spontaneity, more deliberate ‘imperfection’. This I like. I do confess to using it to cheat at Wordle, and my Spanish and elementary Zulu have been made possible through the AI owl service that is Duolingo.”
For actor and director 
Citizen artist 
