During a ten-day residency in June 2002, Japanese artist Rikuo Ueda made countless ‘Wind Drawings’ in and around Birmingham. These were the result of the wind moving the branches of trees and various Heath Robinson-esque mechanical devices, made from fishing rods, string, clips and stones, attached to pens and pencils poised over pieces of paper. The results were abstract; often resembling doodles symptomatic of some pathological repetitive condition, but the fact was they graphic traces of meteorological forces. This was not some belated hippy project. Rather it exemplified an edginess arising out of the fact that humanity cannot leave nature alone, and vice versa.