LA BOLDRIA
Volterra, Italy
2009

MAURO STACCIOLI, born in 1937, is a prominent figure in Italian contemporary sculpture. In the early 1970s he pioneered a new kind of sculpture, made of massive, large scale steel installations placed in the urban setting. Later he placed these sculptures in the natural environment.
These interventions are characterised by essential forms, coherence and perfect cohesion to the environment in which they are set.

Staccioli-Tondo-Pieno-La-Mestola-2009-600x401TONDO PIENO (Full round)
Volterra, Italy
2009

In the planning stage Staccioli proceeds in a rigorous and meticulous way, studying the environment, the history and the characteristics of the place that will then house the work of art.
His aim is not to produce relaxing objects and soothing shapes, but to provoke, in the individual, an active and critic approach to their role in the present age.
Staccioli’s choice of the site is influenced by the perception of its space and its morphological aspects, as well as by its being a tangible trace of a culture and community the artist wants to bring into the light. The sculptures engange in a relation with the landscape’s history, culture and human work, stimulating also the author’s own memory.
As a fact, childhood memories play a substantial role in Staccioli’s work. In Volterra, Tuscany, where he was born, the artist placed a big elliptic stucture that circumscribe the view of his grandparents house and the area in which his parents worked the soil.

Località Piancorboli. Primi passi 2009PRIMI PASSI (First steps)
Volterra, Italy
2009

piramide 85° parallelo fiumara d'artePIRAMIDE, 38° PARALLELO (Pyramid, 38° parallel)
Fiumara d’arte, Italy
2010

Anello ’97, località Poggio di San Martino, Volterra, 1997-2005ANELLO ’97 (Ring ’97)
Volterra, Italy
1997-2005

Mauro_Staccioli_Parc_Tournay-Solvay_Watermael-Boitsfort_2008-03-15Parc Tournay-Solvay
Watermael-Boitsfort, Belgium
2008

Portale,+Fattoria+di+Lischeto,+Volterra,+2009PORTALE (Gate)
Volterra, Italy
2009

6.MorteroneMorterone, Italy
2013

Find out more at http://www.maurostaccioli.org/

FLOATING WAVE – THE LAW OF NATURE
Geumgang Nature Art Biennale, Korea
2008

One theme of my art work is the “the law of nature”.
For example, if someone tries to make something
floating in the air, there are only two ways. One is
lifting and another is pulling and of course both need
the perfect balance.
Thus he recognizes the gravity as the law of nature.

    Ushio Sakusabe

THE LAW OF NATURE
Geumgang Nature Art Biennale, Korea
2004

FLOATING WAVE
13th Abiko International Open-Air Art Exhibition, Abiko City, Japan
2010

FLOATING STONE – PERPENDICULAR
10th Abiko International Open-Air Art Exhibition, Abiko City, Japan
2007

FLOATING WAVE – 1
ZAIM (The old Kanto Finance Office), Yokohama City, Japan
2008FLOATING STONE – ARCH
Neckar River Art Project, Nuertingen, Germany
2006

Find out more at http://ushiosakusabe.com/english/

PROTEST
2000

GYONGY LAKY is a Hungarian-born, American based artist. Her work employs humble materials, often harvested from nature and agricultural sources, and recycled elements and it features direct methods of hand construction that she associates with basic, grass roots, human ingenuity about making things.
The themes of Laky’s site-spefic sculptures unclude various issues such as gender-equity, environmentalism and opposition to the war in Iraq. These subjects are often presented through her language sculptures.
AFFIRMATIVE NO
1996

My sculptures, over the past several years, often reference issues of on-going concern for me. They are primarily composed of orchard debris, park trimmings and street tree prunings-collected from the many tons of cuttings which are available each year as growers and gardeners trim and discard (or often burn) the branches of nut and fruit trees and as we maintain our parks, streets and gardens. I am interested in making a small dent in changing attitudes about the environment and our relationship to it. I refer to my work as architectural structures and use age-old forms of human ingenuity about building things by hand. Some work is for the wall, some free-standing and some occurs in site-specific outdoor situations.

    Gyongy Laky

SUN STREAM
1995

 

TRINITY                                                                                                                                              CONNECT
2004                                                                                                                                                     2005

SLOWLY
2002

Find out  more at http://www.gyongylaky.com/

LONG KNOLL (Field od Light project)
Kilmington

BRUCE MUNRO is a British installation artist working in light, often in open spaces and natural environment.
He is fast becoming known for his large-scale and inspired lighting installations and bespoke pieces for private clients.

CDSea
First of a series of recycled materials installation, CDSea was installed in a field near Kilmington on 19/20 June 2010 and was dismantled in July 2010. 140 people helped the artist to lay the installation, which was composed of 600,000 discarded discs.

FOREST OF LIGHT
Longwood Gardens

FIELD OF LIGHT
Longwood Gardens

WATER LILIES
Longwood Gardens

FIELD OF LIGHT
Ayres Rock, Australia

WATER TOWERS

Find out more at http://www.brucemunro.co.uk/

0030_himm_01IN DEN HIMMEL RHEIN (Into Rhine heaven)
1999

CARLOTTA BRUNETTI is an Italian-born, Germany based artist whose work encourages the viewer to experience nature “with fresh eyes” and to reflect on the connections between urban and rural perceptions of the natural world. She uses materials from the site to subtly connect indoor and outdoor, internal and external experience.
Brunetti believes humans are part of nature; they are present in her work with relics like trash and footprints or in cultural associations. Her work is also harmonious with the cultural givens of the region in which tit is created.

0007_liquid_01 0009_liquid_02LIQUID
Grass Mountain Artist Village Taipei
2009

My work outdoors or in landscapes is often felt by many people as superfluous. Art within nature seems to contradict nature itself. Nature doesn’t need us is the usual argument. What is mostly forgotten is that we ourselves are part of nature. We will always have a share in nature, also negatively. What is important is that we do not become oblivious to nature’s unspoiled state and that we thematize her destruction by man. Conceptual interventions in natural, cultural and city landscapes is one of my deepest concerns, and showing their human traces in my work another.

    Carlotta Brunetti

eyes of perceptionEYES OF PERCEPTION
Bernheim Forest, Kentucky, USA
2004

0007_hugging_02EINEN BAUM UMKREISEN (Hugging a Tree)
Austria
2010

0020_inond_02INONDATION
Camargue, France
20100026_towar_01TOWARDS THE BEGINNING, VERSO L’INIZIO, ZURUCK AND DEN URSPRUNG
Pordenone, Italy
2008

Die VerheißungDIE VERHEIßUNG
Ortung, Schwabach, Germany
2007

Find out more at http://www.carlotta-brunetti.de/

Serra and Venet in the mist GIBBS FARM

About 60 km north of Auckland, lies a 4 sq kilometers property owned by one of New Zealand’s wealthiest businessmen, Alan Gibbs. Opened in 1991, the area, known as GIBBS FARM, is the site of a private sculpture park which features a variety of massive sculptures by 22 famous international artists.
Almost all of the sculptures in the collection were commissioned site-specific works that find a meaningful connection with the unique landscape that surrounds them, each in a peculiar way.
TE TUHIRANGI CONTOUR
Richard Serra
1999-2001

The works is a vast weatherproof steel construction 257 meters long and six meters high, described by the artist as a device for “collecting and pooling the landscape”.
It bears a comparison with the 18th-century invention of the fence deep in the ground designed to encircle and separate the garden from the surrounding landscape without being visible.

DISMEMBERMENT, SITE 1
Anish Kapoor
2009

Created from blood-red PVC sheeting stretched between two giant metal rings, the sculpture has a myriad of meanings. It appears as a huge swollen ear that listens to the land and sea, a huge trumpet calling faraway travelers or a stem of a bright red flower. It could otherwise be seen as a gigantic vulva, suggests a maternal creature born from the all-bearing earth, a protective, but sexually alluring mother.

HORIZONS
Neil Dawsons
1994

The painted steel, trompe-l’oil sculpture is the only one that can be seen from the road underneath the area and it seats on one of the highest points in the property.

PYRAMID
Sol LeWitt
1997

The concrete blocks minimalist sculpture comprises in several intriguing paradoxes: it is comprised of many small units and yet it is a single form; it is conceptually simple but perceptually complex; and while it is unequivocally sculpture, its scale and form are highly suggestive of architecture.

ARCHES
Andy Goldsworthy
2005

The installation is made of Scottish stone quarried from a place close to Gibbs’s family origins. It sinks deep into the sand, creating different effects wether the tide rises or recedes, intimating natural occurrences: tides, streams, and weather systems and suggesting that art is only ever temporary and subject to the laws of nature.

THE MERMAID
Marijke De Goey
1999

The building of the work which bridges an artificial lake, relied on the expertise of the engineering team at the farm, thus demonstrating the way in which Gibbs operates as collector, commissioner and sometimes producer of the artworks.

SADDLEBLAZE
Peter Roche
2008

The work is made of long bright red lances of LED placed among the Eucalyptus grove. It is a playful evocation of a festive gateway to the Wild West.

RED CLOUD CONFRONTATION IN LANDSCAPE
Leon Van Den Eijkel
1996

http://www.gibbsfarm.org.nz/

TORO (Bull)

DARIO GAMBARIN is an Italian artist who creates large scale “field paintings” using a plough. His colossal works last no more than one day, until the next seeding.
Gambarin says the idea came to him fifteen years ago, in Germany, while looking at Land Art photographs. These works looked perfect, but they seemed  too much carefully thought out and controlled, carryed out following a preset path, giving no space to the unexpected. Where was the risk?
He decided his works had to be realised without any trace to follow, like freehand drawings on several thowsand squaremeters fields.

HOPE IS IN THE LAND (OBAMA)

URLO (Howl)

MANDELA WINNER

 

DONAR                                            IN MEMORIA DEL PROF. SERRA (In memory of Professor Serra)
ATOM

Find out more at http://www.dariogambarin.com/

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