Archive

Installation Art

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/

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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/

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/


Wood
2001

Treat A Stone Like Gold

Wood and nails reveal their bare skin like nude models, saying, “I’m a wood” or “I’m a nail.”
Making a nail more beautiful than it really is, and making wood happier than it really is… I work with things which are unattractive, useless, unlovely and ordinary. They are found everywhere, but unnoticed by anyone and passed by all other artists.
“Treat a stone like gold!” Unattractive-looking nails gather around to become jazz, and uselessly bent tree branches gather around to become magnificent classical music. There must be a distinct difference between sound coming from a single violinist and sound from 10 or 20 violinists.
Why do people say, “The more, the better?”
What is the world of “All in one, one in all?”

Jaehyo Lee


Wood
2001

Wood
2009

Wood
2008

Stone
2006

Wood
2012

Snow
2011

Find out more at http://www.leeart.name/

skytowerSKYTOWER, Rawyards Park, Airdrie, Central Scotland, UK, 2013
12mm steel rod

ROB MULHOLLAND is a Scottish sculptor and istallation artist who creates visually stimulating and thought provoking works. His work explores the human relationship with the wider environment with a reflective and questioning approach to the ever-changing world around us.
Skytower, Rob’s latest work, refers to the artistic concepts of Constructivism and De-constructivism and also aims to introduce the factors of natural chaos and de-construction. This balance between order and chaos, force and reaction is observed and reflected in the installation.
Reflective Transmutations, vestige park, Glasgow International Festival of Visual Art. 2010REFLECTIVE TRANSMUTATIONS, Vestige park, Glasgow International Festival of Visual Art, 2010

The reflecting figures in the forest of Aberfoyle aim to express the artist’s feelings regarding ancestry an the theme of lost communities and displacement. Visitors are welcomed to reflect on how much has changed in a relatively short time and to consider and ponder the lives of those who lived and worked on these hillsides in the recent past. These figures ask us to look again and consider the symbiotic relationship we have with our natural and man-made environment. The human desire to leave a trace of ones-self for future generations, the driving force to create and leave a semblance of our-selves as individuals and as a society has always intrigued him. Some of Mulholland’s outdoors intallations are made of steel, a material the artist appreciates for its durability and sense of permanence. Mulholland has always been interested in the representation of the human form. The mirrored human figures are a progression of some of his earlier work which dealt with the fragility of human body compared to the strength and essence of the human spirit. The human brain can determine that the reflection is just a reflection, but there is still a slight doubt that it is not truly real, as they create an ambiguity and allow the viewer to create their own interpretation. This notion of non-space is what the artist is interested in and wants to develop further.

vestige 2009VESTIGE, 2009

waterboundWATERBOUND, 2011

leaf figure 2011LEAF FIGURE, 2012

cloud catcher scotland 2012CLOUD CATCHER, Scotland, 2012
Mirrored stainless steel

monad 1992MONAD, 1992

Find out more at http://www.robmulholland.co.uk/#

ICE TYPOGRAPHY


LEGACY on the Yukon River, 2009, refers to the landscape as being the heritage of the inhabitants of this region, which was founded over a hundred years ago during the Gold Rush.

NICOLE DEXTRAS is an environmental artist Who works with different media such as sculpture,
public installation and photography.

Here’s an extract of the artist’s statement.

“The Ice Typography series consists of three-dimensional words fabricated in ice placed outdoors that speak to how the viewer’s gaze frames and informs the landscape. When the ice texts are installed on site, the temperature determines how long it will take for them to change state from solid to liquid. This phase of transition becomes symbolic of the interconnectedness of language and culture to the land as they are affected by time and by a constant shifting and transforming nature.
The use of text in the landscape relates to concrete and visual poetry but with the added twist of having the word’s meaning alter with the melting process.
The work also pays homage to the N. E. Thing Company who in the nineteen-seventies put up signs along roads instructing drivers to: “Start Viewing” and “Stop Viewing” the landscape.
The visual poetry in this series aims to subvert the authority of the English language and the commerce of signage by representing words as vulnerable and shifting. Ice Typography absorbs light, melts and eventually leaves no trace.
Words cast in ice interrupt our literal narratives, allowing a more integrated reading of the land we inhabit, as opposed to the past and current commodification of land as limitless resource. This fundamental split in perception lies at the crux of our environmental crisis. I therefore choose to create within an ephemeral vernacular to accentuate the collective physical and psychological experience of flux and change.”


RESOURCE – Lake Nipissing, Ontario, 2008 – questions our ownership of natural resources on a local, national and global level.


VIEW – Lake Ontario on Toronto Island, 2007 – questions how we look at the landscape and how nature becomes a commodity.


TRUTH – Toronto Island, 2007 – relates to the multiple perspectives of language.



IN/FLUX, Banff Art Center in Alberta, 2005. Banff is a ski resort town set in the Rocky Mountains and it is a prime example of the influx of commercial interest incorporated into a wilderness landscape.

Find out more at “http://www.nicoledextras.com/

BLEU, 2007

BARRY UNDERWOOD is an American artist who builds real full-scale installations in the environment to create surreal landscapes using neon lights. He then photographs them with a theatrical or cinematographic approach, reading the landscapes and altering the view with photographic effects.
These pictures explore the potential of the ordinary using illusion, imagination, and narrative. They transform everyday natural sceneries into unique images that alter the perception of space and also defamiliarize common objects.
Inspired by cinema, land art, and contemporary painting, the resulting photographs are both surreal and familiar. They suggest a larger narrative, and yet that narrative remains elusive and mystifying.
Space collapses, while the installed lights appear as intrusions and interventions, making the forms in the landscape abstract.

brushbrook_2012BRUSH BROOK, 2012

 TRACE (YELLOW), 2008

NORQUAY (YELLOW), 2007

13-Underwood_FishIIFISH III, 2003

BLUE LINE, 2010

barry_underwood_14ORANGE, 2007

TRACE (BLUE), 2008

RODEO BEACH, 2009

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