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Land Art

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/

INSTALLATION FOR KKNK (165 poems for the landscape: video)
2008
Haiku

fSTRIJDOM VAN DER MERWE is a South African land artist. He works with the materials provided by the chosen site and shapes sculptural forms in relation to the landscape.
It is a process of working with the natural world, the elements of which are shaped into geometrical forms that participate with their environment, continually changing until their final destruction. Theese sculptural intervention arise from an interpretation of the fragility of beauty, which passing is not lamented, but evoked by a photographic image and the imagination.
The artist also reminds us of the capacity, however feeble, of an individual to alter the universe by embracing the neverending changing of nature, actively contributing to it.

11A LINE OF RED FLAGS
video

van der merwe5

17

13

reaching for the skyREACHING FOR THE SKY
2011

FIELDS OF FLOWERING HANDS
2010

Find out more at http://www.strijdom.co.za/

Bridge 2 2009 Arte Sella, Italy paperBRIDGE 2
Arte Sella, Italy, 2009
paper

STEVEN SIEGEL is an American artist who creates large, site specific public sculptures installed throughout the United States and Europe as well as smaller studio works created from some of the same post-consume materials that he works with on a larger scale such as paper and rubber tire shreds.
As a young artist, Siegel became fascinated by geology and the processes through which discarded matter is transformed over time. He began to ponder about the essential cycles of deposit and decay that underlie the making of the land and thus interpret the processes of stratification and compression in the compositions and forms of his sculptures.

New Geology 1990 8'x17'x1' paper, flora naNEW GEOLOGY
1990
paper, flora

New Geology #2 1992 Milan, NYNEW GEOLOGY #2
Milan, New York, 1992
paper, flora

Siegel wants his biodegradable sculptures to have an impact on their surroundings. Each piece is conceived and built onsite, using indigenous materials (such as tons and tons of local newspapers) and available labor; in such way it is made integral to the surrounding landscape. Often it is left alone to break down as it will, subjected to a gradual transformation due to the elements’ impact over time.
His art is not about making a political statement, it is not a matter of saving the planet, or protesting against greed and waste. But his work do raise questions about what can be done with human detritus and it concern space and time and our place in them.
The works resulting from the elaboration of these thoughts echo the mysteries he perceives resounding in the old rocks and beyond them and eventually mix with the basic physical processes that make the land.
For Siegel, the greatest motivation to continue to make sculptures is that the questions are always there to be asked. Just looking at different landscapes, he finds an “endless reservoir of source material.”

Like a hive, like an egg 2002 Arte Sella, Italy wood, paperLIKE A HIVE, LIKE AN EGG
Arte Sella, Italy, 1992
paper, wood

Scale 2002 Abington Arts Center Jenkinstown, PA paperSCALE
Abington Arts Center Jenkinstown, PA, 2002
paper

Oak 2004 Gong-Ju, Korea paperOAK
Gong-Ju, Korea, 2004
paper

This One is Flat 2008 Mirabel, CanadaTHIS ONE IS FLAT
Mirabel, Canada,
2008
paper

Grass, Paper, Glass 2006 Grounds for Sculpture Hamilton, NJGRASS, PAPER, GRASS
Grounds for Sculpture Hamilton, NJ, 2006

It Goes Under 2008 University of Wyoming Museum of Art Laramie, WYIT GOES UNDER
University of Wyoming Museum of Art Laramie, WY, 2008

Find out more at http://www.stevensiegel.net/

TIME AND TIDES, 2000

GLORIA LAMSON creates temporary site responsive installations and environments using natural or simple manmade materials, often in remote lands, which she documents with photographs.
Her artwork has evolved through a dialogue-type process, with spaces and places within and around her, trying to bring the inside out, and the outside in, to renew connection to the worlds within and around us.

BEING HERE
being here
being here2
being here3
being here4
shapeimage_1

These installations began as a moving meditation ‘in place’.
A way to enter into the presence of trees,
a way of weaving together inner experience within outer reality.
I began with questions.
How can I hold light without creating an object?
How can straight lines create the space of a circle?
How can tension of interconnected lines create a spaciousness in form?
How can I enter into participation with a particular place?

DRAWING IN THE LAND
2


drawing in the land2
drawing in the land3
drawing in the land4
drawing in the land5

I love the simplicity of a line as it activates our awareness of the surrounding environment.
Lines create bridges of connection as they signal movement through time and space.
I consider that we live within a fabric of interwoven connections,
with some being visible and some are not.

WRAPPING
BolderWrp33

brance dance (purple wrap branches)
treeWrap_001
IMG0060

Wrapping is a way of “holding center”. We wrap what we care about and what we want to protect. We frame special images, encircle loved ones with our arms, and wrap gifts in special papers. I think of the act of wrapping as an essential archetypal movement and the wrapping itself as a kind of skin which mediates the space between inside and out.

MOVEMENT AND STILLNESS
lamson2
lamson5
gloria lamson

http://www.glorialamson.com/Home.html

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/#

MOONSTRUCK, First Prize Kiev Sculpture Project, Ukraine, 2012

KARIN VAN DER MOLEN is a Dutch painter and sculptor. Most of her sculptural work is site specific, mostly involving natural materials such as willow rods, hay and earth. Lately she has become fascinated also by sello tape and video as a material to make ephemeral works. She exhibits her work in galleries and international art projects all over the world.

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

Nature is without distinction, without prejudice, without good or bad. The trees, mountains, oceans, and fields. Animals and humans. We are part of the same nature. We breathe, we are born and we will die. Yet to experience ourselves as part of the whole happens to be difficult for the modern individual. My environmental art is my way to open this experience , for myself and eventually for the other as well.

HILL FOR SOMEONE ELSE, Bylden om utens, Kollum, The Netherlands, 2000

DUTCH PARADISE, Dehullu Sculpture Park, Gees, The Netherlands, 2006

WASSERMANN SHELTER, Lübben, Germany, 2008

THIS IS NOT A BOAT, Landart Falster-Lolland, Denmark, 2008

MOONDOME, KAIR, Kamiyama, 2008

ORIGIN, Parcours des Fées, Barcelonette, France, 2009

SIDETRACK (wood, paint), Bippen, Germany, 2010SPACE INVADERS, Grenzkunstroute Übergriffe, Aachen, Germany 2011

Find out more at
http://www.karinvandermolen.nl/index.html
http://www.wooloo.org/artists/27390

1ALTITUDE FIELD, 2100 m
dry stone, wool

2ALTITUDE FIELD, 1695 m
wood, fire

3ALTITUDE FIELD, 1600 m
wooden logs

4ALTITUDE FIELD, 1650 m
dry stone, wooden logs

5ALTITUDE FIELD, 2030 m
dry stone, wood

6ALTITUDE FIELD, 2100 m
dry stone, wool

7ALTITUDE FIELD, 1930 m
dry stone

8ALTITUDE FIELD, 2100 m
wood

9ALTITUDE FIELD, 2200 m
dry stone

OLIVIER DE SEPIBUS is a French artist who examines nature and all its components in the attempt to integrate the concept – a three-dimentsional object – which reminds us of traditions and ancient processes of building.
ALTITUDE FIELD, made for the Grandeur Nature festival in 2007, is both a photographic and an in situ installation project which stimulate the eye and immagination of the viewer. The same protocol is adopted within the creation process: a cube of identical size (120x120x120) is replicated nine times but with a different architecture according to the landscape it’s set in. The images are playing with the stereotypes and imaginary references of the mountain.

Find out more at http://www.olivier-de-sepibus.com

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