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

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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

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NIKOLAY POLISSKY is a Russian land artist. The majority of his artworks can be seen in the village of Nikola Lenivets, where, since 2000, the artist has been creating utopian environments and giant organic sculptures and architectures made of local materials using traditional village craftworks techniques and making its inhabitants real participants of the creative process.
The partnership between the artists and villagers has led to the establishment of a real cultural centre, and, since 2003, an international festival of landscape architecture, ArchStoyanie is held here.
Looking at the artist’s projects is like seeing architectures from all times emerge form the Russian soil. These organic architectures take the form of archetypical constructions, from ancient times to modernism, whreas other works are more close to natural phenomena like bird nests or beaver dams, or to modern-technology objects.





Size: height 12m, base 10x10m


SPOUTNIK, SPACE ARCHEOLOGY, Dunkerque, France, 2010


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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.

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Today I went to see STUART IAN FROST’s installations at the Panza Villa in Varese, Italy.
The weather was lovely and the park and Frost’s works were well worth the visit.

Here’s a small gallery of some of the pictures I took.

Previous post:

wood branches
3,60×3,20 m

1,8x12x3 m

DSCF2616FAGUS, 2013
8×16 m

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



13-Underwood_FishIIFISH III, 2003


barry_underwood_14ORANGE, 2007

TRACE (BLUE), 2008


The Panza Villa and Arte Sella are giving birth to a new project which will start on 25th May 2013 in the Italian style gardens and parks of the Villa in Varese, Italy.
The project will feature the works of three land artists, one per year, who, during their staying in the Villa, will be able to confront with the environment and to experiment their own vision of natural, architectural and artistic elements, creating a dialogue between the artwork and the environment.
Artists’ creations will be made of natural materials and, once the exhibition is over, will be left to decompose and dissolve into nature itself.
Visitors will be able to discover artworks and the site’s peculiarities at the same time.
Involved in the project is the English environmental artist STUART IAN FROST, who will realize three site-specific installations. Frost is interested in the physical character of the natural objects, their specific place within their specific environment and their relationship to culture, myths and history.
The project will continue in 2014 and 2015 with the intervention of BOB VERSCHUEREN and PETER RANDALL-PAGE.

Useful links: (ITALIAN)

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