Artist in Residency
In the heart of the bustling city, an artist-in-residence embarked on a transformative journey, immersing themselves in the vibrant local culture. With a vision to create an installation that resonated with the surrounding environment, the artist engaged in conversations with residents, absorbing their stories and experiences. Gathering materials from the streets and repurposing found objects, the installation began to take shape, reflecting the essence of the community. As passersby watched the process unfold, a dialogue emerged between the artist and the audience, blurring the lines between creator and spectator. Each day brought new inspiration, improvisation, and collaboration, culminating in a breathtaking interactive installation that invited visitors to step inside and experience the world through the artist's eyes. This project not only transformed the space but also fostered connections, leaving a lasting impression on both the artist and the community they had come to love.
A Conversation with Nature
Artworks are supposed to be exhibited in museums, or inside; or they could be public art, like sculpture. But to exhibit them short-term—just a couple of months or less—outside, somewhere like a rice field or another natural space, after which they have to be removed or destroyed—why would somebody do that? Why waste such energy on an artwork or project with such a short life-span? What is the purpose of exhibiting an art work where it can be exposed the elements, transformed by the weather? Importantly, such artwork forms somewhat of a contrast to the character of mainstream culture, for example it cannot be easily transported and cannot be integrated by art galleries or museums. It is also difficult for such work to attract the interest of collectors. When the exhibition ends, you need to bring the artwork back to the studio, or have it stored somewhere.That day, as we were walking around the beautiful natural surroundings, one by one the artworks revealed themselves in many places—amid urban areas, in the rural environment, in a forest, connecting and recreating harmony with nature, in situ. It was entirely different to going to a museum: I could feel the wind; I could hear the birds and insects around me; I could smell the greenery. And I had so many different views of the art works, each of them with a different story to tell.In that way, I started to understand the point of environmental or land art, and nature. Of course, the natural environment had always been a part of artistic representation, like landscape painting. But by the end of 1960s and the beginning of the 1970s, Land Art fostered a more intimate relationship to the nature and a break with the rule of “framing” a work. The art work became an experience, without a single view-point or focus. Such art works have a multitude of views or perspectives, which are often difficult to capture in a single snapshot for example. You have to be there, inside or outside, to feel and understand the presentation of the work.
