My work reflects the current human condition, often with regards to nature. Using different mediums to remodel our perception of landscape, in miniature to life-sized works, I address our withdrawal from the wild; and how, despite it, we continue to listen to the vociferations of the wilderness we have abandoned. For me, there is an undeniable call to raw, uninhabited landscapes or conditions, whether real or philosophical. There, the imagination has the power to preserve our world.
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FIELDWORK Q&A – May 2020
How is fieldwork part of your practice?
My work always begins with a question or an experience. If it’s a question, I go outside to research and do fieldwork – if my curiosity about something comes from an experience in the outside environment. I also use my studio for ‘fieldwork’ to experiment and discover the possibilities there.
How would you describe your fieldwork activity?
I observe and experience, but not to document. Experience needs to overcome me, and not be a deliberate search for something. If I’m in the middle of a winter landscape that I experience as a black-and-white environment, without any colour, I’ll employ that in my work. But I won’t go looking for it.
How are you currently sharing your fieldwork?
In my work, I try to make obvious the landscape in which one is standing or experiencing. Whether it’s painting a Dutch sky on the underside of a drawbridge, placing paper birds in a forest or creating a room around a tree, I create physical spaces in which people can have moments of intensity with the natural world, either for exhibitions or as commissions for public spaces.
FIELDWORK
Perpetual Drawing
TSOEG 