My art in the nature of things
I always been attracted to the outdoor life, ever since I was a girl. I often liked being on my own. Now I like the ease and naturalness with which things come one after the other; walking, climbing,camping, gathering wood, lighting the fire, boiling water, packing up and walking again. Walking, withits hardships and its pleasures, the surprise of discovery and growing experience, relaxation and concentration: walking is a good way to think. Steady rhythms. Your feet can take you anywhere inthe world, except where there is no water or the water is too deep. When machines break down there are always your feet. A lot of ideas come while walking, or when sitting down to rest. The landscape put them into your head.
A work of art in a place I choose, with the materials that are there, on the slope of a mountain, high-under the sky- a line of stones if there are stones lying about, or if the place wants a circle, a circle. -When there are no stones, I can walk up and down the footpath as often as necessary for a line to become visible. It may be gone when i move on. There is no special reason, aesthetic or political, tomake such works of art. The work is there because of the artist’s desire to make it. The artist makes art because he is an artist.
The works are traces of staying and passing; each marks what was the center of the world when i amthere. The forms are forms of movement. Many things come together in those forms. It is impossibleto ascertain when and where a walk, moving lightly ahead, pauses for a while, curls up into asculpture like a cat, and goes on its way again. Every work is different because the place is completely different in spirit and scale.
These are Visual Art works, Visual Art is the most concrete form of thought, because whatever you may invent in your head has to be actually made. Impermanence is a very important conviction for my work.
One wonders, actually, whether an artist ever worries about the physical future of his work. The artist’s business is I think always in the present: making a work leaves the previous work behind,while the next one is still beyond the horizon. My concern is to make the present work as powerful as I can. The beauty of art, the spiritual and visual density of the artwork, actually seems to derive fromthat absolute concentration on one moment- never from an artist’s direct , conscious involvement inhistory. Because when making a work (wherever I am) the artist is momentarily absent from history: Iam confronting history, intervening in order to change it.
The work is the result of the coming together, precisely in that place and moment, of these elements. Therefore, because there was nothing left out and nothing included that wasn’t there before, sculptures become somewhat of a prototype, or a matrix, a form so simple, open and resolved that italso become a clarification, even a revelation of how to make sculpture.
Walking slipped into a line,line slipped into a form, form slipped into place, place slipped into image.
FINAL PERFORMANCE
During The Holy week in April 2020 I made 8 different nature performances, related to every single day of the week till Easter Sunday.
Table Of Contents:
1. Palm Sunday: Body, Soul, Spirit
2. Monday: A House Of Prayers
3. Tuesday: The Power of Forgiveness
4. Wednesday: A Day Of Rest
5. Maundy Thursday: Washed The Feed
6. Good Friday: Last Day
7. Black (or Holy) Saturday: Preparation
8. Easter Sunday: Name – Amen
