By John K. Grande
Paintings Nature Dialogues deals interviews with artists operating with, in, and round nature and the surroundings. The interviews discover artwork practices, ecological concerns, and values as they pertain to the siting of works, using fabrics, and the ethics of artmaking. John okay. Grande comprises interviews with Hamish Fulton, David Nash, Bob Verschueren, herman de vries, Alan Sonfist, Nils-Udo, Michael Singer, Patrick Dougherty, Ursula von Rydingsvard, and others.
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Extra info for Art Nature Dialogues: Interviews With Environmental Artists
Shrubs, trees, ﬂowers, and grass become commodities and are forced into human geometry. I try to free the surfaces of my work using sticks as a drawing material, work them in such a way that they look like they are escaping those chains of being planted in a row. I image that the wilderness lurks inside my forms and that it is an irrepressible urge. JG So there is humor there! PD At the turn of the last century, people read Herman Melville and Joseph Conrad and felt a righteousness about trying to dominate and control the forces of nature, be they, beast, tangled forest, or weather.
So they go to different places according to what the weather is on a particular day. Over time, their continual presence wears an oval patch into the ground. JG So Sheep Space is about building a relation between the art and the animals. DN Yes, of course! I wouldn’t put them there if they were not going to use them. If not, they would just be chunks of wood. Of course, where the sheep go, the lanolin of the wool leaves traces and oils the wood surface. JG Wooden Boulder (1978–) is an ongoing process piece, a huge four hundred kilogram, one metre in diameter chunk of oak in north Wales.
I started Wooden Boulder in the mid-seventies. It came from a recently felled massive oak, from which a dozen or more sculptures were made. I intended to move it down the hill to a wood and then to my studio, but it got stuck half-way in a stream. While initially this seemed a problem, I decided to leave it there and it became a sculpture of a rock. It has moved nine times since then down this river. Sometimes I have had to move it on, as when it got jammed under a bridge . . it could have caused a major ﬂood.