I feel Long’s work resonates a sense of comfort and juxtaposition in his gallery settings. He is bringing natural materials from his journeys in the mountains into a civilised environment. The materials give the viewer a reflection of how the set up would look in its natural environment, how it would feel to be outdoors within the wilderness, to feel the wind, walking gear on, the unbalanced ground levels, the views you would see, the weather you may experience.
Longs clean shapes with a sense of clutter and chaos within the shape is intriguing, the influence of longs work has always been present in my own, but the Arnolfini’s recent exhibition of Time and Space was a catalyst for centralising his work to my practice again. He locally collected mud/materials from the river avon and the downs in bristol due to his personal relationship to Bristol.
Richard Long is interested in walks that follow or create a realisation of original ideas, walking as an art. His work is about acts of measurement, possibly relatable in my art, i want to concentrate on the scale, as i’m interested in installation straight away I think of large scale work. But obviously all in human scale for more relation. His work is about walking alone in a landscape, do I want my work to be a landscape, resonate the same feeling whilst your within a landscape? I know that I want to create a visual and physically engaging piece, something to look at and move around alike to Richard longs and Anne Gibbs work.
Photography is of great importance in Longs work to show evidence of where the material was collected from and its first creation in the environment it was found in. These creations we see in the images are ephemeral and temporary, the photograph holds a huge amount of value for the effort long has put in to climb walk to some of the most challenging parts of the world.
Longs use of language was part of a general move towards the so-called ‘dematerialisation’ of the artwork, art that might exist as an idea or a proposal, rather than a physical piece. linking to my recent post about the quote from The Principles of Art helps me understand the unknown of the creative process. page 130
“A work of art need not be a real thing. It may be what we call an imaginary thing. A disturbance, or a nuisance, or a navy, or the like, is not created at all until it is created as a thing having its place in the real world.”
“But a work of art may be completely created when it has been created as a thing whose only place is in the artists mind.”
“works are traces of staying and passing” “the forms are forms of movement, or stand still”
do i want my audience to feel a sense of comfort like do ho suh? or a sense of nervousness – where is the piece going to lead to, why is it there?
sense of time – wet photography, timelessness
writing/reading, extract from Walking The Line by Rudi Fuchs 1986
Longs works seems to only hold history of his own personal experiences and enjoyment.