A Slow Start

"Landscape is ultimately going to subsume us all, it's the inevitable destination of all living things. So it is almost an irony that landscape is one of the expected subjects for painters... I describe my works as an unnatural staging of the natural. There is also a contemplation of monumentality, in the sense that I make a lot of very small works but I"m also drawn to making something so big that it is part of the landscape, a sense of scale that is also a mechanics of play. And there's a desire to make something that has a time component... What we have initiated is what I call a permanent work in progress. I will be long dead by the time the work reaches fruition, when the plants are mature enough to flower goldenly and magnificently. So what I think I can justifiably claim is that what we are working on is the slowets art work in New Zealand."

So says John Reynolds, in his book Certain Words Drawn, about his earth works SNOW TUSSOCK, GOLDEN SPANIARD and Cordyline. The first two are part of a larger project employing artists, also including Gavin Hipkins and Jae Hoon Lee, to rejuvenate the heavily mined landscape of Macraes Flat. Cordyline is hidden on Alan Gibbs' private sculpture park at The Farm in Kaipara. There is a fourth earth work by Reynolds, which precedes these but doesn't seem to have been concluded. This was part of a bigger multi-disciplinary project about layering data on the Auckand landscape. The first of a proposed series of planted arrow formations should be growing somewhere around here at UNITEC.

Reynolds' comments on temporality ring true when visiting these works via google. Golden Spaniard is shown at a very early stage with what look like heaped tailings being gathered into a giant koru shape before being sculpted into a ziggurat form. The earth-moving is now completed but there are many years of growing ahead. In anticipation of potential future phases of Art from Space, we will start archiving these map images as they are updated for juxtaposition with later incarnations.

Bearing in mind the wiry motifs Reynolds now has self-propogating around the countryside, it's easy to also look at these two forms as an interesting pair of in-progress drawings HERE and HERE. And just for good measure, here is the inverted ziggurat of the still-functioning WAIHI GOLDMINE.

Image: John Reynolds, The Garden for the Blind, proposed detail of installation in Orakei.

Serra from space

Once more following the lead of overthenet, currently at large and posting art missives from around the world, I decided to hunt out some Richard Serra works and see how his iconic structures bare up to the harsh truth of the satellite eye. For starters HERE is the work overthenet have just cycled through (cheers for the plug M&J).

Also in Germany, Bramme for the Ruhr District in Essen shows up as little more than an enigmatic SHADOWY WISP in the large clearing it is sited on. It seems this expansive setting photographs well, and this account suggests that the mound is in fact part of the work - note the scale of the work as indicated by the tideline of graffiti.

TORQUE has an impressive traffic-directing placement in the middle of a South German University campus. This one also has a graffiti tideline (see picture above).

Here is EL MUR in Barcelona. Someone asked me earlier this year whether it makes a difference whether I know these sites other than on cyberspace. I suspect it's more interesting and intriguing if I only know them as aerial-digital representations, but I'll report back if I bump into El Mur, or any other alien art, later this month.

TERMINAL in Bochum, Germany, also has been placed to stop traffic. The nice thing about this one is that the aerial view provides an interior.

THIS one is Iron Mountain Run in Connecticut.

Famously, Tilted Arc is long gone, but THIS is where it once stood. And then there is the 38-tonne sculpture that somehow disappeared from a Madrid museum. One of his largest works, Te Tuhirangi Contour, is situated just north of Auckland, but the entire private estate it resides on is MYSTERIOUSLY BLURRY.

It seems Serra translates well to satellite and I could keep going with more examples. But lastly, SEA LEVEL seems perfect for the google traveller. Not only does it reward horizontal scanning, it has an inherent reference that helps the viewer situate it vertically in relationship to its surroundings, something that is usually lost from this angle. I'll let this website do the explaining:

"Sea Level (1996), located on the outskirts of Zeewolde, is situated on either side of a canal. From the adjacent dikes, there emerge two concrete walls which are placed at a diagonal to the canal and in alignment with each other. The viewer mentally connects these two walls with each other, creating an imaginary segment of wall that runs straight across the canal. The top edge of the wall is at sea level; a fascinating interaction arises between the wall, the top edge of the dike and the surface of the water in the canal."

Meanwhile, back on overthenet, they have now noted another monument-al work, which is yet more in the vein of straight-up-as-high-as-you-can-go. The result when given an aerial view, as will eventually be demonstrated HERE, is that there isn''t much action in any other axis .

Sculpture parking

A recent post on overthenet had me wondering about just how impressive sculpture parks might look by satellite. There's a bunch of them around and they're specifically set up for big outdoor work.

Here's Vigeland Park, as recommended by overthenet. An impressive setting but not much to be SEEN FROM ABOVE.

There are two public parks just out of Auckland. Connell's Bay on Waiheke Island; the YELLOW SPECK ON THE RIGHT of the path going north from the bay is probably the Phil Price piece gyrating away. And Brick Bay Sculpture Trail near Matakana, with an impressive piece of land work that can be SEEN FROM A LONG WAY UP. No sign of the pavilion on the lake so the current map must pre-date the official opening of the trail. Not to forget Alan Gibbs' estate on the Kaipara Harbour, which is unfortunately (suspiciously?) OUT OF FOCUS.

The Cass Sculpture Foundation near Goodwood, UK is the model for Brick Bay, but not much that's recognisable to be SEEN FROM ABOVE except the roof of Alex Hartley's Pavilion.

Finally, here's the Chinati Foundation in Marfa, Texas. Nice to SEE SOME MODERNIST BOXES out in the desert.