2017 marks an exciting milestone for Fieldwork! We are celebrating our 10th anniversary this year with Soundwork - an exhibition of 6 new installations that will include the incorporation of sound. We hope you will journey out this season with friends and family to experience the diverse ways that artists think about, and use sound in their creative work at Fieldwork.


Soundwork: Opens Saturday, May 13

An afternoon of artists' talks, a tour, performances and workshops.


Mixed Metaphors (Jesse Stewart & Matt Edwards)

Hilary Martin & Ranjit Bhatnagar

Annette Hegel & Deborah Margo

Matt Rogalsky & Laura Cameron

Doug Van Nort

Nicola Oddy

Explore art in nature along our field and forest trails. Fieldwork is open to the public all year long, free of charge. This exhibiton as well as many ongoing installations from previous years are yours to discover.


More information about this year's installations will be posted on the website and on our social media channels in the coming weeks so please follow us and share our pages with your friends.  Facebook, Twitter and Instagram



Fieldwork has been funded by the Ontario Arts Council since 2008.  We also rely on the generosity of our supporters. We appreciate donations of any size.  Please contact us if you would like to discuss donating.



Fieldwork  is open to the public daily, all year and free of charge.  Just park and walk.
Note: Please remember that it is a natural setting and there are bugs (including ticks).  Be sure to dress accordingly and cover up.
Directions to the project are

Since its inception in 2008, Fieldwork has been run by a team of artists (The Collective) that volunteer their time and energy to make Fieldwork a vibrant and dynamic destination for the creation and experience of site-specific artwork in and around a field in eastern Ontario, close to the towns of Perth and Maberly.

Fieldwork hosts work by local, national and international artists at various stages of their careers and invites the public to visit and explore the artwork all year long. 

The Collective looks after the site, co-ordinates and promotes projects, shares administrative duties and makes joint curatorial decisions. From time to time the Collective members also create their own Fieldwork installations.

The Fieldwork Collective welcomes proposals from interested artists and circulates a public call for proposals annually in January.  Suggestions and proposals for events or workshops are also welcomed from the local community, schools and arts organizations that are interested in fostering connections, dialogue and creative action between people, art, and nature. Please contact us at fieldworkproject@gmail.com

More information on current and past installations can be found by scrolling down this page and/or by looking in the archives in the right hand menu.  Be sure to also check out additional photos of the installations - found in the galleries located in the right hand menu.

susie osler - Mar 28, 2017
Fieldwork, Framework: Words on the Land 2016, Ottawa Writers Festival

We are so very pleased to now have this gem of a video documenting Framework: Words on the Land 2016. It is short and sweet and provides a window into the experience for the 9 writers who participated.

Featuring: Helen Humphreys, John Steffler, Alissa York, Sandra Ridley, Pearl Pirie, Jonathan Kaplansky, Monty Reid, John K Grande and Katherine Graham

Very very special thanks goes to the generous and talented Orion Zuyderhoff-Gray for making this exceptional bit of documentation for us.

Let us know what you think!

Click here to watch

susie osler - Mar 28, 2017
storywork: telling tales rooted in the land at fieldwork, 2016,


Fieldwork is delighted to be partnering with 2wp and the Ottawa International Writers Festival in presenting an afternoon performance of storytelling Saturday, September 24. 2-4 pm.

With: Marie Bilodeau, Katherine Grier, Daniel Kletke, and Marta Singh. Curated by Jennifer Cayley (2wp)

Four of our region's finest storytellers journeyed into the very particular natural and creative landscapes at Fieldwork this summer. Inspired by their experiences and by an abiding love for the old stories, these Tellers will bring a vivid performance of telling tales to the loft at Fieldwork.

Storywork: Telling Tales Rooted in the Land will offer audience members a rich and memorable experience of some of our ancient, yet oh-so-contemporary narrative gems.

For keen listeners aged 12 and up.

Tickets: $20 through the Ottawa Writers Festival HERE

Location: The barn loft at Fieldwork - 2501 Old Brooke Rd. 15 minutes west of Perth. Map HERE



If you don’t know the trees you may be lost in the forest,
but if you don’t know the stories you may be lost in life
                                                                                                  (Siberian elder)
How long is it since someone told you not just a good story but a great story, filled with adventures, transformations, compelling journeys and valiant people facing life’s challenges with perseverance and imagination? For most adults the answer to this question is: not for a very long time. Now is your chance to change that. Fieldwork and 2 women production (2wp) are offering you a unique opportunity to re-discover the very particular experience of listening to some of the all time great tales from traditional oral literature. Storywork: Telling Tales Rooted in the Land will be taking place on Sept 24, 2-4pm with support from the Ottawa International Writer’s Festival (OIWF), the Ontario Arts Council and National Bank Financial.
2 women productions (2wp) is dedicated to high quality adult storytelling performances for audiences in Eastern Ontario. People may remember 2wp’s annual series of three productions that toured the area several years ago. Fieldwork, has presented exhibitions and events related to its rural landscape for 9 years; bringing contemporary art to the rural landscape near Perth with an annual exhibition of site-specific art installations; hosting a writers' weekend and public reading (Framework: Words on the Land); and now (new this year) hosting this Storytelling event.
A shared interest in landscape and its place in the development of both visual arts and storytelling resulted in this year's partnership between 2wp and Fieldwork. Jennifer Cayley (curator, 2wp) has assembled four skilled professional tellers- each with a reverence for traditional stories. Marie Bilodeau, Daniel Kletke Katherine Grier and Marta Singh are four revered professional storytellers who will  breathe life into some grand old tales that explore connections to history and the landscape that we live in.

Listeners will be carried back to a time when folk and fairy tales were integral to the fabric of cultural life. They will be reminded that though these stories are increasingly sidelined and forgotten in the bustle of the contemporary world, they are deeply engaging and filled with insight, challenge and delight. 
Storywork:Telling Tales Rooted in the Land will be held in the intimate loft of Fieldwork's old barn near Perth. Opportunities to experience the quiet strength and enchantment of folk and fairy tale are indeed, few and far between. Space is limited so do consider purchasing your tickets early. It's an event not to be missed!

Fieldwork and 2wp acknowledge the generous support from the Ontario Arts Council and National Bank Financial which has helped to make this event possible.
susie osler - Sep 14, 2016
Fieldwork, Framework: Words on the Land, writing on the land

Fieldwork's second edition of Framework: Words on the Land is just days away. Ten wooden frames have been installed around the land on the farm where Fieldwork is located - each articulating specific viewpoints on the rugged and varied terrain here. Ten intrepid writers will arrive on Friday to find their way to their particular 'sit-spots' where, faced with a frame, they will write for just under 2 days.

How does a frame provoke or inspire a writer's imagination? What is captured, suggested, illuminated, or exluded by such a framing device? How do each of the writers respond?

'Framework is one part residency, one part retreat, one part performance art, and one part wilderness lab: ten writers, framed (literally) by and in the landscape, and at the same time bringing to bear on the landscape their framing intelligence.'    (poet Amanda Jernigan on her experience of Framework 2015)

This proved to be an inrtiguing experiment last year (our first Framework weekend). Some incredible and sometimes surprising writing emerged and was shared with an appreciative audience. This coming weekend is our second edition of Framework: Words on the Land. We can't wait to see what evolves.

Join us as we wrap up this coming Framework weekend in the loft of our barn with readings of newly minted work by a wonderfully diverse group of writers.

With: Helen Humphreys, Monty Reid, Sandra Ridley, Pearl Pirie, Katherine Graham, Alissa York, Natale Ghent, Jonathan Kaplansky, John steffler and John K Grande.

Sunday, August 21 beginning at 3pm.

Where: 2501 Old Brooke Rd. (Between Perth and Maberly, just off of hwy 7).  Map

Tickets and Info: $20  through the Ottawa International Writers Festival: http://www.writersfestival.org/events/spring-2016/framework-words-on-the-land-2016

Contact: Susie Osler 613.268.2024

We are pleased to be partnering with the Ottawa International Writers Festival again this year in the presentation of Framework.

We are happy to have the support as well of the Canada Council for the Arts (through The Writers' Union of Canada & The Quebec Writers' Federation) and National Bank Financial


TheCanada Council for the Arts and the Roadmap for Canada's Official Languages 2013-2018 Education, Immigration, Communities

With financial assistance from The Canada Council for the Arts through The Writers' Union of Canada


susie osler - Aug 16, 2016
Fieldwork, Jolie Bird, What's Around Me, site specific installation

What’s Around Me is an exploratory art project. Primarily, it consists of a series of objects found while walking through Fieldwork and surrounding areas over a 5 day span. I began each day by reading preselected texts chosen specifically for this project. Afterwards, I walked with no particular destination in mind, only to search for and document content for the collection. Walking encourages a new way of seeing your surroundings.

“A walker does not skip over much, sees things close up, and makes herself vulnerable and accessible to people and places.”[1]

Objects such as rocks, branches, empty beer cans and liquor bottles were selected and wrapped in a thin golden thread. Once entombed in a new fibrous skin, they were returned outdoors and left to alter with exposure to changing weather or human and animal interaction.

Considering walking as an art form, the collection acts as an ambiguous form of documentation and requires the viewer to use their imagination. They are not solely presented as craft-based objects instead they act as markers representing an unseen act that has already taken place. Further documentation including photographs and the route of each walk, mapped with a GPS tracker, will be combined with chosen texts and presented as an art publication in the near future.

  - Jolie Bird

You can watch a beautiful video of Jolie's process here. (Video created by Orion Zuyderhoff Gray)

[1]Solnit, Rebecca. Wanderlust: A History of Walking. New York: Viking, 2000. Print. pg. 128




susie osler - Jul 2, 2016
Fieldwork, Marco D'andrea, soundart

DREAMCAR (1971 Cadillac Coup De Ville)

DREAMCAR began as with an idea to put a sound installation inside a car and to create an immersive environment inside an old worn out vehicle. I (Marco D'Andrea) like the contrast between the familiar—an old car in a field— and the unexpected—loud and strange sounds and an impractical custom stereo. Early on I was influenced by La Monte Young’s Dream House installation and sought to achieve a similar all encompassing sound, but in a car. The Coup De Ville seemed perfect to me for Fieldwork, because of the the story about “the King of Maberly” - a nickname for a man who used to own the farm where Fieldwork is situated - selling some of his land to buy a Cadillac, but also because it is such a strong symbol of luxury, dreams and success. And there is something so amazing about a 20’ long car with just two doors. These early 70s cars are of the biggest ever made. I wanted to find a car that was a really strong contrast from what most of us drive today as I felt this heighten the themes of desire, aspirations and dreams and how this becomes embodied in 3 tons of metal. There is also the legacy of what this desire has meant in terms of pollution, economic inequality, and hyper-consumerism. All major 21st century problems, which I think have a lot to do with the culture that built, advertised, sold and bought something like a 1971 Cadillac Coup De Ville. Its a complicated symbol, both beautiful and deadly.  

The sounds heard I made from a mix of field recordings, samples of music and other recordings. With the sound, I was trying to bring out the various themes of the work but with an emphasis on loss, sadness and while also trying to explore spirituality in a way. Much of my sound composition is based on Morton Feldman’s Rothko Chapel, a music composition for soprano, alto, choir, percussion, celesta and viola which he created as a response to the Rothko Chapel, a small chapel that was built featuring the paintings of, and is generally inspired by Mark Rothko. Both the Chapel and the music composition were completed in 1971. I choose to use this music because of this association, but also because I think both Rothko Chapel and a Cadillac Coup De Ville are emblematic of a spiritual crisis which blanketed the 20th Century and we are still dealing with today. Additionally the dominant colour inside the Chapel is black, which matches the interior of my Cadillac. I used samples of Feldman’s Rothko Chapel, slowed it down, distorted it, and changed it in a bunch of different ways. I also mixed in sounds of the Cadillac’s engine, and recordings of the field, also heavily processed to the brink of familiarity. I like to use sounds that are on the border of something recognizable—like music and natural sounds—and noise because it can both lead the interpretation of the work while also helps open it up and invite people to bring their own thoughts, memories and dreams. Its is my hope that someone experiencing the piece will be drawn to reflect on some of the themes and associations I have outlined here, but also drift inward and reflect on their own feelings and associations.

The final main aspect is the solar panel, which I think helps bring the work into the present and adds a note of optimism. Using solar to power such a gas-guzzler has a certain irony but is also symbolic of technological change and (hopefully) the direction of future energy. It was a big challenge for me to get the sound to work on solar power because solar involves figuring out a lot of different variables and calculations that I have no pervious experience in. This challenge is really interesting: with fossil fuel power you just plug in (or fill the tank) and get as much power as you want for as long as you want, solar and other renewables require balance, knowing your environment, and matching output to input. As it is set up now, DREAMCAR generates more power in a 24 cycle than it uses, so it can be on and playing sound all the time. I anticipate that I will need to make adjustments for winter, and will likely install a timer in order to conserve power. 


  - Marco D'Andrea



susie osler - Jun 20, 2016
Fieldwork, Reitzenstein, Smith, Smith and Young (RSSY), 2016, Tripod

Jerrard and Diana Smith, Reinhard Reitzenstein and Gayle Young (aka RSSY Collective) worked together this year on a collaborative installation, Tripod. The installation, which dominates the field, consists of an oversized theodolite on a tripod, a map, and a surveyors grade rod. All pointing North and in line with a lovely mature white pine at the field edge. Will it too succumb to the settler's axe?

'We found our brainstorming sessions focussed on the 200th anniversary events in Perth and area. We thought about how the land was perceived at that time by incoming colonizers and how they divided the landscape into grids by surveying. This prompted our decision to create surveying instruments and a map. From the beginning we wanted to respond to the scale of the site with height and the tripod structure allowed for that, with its monumentality suggesting an unstoppable force (war of the worlds?) marching across the landscape. The map is an accurate representation of the waterways in the area and the grade rod is to reinforce the idea of measurement and scale. The axe (plumb bob) is a reference to the land-clearing.

We obtained some long straight cedar poles (thanks Torch and Wayne) which we stripped and joined into tripod legs that provided the desired elevation. Reinhardt created the metal theodolite head in his Grimsby studio. The map was created using a grid of concrete reinforcing steel suspended between cedar poles and using denim strips woven into the grid to represent the waterways.'

  - RSSY Collective



susie osler - Jun 15, 2016