2017 marks an exciting milestone for Fieldwork! We are celebrating our 10th anniversary this year with Soundwork - an exhibition of 6 new installations that incorporate 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. 2-5pm.

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

INSTALLATIONS BY:

Mixed Metaphors (Jesse Stewart & Matt Edwards)

Hilary Martin & Ranjit Bhatnagar

Annette Hegel & Deborah Margo

Matt Rogalsky & Laura Cameron

Doug Van Nort

Nicola Oddy

 

Schedule:

2pm - Opening remarks. Artist introductions

2:30 - Singwalk (with Diana Smith for Nicola Oddy)

3:00 - Listening workshop (with Doug Van Nort)

3:30 - Castorimba Performance (with Gayle Young, Reinhard Reitzenstein)

4:00 - Performance of Erratic Grass (with Mixed Metaphors - Jesse Stewart and Matt Edwards)

4:30 - refreshments/wrap up

 

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.


 

ABOUT US:

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
here.

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, jesse stewart's aeolian organ

Two new installations are now at fieldwork!

In the field:

Aeolian Organ, an installation by Ottawa artist, composer, musician, and writer Jesse Stewart consists of tuned pipes of various lengths distributed across the field in such a way as to create a waveform across the horizon. Made out of 4-inch diameter black ABS pipe, the pipes elicit different tones as wind blows across vertical openings near the top of each tube. These openings are oriented in different directions such that shifts in wind direction will activate different pipes, resulting in an ever-changing series of harmonies. The pipes are tuned to a natural minor scale or "aeolian mode," named after Aeolus, the Greek god of wind. Although the pipes will only sound on windy days, the piece draws attention to both the landscape and the soundscape in all kinds of weather, encouraging those who engage with the work to think about the relationships between themselves, the landscape, and the sonic environment. 

This installation will run until the spring 2011.



On the website:

Kelly Price, media artist, writer, and musician from BC has created our first online installation.  


Field of Play has been developed as an online installation for the fieldwork website. It is inspired by nostalgia for growing up in rural Ontario, and draws on memories of playing in open fields as a child.  Based on a series of sound recordings done in the spring of 2010 at a chosen field site on Gabriola Island, BC, acoustic elements and the experience of inhabiting the field stie became the starting points for the creation of an interactive, online landscape.

Questions surrounding the interplay between tangible/virtual landscapes, embodiment and the internal landscape of the imagination are key to Field of Play.  The user is invited to play within a virtual 'field' of sound and image.  Although it can be a challenge to linger, to slow down and listen, it is this challenge that informs the experience.  It is in stillness and attention to detail that moments of playfulness are uncovered.  Field of Play is a digital meditation on the pleasure of creating and holding space in order to re-engage with oneself and the environment.

This installation is ongoing.



susie osler - Sep 17, 2010
fieldwork, Flower Marie Lunn, Badges for Brooke Valley, BVS thank yous

The students of Brooke Valley School paid a visit to the fieldwork site at the end of June.  Later in July, I received a wonderful package in the mail: a booklet of pockets filled will thank you notes!  Each also included a drawing of what they would make a badge of.  Several times I thought "of course!" How could I have forgotten about climbing trees!  Or looking at the stars! 

It is interesting to see what aspect of their experience is valuable or important enough that they would make it into their badge.  Animals, flowers, soccer, friends; whatever it was that connects them to the world they live in. 

climbing trees animals
water beetles barn dance
flowers Kiana
bike riding to school
rose looking at stars
flowers crayfish
soccer skating rink
friends you

       

A big thank you to all the kids of Brooke Valley School, and to Coral Nault, their wonderful teacher. 
 
Many years ago when I went to the school, she was our art teacher.  I have much to thank her for - her inspiration and unflagging support have encouraged several crops of highly creative former students!

One of the biggest gifts from growing up in this community has been the creative engagement with the world around us, particularly with the beauty and wonders to be found in the land.  That is still very much with me, and forms the core of my art practice, wherever I go.

flower lunn - Sep 1, 2010
fieldwork dan does design surreal art sculpture land art trees bewilderness

 "These things, because they are false, are closer to the truth"  Baudelaire, in "Salon of 1859" (Paris)

So many things die without a sound. What if every living creature could scream at a volume commensurate with its importance to the continued existence of humans? Or shriek at a volume positively correlated with its mass? Would we stifle all the smallest screams? Or adapt as a species so that minor sounds fall below our threshold of hearing? Would the screams of trees and blue whales be heard around the globe while the cries of the bee become a background hum that scores our daily existence? As Jung believed: hurt instructs. Are we hurting enough yet? Can we be instructed?

The body of my academic work has tended to focus on non-human animals as "other" and their interaction with human animals. Overarching all of this work is a series of "simple" questions: What are our intertwined fates? What kind of world do we want to occupy? What can be learned from nature? How do we put it into practice?

According to Landscape Architect, James Corner, the profession of Landscape Architecture has tended to align with two arenas of ecological practice: one which is conservationist/resource management (more knowledge leads to better management and control) and the other, which is restorative (heal or reconstruct based upon ecological knowledge). As both a professional and academic involved in landscape architecture my work has tended to reside within these arenas. According to Corner, major criticisms of this type of work are:

1. the environment is still being manipulated to maximize rates and value of resource extraction (result: dominion, rationalized exploitation, analytical detachment, instrumentality).

2. the view of nature is romantic (wild, perfect, harmonious, stable) at the expense of predation, disease, parasitism, violence. 

My ecocentric artwork is an attempt to broaden my own horizons, to acknowledge the "deficiencies" in my academic work and to move beyond my "knowledgeable" self while entertaining the same questions about the intertwined fates of human and non-human animals. My artwork attempts to explore phenomena that seem more inaccessible in academic work: wonder, fear, lyricism, emotion, bewilderment, activation of the imagination and senses - humanity as human animal ("humanimal"), cultural animal, embodied and directed nature, ecologically driven but aware and manifesting the capacity to reflect upon the notions of "self" and "other". 

Participating in fieldwork has been an opportunity to take the profession of landscape architecture and explore the relationship between these two arenas of ecological practice. On the one hand, the plantation speaks directly to the issue of resource maximization.  Row after row of trees, waiting for death, while a real forest is excluded. Within this resource driven array, the tree (via the culture of art) is presented not as romantic, but as carnal, exhibiting a knowledge of the flesh. The bridge between these arenas allows for a new sense and sensing, activating new reactions. Is it only in our dreams or unconscious that we can imagine a more fleshy and sentient world? is there a way to re-annoint people with a visceral sense of nature and in some way "borrow" from the empathy that we feel for other fleshy vertebrates and transfer this to trees?

I am not suggesting that trees are animals, but rather using art to question what might lie beneath within and beneath our perceptions of "benign" nature. At the core of the dream? Not nature idealized (romantic) or inert (unitized resources) and perfected but nature revealed as raw and sensing, fleshy, peeled and limbed, a freshly skinned and utilized version of an "other", of our self. 

dan nuttall - Aug 5, 2010
fieldwork, CNCAC, Hamid Ayoub
fieldwork, CNCAC, G40, Wheels to the Fields
fieldwork, CNCAC, G40, Wheels to the Fields

In partnership with the Ottawa-based, Coalition of New Canadians for Arts and Culture (CNCAC), fieldwork was thrilled to host a very special day of creativity and fun on Saturday, June 26th.

Billed as Canada’s G40 Wheels to the Fields Tour, with reference to the global events occurring in Toronto that week, a bus full of artists from around the world ventured out from Ottawa to the fieldwork site.  The idea for the event was to create opportunities for a diverse group of Ottawa-based artists to get out to rural Eastern Ontario, to explore the summer fieldwork installations (see other blog descriptions below), to network amongst each other and share stories and skills, and to create some art in a collaborative way. Musicians, photographers, dancers and visual artists participated.

On what promised to be a very soggy forecast, the 30 artists that boarded the bus for the activities were not disheartened. Guitars, maracas, drums and voices in hand, the group sang and danced despite the intermittent showers. Visual artists, Chikonzero Chazunguza and Hamid Ayoub led the group in a collective painting exercise. Canvases and rain don’t mix well, so a little shelter was erected under some canopy tents and tarps and the painting began. What a great activity! Some wonderfully fun and evocative canvases burst into colour and shape. Some used found plant bits and fastened them to the canvas, some used badges from the Badges for Brooke Valley installation and integrated them in the work. 

It was an inspirational day and a testament to the good-nature and positive spirit of artists who were determined to have fun, despite the wet weather.  As the weather improved, participants enjoyed walking through the forest, exploring the Canadian landscape and hearing from Susie Osler about her studio-based, ceramic art process.

fieldwork is encouraged by this pilot event to create opportunities for New Canadians to explore the site. With an overwhelmingly positive evaluation from participants of the Wheels to the Fields event, we are hoping to continue this partnership with CNCAC in the future.

Thank you to Chikonzero Chazunguza, Hamid Ayoub, Marcia Mathoo, JP Melville, Julie Hodgson, Susie Osler, Cam Gray, and the friendly staff support from the Ottawa Community Immigrant Services Organization (OCISO) and volunteers with the CNCAC. Thank you to photographer, Bill Shugar, for his wonderful photographs documenting the day!

chris osler - Jul 14, 2010
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley
fieldwork, Flower Marie Lunn, Badges for Brooke Valley

Finally! Uploading images from the opening on Sun June 20th.  It was so good to see many local residents come out - particularly as that was the audience I had in my head as I was making it.  As much as it was a piece about the landscape space of the field, it was also very much about a presence in the local social space.  The badges are disseminating through that ecology now, and like seeds of a slow plant, will continue to do so over the summer.   Thank you everyone for coming!

flower lunn - Jul 8, 2010
fieldwork - badges for brooke valley

Brooke Valley School is the local independent school close to fieldwork.  As the school year came to a close, Coral Nault, the principle teacher and some parents took the kids on a 'fieldtrip' to visit fieldwork.  It was of particular interest for the kids to visit Flower Lunn's work "Badges for Brooke Valley" as Flower also grew up in the area and attended Brooke Valley School when she was young.  The text on her 'pavillion' are like whispers of memories from the time she spent growing up here. 

The kids also enjoyed trapsing, or perhaps racing through the forest where Dan's Bewilderness is installed, checking out newly sprouted mushrooms, a wacky raven on suitcases, and strange, suspended, wood rails! 

We are delighted that we could host the school group and hope there will be more visits from kids/youth in the future!

susie osler - Jul 1, 2010