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 - freedom to roam - henny kjellberg
fieldwork - freedom to roam - henny kjellberg

While driving through Mexico last month, there was plenty of opportunity to witness the efforts of people to secure their property.  Gates,  millions of miles of barbed wire, and high walls prevent the crossing of boundaries.  Here are examples from two very different economic situations - one, a barbed wire fence on a barely subsistence farm, and the other a locked hacienda gate.  I'm not sure what anyone will make of the ceramic barbs from Henny's installation that I left (if they are noticed at all).  I do delight though in thinking about the curiosity that might be engendered when someone does eventually stumble upon them!

susie osler - Mar 18, 2010
fieldwork - henny linn kjellberg's 'freedom to roam' ceramic installation
fieldwork - henny linn kjellberg's 'freedom to roam' ceramic installation
fieldwork - henny linn kjellberg's 'freedom to roam' ceramic installation

The field (and fence) had a taste of this winter's first freezing rain a couple of days ago.  The effects of freezing rain are two sided....it creates a shimmering wonderland of ice encased lines that delights and dazzles the eyes....but it can also be damaging to the plant life out there, causing branches and trunks to bend and snap under the weight. 
I was interested in the ice formations that were created on the fence and how, in the noon sun and warm temperatures yesterday, the fence was slowly shedding its sheath.  

susie osler - Dec 28, 2009

Further to the discussion on earlier posts about hunting (see posts titled 'hunting vs freedom to roam' and 'stewardship and some more words on hunting'), I came across an excellent article/interview by Jeremy Lloyd in December issue of  The Sun (a great magazine).  It's called The Good Hunter.  Here's the link  http://www.thesunmagazine.org/issues/408/the_good_hunter  It is particularly useful at distinguishing the different approaches to hunting, and describing the practise of what hunting should be vs. what the norm is.

susie osler - Dec 18, 2009
freedom to roam- henny kjellbergs winter fieldwork installation

Over the past month I have heard a variety of responses to the winter installation at fieldwork that make me recognize some of the ways people see or don't see.  Questions directed to me have ranged from 'Is the fence protecting something that we can't see?', to 'Where is the art?', to 'We were wondering if you are getting ready to raise elk'.  I usually smile and suggest that they look closer at the fence, think about what they are seeing and read the interpretive sign for some context.  It is surprising, and I guess, not so surprising, how many people don't seem to read the signs (even though they are placed right by the road) - though I realize it is a matter of timing (whether the publlic is willing or able, at that moment, to get out of their car or not), and of the degree of interest or curiosity they feel....

One of the interesting points about this installation is that, as I noted in an earlier blog, at first, it is not so obvious that there is something different or unusual in the field.  There is nothing that looks like what might be commonly identified as 'art'.  There apparently is a fence.  But look a bit closer!  The fence does not surround anything.  It is oversized (except for maybe a fence for deer or elk).  The strands woud be ineffective for keeping anything out or in.  The barbs look like barbs from a distance but has anyone ever seen barbs that big on a fence?  Moreover, on closer inspection, they are made of clay.  Hummmm.

How do we see?  How do our brains interpret something familiar?  It seems like our brains are programmed to try to find patterns of the 'recognizable'.   How different does something need to be before it is noticeably different from the 'standard', or becomes itself something unto its own?

Context clearly has great deal to do with interpretation.  If this fence were erected in front of an office tower, it would immediately be viewed as an art (intervention) work - no?  Due to the rural context within which Henny's fence is located, a fence is normal, if not expected.  Perhaps if the fence had been erected in the center of the field and in a form other than straight line, it may have become interpreted more as 'art'.  Again, choices on the artist's part are made to manipulate the viewer's attention in subtle or not-so-subtle ways.  How much responsibllity for stimulating interpretation should an artist feel?  How much should be expected from the viewer?       -susie

susie osler - Dec 18, 2009
freedom to roam, fence and snow
Freedom to Roam, first winter pictures

Susie took these pictures last week during and after a snow storm / fall. Nice to see how the changing surroundings affect the piece. I will be taking a small Christms break but will be back with more posts and new text after New Year's. Happy holidays to you all!

henny linn kjellberg - Dec 17, 2009
Lofoten Islands, Norway. Photo: Anton van Genugten
Lofoten Islands, Norway. Photo: Anton van Genugten
Lofoten Islands, Norway. Photo: Anton van Genugten

After finishing the installation of Freedom to Roam, I had an interesting conversation with Susie Osler, owner of the FieldWork site land. This was right around hunting time in the area, and Susie did not want any hunters passing through her property. It felt a little bit funny to be installing a piece about the freedom to roam and at the same time use a land owner’s right to deny trespassing. The whole situation made me think about what kind of “use” of land that feels just to me, and what not. If I had owned land I would definitely not want any hunting to be done there either, simply because I don’t hunt myself and don’t want to risk my life walking around in the woods....

After some feed back from people living on, or close to Old Brooke Road, I became aware of a local land related conflict of a kind that I, strangely enough, hadn’t even considered when the idea for this piece came up. It’s a conflict about power and control, about brave and persistent individuals fighting against authorities and big businesses to prevent exploitation of land. In this local case it’s about a uranium mining threat close by, but on a global basis this is of course a huge deal.

In Norway, for example, the area of Lofoten on the northern coast holds the last unexploited oil field in the country. The awareness of oil peak seems to not have been very high in Norway up until recently, but as it’s considered that their current oil fields will be empty in only ten years from now many people are waking up from their state of “petromania” and are now facing the decision of either opening up for oil drilling in the Lofoten archipelago to keep the national economy on the same high level it has been on since the seventies, or to let this wild and beautiful area remain untouched.

For more information about Lofoten, you can visit www.lofoten-info.no

For more information about the Swedish Allemansrätt: www.naturvardsverket.se/en/In-English/Menu/Enjoying-nature/The-right-of-public-access

I would like to say thank you- so much- to every one who has given me feedback on this project. I am so happy that it seems like the piece has really been able to be trigger some thoughts.  More comments are very welcome.

henny linn kjellberg - Dec 9, 2009