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
freedom to roam, barb wire fence, installation


During a couple of sunny and warm November days with generous help from Carl Lindquist and Susie Osler, the Winter -09 installation Freedom to Roam was set up. The 300 feet long fence follows the road and ends in a soft turn between the trees at the far end of the Fieldwork site. Even though it’s colors at this time of year blends with the surroundings the size of the piece still makes it striking.

First time I really noticed the beauty and ambiguity of barbed wire was during a trip to South Africa in 2008. Most private property there has high walls with barbed wire coils or electric wire on top surrounding it in order to keep uninvited guests out. The South African crime rate is very high, and in many ways the need to secure your property, house and personal safety feels natural. At the same time it made me think a lot about history - not only the South African situation with apartheid, but also in general about nationality, class, segregation, border control and ownership.

When I was asked to participate in Fieldwork it felt natural to make a comment that somehow related to this theme. I also found the shape of the wire itself really interesting: how can something so hostile looking at the same time be so beautiful? The clay part of the piece, the actual barbs, enhances that in a very specific way. Being ceramic and there for fragile they can never actually function in the same way as the object they’re representing. That general idea comes back in shaping of the fence.

My initial idea was to work with the wire in a kind of roll, resembling the fences used at borders and fronts, but with the more commonly used fence the references can apply to a wider area of ideas related to property and land. It was also easier to exaggerate the size of the installation and, again, reinforce the strangeness of the act of fencing in. What can a ten feet high fence, with the lowest strand at five feet, possibly fence in? No matter how much effort is put in to keeping “others” out there will always be some who succeed in entering or passing through.

More will follow!

For more images from the installation process, visit the Winter -09 gallery to the right.

PS. If you have the opportunity to visit the site, please feel free to take with you one of the extra ceramic barbs in the red box. If  you then by any chance happen to cross a border, climb a fence or something similar- please bring the barb, take a photo and email it to me. Thanks!

henny linn kjellberg - Nov 19, 2009
fieldwork, henny linn kjellberg, freedom to roam, land rights
fieldwork, henny linn kjellberg, freedom to roam, land rights

We are happy to announce that the winter fieldwork installation was created last week.  Swedish artist Henny Linn Kjellberg's latest ceramic installation, 'freedom to roam', comprised of an over-sized barbed wire fence made with ceramic barbs, comments on land ownership and private property rights. 

Following is the artist's statement:

Freedom to Roam
(Allemansrätt / All men’s right)

wood, fence wire, ceramics
2009

Freedom to roam is a comment on land rights and the use of land. In Nordic
countries the freedom to roam is written in the constitution and an unspoken
knowledge that people are brought up with. Humbleness and respect is
woven into the concept: leave a site untouched, in the state that you found it.
Use, but don’t exhaust. Nature belongs to everybody – and nobody.

In North America there is a lot of private land and restricted areas. No
trespassing signs are common things for those who live here, but a strange
concept to a visitor. The ownership of land raises a lot of questions: what
is public, what is private? What is public space? Who controls it? Who has
the right to use public space and to act there? What gives some people the right to
deny others trespassing?

Those questions inevitably lead to another major theme that inspired
Freedom to Roam: conflicts, war and migration. Nations, borders and
crossings. The barbed wire fence in this context represents the ambiguity
and arbitrariness in the way that decision makers in states with more power
control people coming in or running away from the less powerful nations.
Who is granted access and who is not?

susie osler - Nov 17, 2009
Hares & Squares- Eguchi Associates

HARES & SQUARES featured in GROUND 07, Landscape Architect Quarterly

The fieldwork summer 2009 art installation hares & sqaures is featured in the Fall 2009 issue of Ground 07, Landscape Architect Quarterly.

This is a publication of the Ontario Association of Landscape Architects.

The website for the OALA is www.oala.ca.

bREAL - Oct 19, 2009
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates


REFLECTIONS (Sixth and Final Posting) hares & squares

 

We visited the installation on Thanksgiving weekend.

 

We recalled after the installation that we had taken a number of photos and then we drove off leaving the work to stand on its own. We were surprisingly quite tearful. I think we had become quite attached to the bunny shapes that we had cut out, and in our minds we had given them life and perhaps even personified them.

 

And yes, despite our informed understanding that they were not bunny rabbits, but hares, we refer to them as bunnies just like everyone else does.

 

Our didactic intent of identifying the shapes as hares that are not native is almost lost in notions of cute, if not cool, but not totally. A local paper, the Frontenac News, by total coincidence included a reporter’s discussion about hares as an alien species in the very same July 9th issue that the fieldwork project was featured in with a mention of the hares & squares project. So for that moment in time, in the Land O’ Lakes region of Ontario, there was arguably a serendipitous convergence of environmental awareness.

 

Our return to the installation was unceremonious. The intensity during the construction and installation had dissipated, the passion for the ideas have now carried on, the project now just a marker of our feelings at a certain time in our lives.

 

Plywood cutouts are not like family and friends or even the growing and living landscapes that we create or nature that we exist in. These are relationships that evolve and strengthen with time. Plywood cutouts are just inanimate things that can embody feelings and ideas that others might engage with, enjoy and learn from but they are static by comparison to living things.

 

What was remarkable, however, was that during the afternoon we spent in the field, about 50 cars drove by and most slowed down or stopped. The people in the cars all seemed to find great joy in the installation. Some got out of their cars to read the interpretive signs and thought out loud about the conceptual basis for the work. Many people took the time to photograph the installation and those more serious worked hard to get that perfect shot. Interestingly, the unapparent complexity of the work makes it difficult to photograph in its entirety at any given time since its configuration and orientation with respect to the sun and other elements poses challenges. It is this complexity that perhaps promotes a deeper engagement after the initial meeting with hares and squares.

 

The project is temporary and will be removed in the next few weeks. It will be displaced by more artwork that animates the field and the experiences of those that pass by. Even more so for those who are lucky enough to visit longer and engage more deeply with the field. It has been an interesting experience to create something that is knowingly transient. We tend to think of our work as permanent, even though we realize that everything, including ourselves, is always changing and by nature impermanent.

 

And accepting this has perhaps being the best lesson. The great joy and lesson in creating this project derives from realizing that we can and must channel our full and positive energy and passion into any experience, even if we are cognizant of its temporary nature.

 

But a greater joy was in sharing the fieldwork/ hares & squares experience with family, with friends, with the fieldwork collective and especially with the wonderful coordinator and curator, Susie Osler.

 

We trust this joy has been contagious!

 

Namaste! Godspeed!

 

Barbara & Real

bREAL - Oct 14, 2009
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates
Hares & Squares- Eguchi Associates

Miscellaneous Thoughts (Fifth Posting) hares & squares

 
We will be visiting the installation this Thanksgiving weekend and then off to the family cottage for a traditional Sunday dinner on our way to returning home to Toronto.
 
We’ve had some time to separate ourselves from the work and it will be interesting to get re-acquainted with perhaps a more objective viewpoint.
 
This posting includes a few more images we thought are interesting. We had posted a view from centre field previously and from there all the elements appear green. The idea was that the green leads us toward and across the road, the boundary we wanted to challenge.
 
The hares appear all orange and the squares all green in the view approaching from the east along the road. This is reversed when approaching from the west.
 
We knew we wanted to install the hares and squares along two gentle converging arcs but we were not sure about the exact location or layout. We had been asked if we would mind if another artwork, Heavenly Blue, a terra cotta warrior (soldier) installed during the spring season, remained in place for part of the time that our work was installed. Not only did we not mind, but we looked forward to the challenge of engaging with another element in the field since we believe that if we embrace an uncontrolled, complex array of relationships, that makes our lives, if not our work, more interesting.
 
When we arrived at the site for the installation, and not knowing the location of the soldier, we decided to align the hares with the soldier while allowing the soldier to stand proudly on its own. The two pieces relate well, and many visitors have actually thought that there was an intentional relationship from the conceptual beginnings, but of course there was not.
 
It seems to be the unexpected that confronts us with challenges and brings us delight. The process of creation seems to strengthen when we embrace the unknown rather than fearing it.

bREAL - Oct 9, 2009

Check out the great article about fieldwork in Guerilla's online magazine!  (Click on 'Art Harvest' in the table of contents).
You can also buy the print version of Guerilla Magazine at this website if you are so inclined!

susie osler - Sep 3, 2009
autumn, 2009