Norway. Kjerringøy Land Art Biennale 2018

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How do I -as an urban, studio-based artist with limited experience working in nature- navigate my inclusion in a land art biennale? 

 

When I first saw an area of grey clay on the shore of Kjerringoy, I thought it was concrete. The situation made me laugh and reflect on how misplaced I was, so far from the city. Even though I felt ignorant and clumsy, I saw the humour in it. Misunderstanding puts you in a vulnerable position, but it also creates possibilities.

 

This experience led me to think about themes that are already very present in my work: identity and belonging. “Am I a Fake Land Art Artist?” I thought. “Then maybe I can make a fake Urban Art piece, with clay that is concrete for me.” 

 

The disguised branch, removed from its original place in the forest, is aesthetically arranged so as to create the impression of a concrete sculpture; even if the weather, and time, will eventually reveal its true essence. 

 

By claiming to have worked with concrete in this natural environment, I have further emphasized the idea of dislocation, whilst sowing some seeds of doubt and confusion within the viewer.