Since seeing online pictures of Nadav Kander's In The End Is The Beginning. Towards The Thames Estuary (an outdoor installation comprising of a triptych from his ongoing series Dark Line - The Thames Estuary), I have been thinking about how I could install some of my images where I took them and why I would want to do that. As many of my images are taken in remote spaces, I like the idea of ramblers and dog walkers coming across a random art installation. In my mind, the images would be printed with liquid emulsion onto acrylic-glass and positioned at the point where I took the photo so the audience would be able to 'line themselves up' the same as I did - this could prompt the audience to consider the landscape as both 'as is' and as a photograph - not quite the 'impermanent land made permanent', a photograph is not permanent but it is static. The work becomes about photography, and time, as well as nature. Kander refers to this in the statement for his installation: "..this work implies a passage of time, in contrast to our own. The life of the River Thames; flowing before, then into my frame and forever beyond. I’m drawn to making work that bears witness to the river and to time. Yet the photograph is static, while referring to the world and nature beyond its edges. It conjures images of destiny; it invokes the past and points to the future." (Kander, 2021).
More recently, Awoiska van der Molen started posting some installation images for Into Nature / Drenthe art expedition. Into Nature is an art safari through the Drenthe landscape where one can cycle and walk to view works by international artists. The artist statement on the Into Nature website states: 'To emphasize the intangible connection with the nature of the Bargerveen, Van der Molen has printed her photographs on glass, so that the image and the existing natural environment flow into one another, as it were. And although we see here 'the Bargerveen on the Bargerveen' and are thus clearly connected to a place, we see more than that: a horizon behind the horizon, a mysterious reflection over the landscape, similar to so-called Witte Wieven, patches of fog, regularly floating by in the Drenthe landscape'.
So, both Nadav Kander and Awoiska van der Molen are layering images with the real world and are both about what is felt, an essence through experience, but not truly visible - For Awoiska van der Molen, and my own work, it is about the physical experience of being in nature. van der Molen says of this work in the artist statement: "When you spend a long time alone in a quiet landscape, far away from the hectic modern world, our deepest intuition recognizes our original territory: unspoiled nature, with its rhythms on which the physical system is built”. The idea of connecting with the land and fusion with nature (and learning from it) that van der Molen is talking about here are the core aspects of my project. Thinking about Nadav Kander and Awoiska van der Molen's work has made me think about how my work is not a document of my mini-expeditions around Cornwall, it is a visualised extraction, an essence and approximation, of my experience.
Nadav Kander's work on glass seems cast into blocks of concrete and Awoiska van der Molen has used glass bolted into railway sleepers which have been bolted deep down into the ground. Cornwall is very blustery and I wonder how I would go about fabricating something on a slightly smaller scale that would hold up in the elements. Will it actually work as an experience unless the image is of a certain size? I need to think about strategies for printing onto acrylic glass, with liquid emulsion. Moreover, I need to think about where I would position these installations and approach Cornwall council and other relevant authorities in relation to working with them to gain permission to temporarily install the work. It's a lot to think over and maybe it will come to nothing, I have another idea for a different type of installation which I will write about in a separate post soon.