Beginning Fieldwork Studios around the Summer of 2013, it was apparent that it would by necessity take on the manner of its object of study: change. Over the years it has changed. Several instances stick out, from origins in Landscape & Memory to Gradients: Tracing the Anthropocene, from Not So Solid Earth to the exploration of woodland remnants with Prima Materia.
The primary focus included installations and paintings, where the surface became a suspension of energies and forces: all artifacts were subject to modes of transformation, sometimes relatively short and sometimes, perhaps, stretching out into a future without us. But mere material was never the entire focus. There is a personality: forces have a tendency to generate arrangements, even hypostasis.
What did I discover by exploring ‘expressed’ landscape? It wasn’t the wasteland – an other without contour, theme, or context – but it was an outside or an exterior. This exterior. This exterior is not an deliquescent accident, not an empty or indeterminate sublime. Rather, it declares in the fullest imaginable sense the splendor of participation in beauty as a cacophony of singularity and multiplicity, simplicity and shape.