Richard Long, A Moving World.

27th March 2017

My work is real, not illusory or conceptual. It is about real stones, real time, real walks. I use the world as I find it’. (Page 6)

My current practice involves limestone. Recently I have been using the stone as an empty signifier, moving it from the coast to the printmaking studio and back again, documenting its minuscule erosion with each journey. Richard Long has picked up and arranged stones on his walks in many of the worlds most remote locations. Stone is one of his preferred materials and he has said, ‘I like the idea that stones are what the world is made of… I use stones because I like stones or because they are easy to find, without being anything special, so common you can find them anywhere… Its enough to use stones as stones for what they are. I’m a realist

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The walk is equally important in that it realises the idea, actualising the structure as physical movement through time and space, so that the work of art has a real – if transient existence’. The walks lack of permanence is intimately bound up with its subject. Nature is synonymous with movement and change. (page 16)

I would consider my the work I am making currently to be a time-based archive of research. As a collective, the elements of my work are indefinite and detached from expression. They simply document and represent my (as the limestones surrogate) movements through space, and my transient intervention with nature.

A self-defining practice; there is no beginning, there is no end, but there is a very specificness. (On Kawara). 

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Without describing nature or adding anything superfluous, the work takes its place, temporarily, in nature – its subject and its means brought into perfect alignment. The principle of making a work of art about the meeting of man and nature by leaving a sign of that interaction is encapsulated in Longs work’. (page 17) ‘The work of art us not just about imposing connections and order. Rather, there is a sense that it reveals a system of relationships: that it discloses a unity that already exists’. (page 27)

Much like Richard Long, I intend to ground my work in the direct experiences of the real world. ‘The Romantics stressed the privacy of the individual in perceiving and interpreting nature, Long’s work draws man and nature into balance, proportion and equilibrium’. 

 

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