The outdoor eco-art effect is inimitable, the ultimate in theatre, a modest acceptance of nature’s place in the creative process. The backdrop, be it in the city, a public space, a park, or the wilderness is effectively changing by the minute as the light, atmosphere, sound around us changes and generates a heightened sense of connectedness to the culture of nature because our own bodies are sensing all that change. Everything that surrounds us — plastic, wood, cement, glass, etc. — is nature transformed, in its original state or in the process of returning to nature. Nature is the art of which we are a part!
The most radical forms of this kind of eco-art without walls are unsigned, undated and ephemeral, enacted in public or unclaimed transitional sites. A tree planter as well as an artist, Doug Buis’ anonymous plantings of seedlings in Montreal which continue to grow imperceptibly are an example of how subtle an artist’s interventions can be … but I have also seen an inukshuk on the highway 401 near Hamilton, Ontario on top of a hill, a beautiful sculpture of a dancer made of toilet paper and wire on rue Clark in Montreal that was washed away by the rain within a few days, a habitation on rue St. Denis built by an artist out of discarded wood and posters that was intermittently occupied by street people before it was torn down.
John K. Grande “”Eco-art Revisited” Intertwining: Landscape, Technology, Issues, Artists.
And so for day 1553