a sense of place in time

No paintings to share-currently in transition mode-a necessary evil.

In the meantime, I've been working on the 'land mark' series and thought I'd post my findings as well as formal statement about the inspiration.

(FB post) the late afternoon light was beautiful and my coat pocket had been holding this duck wing far too long.... I was amazed at the structure of the wing (before I dismantled it)-perfectly engineered for flight, and warmth I suppose as there were tiny downy bits close to the break. these white feathers are from the under-wing.





 formal statement: land mark

A connecting aspect of my practice has been informed by altars and alter-ability in the land. After spending time at an international residency in 2011, I have become more and more interested in the human connection with a sense of place and how we are all compelled to alter the land in some way, shape or form, even in remote, sparsely populated regions of the world.

I am driven to leave my own land marks in these places and find myself making portals from discarded vineyard wire, arranging red sumac in  spirals on blue snow shadows and lining up rows of  milkweed pods into migration patterns.

Remnants found in fallow fields such as vine, carcass, nests, litter and wild flowers are altered to become symbolic human connections to a specific sense of place in time. They are left as temporary markers for others to encounter (or not) before being reclaimed by the natural world.

I am intrigued by the processes happening in nature over time and it’s unpredictability that affects the work. The uncertainty of working with the weather, the connection between land and light, uprooting and unearthing hidden things and hidden life are all elements that motivate my practice.



Building three dimensional work using only materials available from my immediate surroundings is something that continues to take shape.

 

see more works from this project

please do not use any of these images without permission from the artist

all rights reserved- copyright Jan Yates 2015

the summer day

I was supposed to be doing yard work this morning, deadheading, trimming etc.

Then the wind brought me yet another Robin’s nest-and I just couldn’t help myself.

New additions to my ‘summer day’ series:

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milkweed

Today was lovely, sunny, snowy-a blank canvas. I was craving  a quick fix. 

I don't know about other artists, but as much as I enjoy all that the holidays entail, I find it a wee bit disruptive when it comes to my art-making routine. i.e. there is no time to delve into sustained painting projects in the studio. 

Taking an hour a day to get outside and interact with the natural world allows for some art satisfaction until I can get back in sync when the holidays end. 

 milkweed continues to intrigue me.

I don't understand why it is considered to be a weed.

land mark

 land mark 1, milk weed, December 26, 2013

For me there is a breathless energy in working on the land that is very different from making art in a controlled studio environment. 

land mark 2, 3, December 26, 2013

Since my residency in Ireland in 2012, I have become more and more interested in land marks and their impact on those who encounter them.

 run, 2012

 I am compelled to immerse myself in the cycle of growth and decay by making marks on the land in and from the elements. 

 field portal, December 2013

Building three dimensional work intuitively and using only materials available from natural surroundings is a current driving force and I relish the possibilities.

field portal,  December 2012

I am intrigued by the processes happening in nature over time and it’s unpredictability that affects the work. 

 

 limb, 2012

The uncertainty of working with the weather, the connection between land and light, uprooting and unearthing hidden things and hidden life are all catalysts for this  body of work.