Got an idea for the field?

FIELDWORK is inviting proposals for the creation of work for exhibition in 2015 


In 2015 we are exploring the theme of “water”. If you are interested in proposing an IDEA to us about creating an original, site-responsive work that has to do with the theme "water”, we want to hear from you!!

Applicants are asked to submit proposals for one of two exhibition categories - either a large installation or a smaller installation.

Submission guidelines and more information about the project can be found HERE.

Deadline for Receipt of Proposals: March 1, 2014

Installation Exhibition Period is May – December 2015



FIELDWORK is open to the public daily, all year and free of charge.  Just park and walk.

Directions to the project are here


FIELDWORK began in the summer of 2008 with installations by the FIELDWORK Collective (Chris Osler, Chris Grosset, Erin Robertson, and Susie Osler).  Our intent is to present imaginative, thought-provoking, art installations in a field in rural eastern Ontario and to provide the opportunity for artists to create work for an unusual and unique artspace. 

FIELDWORK  hosts work by local, national and international artists at various stages of their careers and invites the public to visit the field site (free of charge) to explore the artwork year-round.  We also host workshops in collaboration with other organizations.

More information on current and past installations can be found by scrolling down this page and/or by looking in the archives in the right hand menu.  Be sure to also check out additional photos of the installations - found in the galleries located in the right hand menu.

If you would like to be notified by email when a new posting or change has been added to this blog, press the orangy/red 'syndicate' button (RSS symbol) in the menu to the right and follow the instructions.

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For information on the first three installations at FIELDWORK (Summer 2008, Autumn 2008, Winter 2008/09)  visit our old blog.

FIELDWORK gratefully acknowledges the continued support of the Ontario Arts Council, as well as all of our friends, volunteers, and especially our visitors!

Many thanks to the Ontario Arts Council for supporting FIELDWORK's 6th year of bringing art to YOU from a field in eastern Ontario, and virtually, online!  The Council has helped bring our vision to life!

susie osler - May 6, 2013



You are invited to a special celebration of the 2013 autumnal equinox on the evening of Sunday September 22nd..  There's an oversized EAR sitting in the middle of the FIELDWORK meadow patiently waiting for drummers, dancers and listeners to animate its presence.  “Keeping an Ear to the Ground” - an interactive art installation by Sheila Macdonald - features an eardrum that is waiting to be played and waiting for other drummers to bring their own drums and play along with it.  We will be creating an irresistible dance beat for all hoopers and dancers.

Come and be part of an event designed to highlight this special evening where everywhere on the globe there's equal day and equal night:  a moment of celestial balance. Celebrate this year’s harvest and welcome in our next season, a time of slowing down and appreciating the energy of the summer.  Send your messages underground through the eardrum (and your feet) to show gratitude for Mother Earth’s abundance.

There will be a unique fire display, magnificent hooping and dancing to a magnetic beat. Come out and energize our coming fall and winter.   Everyone is welcome.  The drumming and dancing starts at 7pm at FIELDWORK across the road from 2501 Old Brooke Road, near Maberly.





susie osler - Sep 4, 2013






















Mayflies are fitting symbol for spring. The adult's sole purpose in life is to mate - talk about "spring fever"!  Their mouths are sealed shut when they emerge from their water-born naiad to adulthood phase - during which all energy is expended in their one-day flying orgy!  The delicate  beauty they exhibit in this stage is as short lived as it is exquisite.

I chose to create their form in recycled panel board for my Spring installation Ephemeroptera at FIELDWORK this year. This installation consists of fake wood panel boards transformed into mayflies which hang in their final metamorphoses on a tree on a knoll behind the field. To the left is a rocking chair made of astroturf plugged into a nearby tree, providing FIELDWORK visitors a naturally powered and comfortable view through the trees to the wetlands below. Manufactured nature in a natural setting is a tricky contrast and on close inspection reveals much.
Carpe Diem!

- Erin Robertson

erin robertson - Aug 6, 2013

(Photo by Alexandre Lauzon)

Super article by Tony Martins in the current Issue #36 of Guerilla Magazine (just out today) on Laura Hale's installation 'Repose' at FIELDWORK this year.

Thanks Tony Martins and photographer Alexandre Lauzon!

If you haven't seen this magazine before check it out!
Here's the link:

susie osler - Jul 26, 2013

The map above illustrates the terrain and the paths that artist Leah Decter made in her exploratory, extended 'performance' for the making of Castor Canadensis Provokas.  During one week in May, Leah stayed at FIELDWORK  familiarizing herself with the landscape, the beaver activity on the property, harvesting  beaver chewed stumps (with a hand saw and wheelbarrow) - remnants left from their colonization of the area - and finally incorporating them into her installation in the main field at FIELDWORK.

If you click on the related image/link in the sidebar to the right (or here) you will be directed to a more detailed, interactive map on her website.  Each blue dot on this map (when clicked on) reveals photos, sound clips and/or videoswhere you can explore the different points on the routes she took (the map lines) while working on her installation.  It provides a great sense of the sounds and sights of the terrain and the nature of her time spent at FIELDWORK.

susie osler - Jul 26, 2013

This piece - An Ear to the Ground - is about the art of listening, listening with intent, deep listening. These are currently old- fashioned ideas often overlooked in an age of audio overload. Keeping “An Ear to the Ground” is an open invitation to do some natural eavesdropping. A specific place to listen to everything within range including the silence and then be able to decipher information from this experience. Tap into the invisible world. Do some aural mining.

I see the ear as an organ of hearing and balance, an instrument, a monitoring device and a particularly interesting metaphor in this age of hyper-surveillance. The earth under our feet is a territory that hasn't yet been totally invaded by electronic devices. As gardeners discover, the subterranean life of soil and its attendant geology is like an underground factory, busy, intense, productive and invisible. If only we could hear what was going on down there. We use the term “underground” to imply a sanctuary or refuge from the mainstream, an alternative way of thinking. I considered burying an audio recording device inside the eardrum and then playing back the sounds coming from the soil but there were some technical obstacles to making that work this time around. And I didn't want to be guilty of installing yet another surveillance device.

Considering the size of the ear, (16' x 10' x 4'), I chose to build it using large curved branches from old eastern white cedars, Thuja occidentalis, which grow happily on our farm in the Lanark Highlands. Their curves are sinuous, eloquent and irresistible to me. This miraculous wood, once debarked and dried, is light enough to work with easily. And it resists rot for many decades, ageing over time somewhat like an old cedar rail fence. Constructing the ear was a two person job and my assistant, Murray Edwards, hauled long curved cedar pieces out of the woods, devised the scaffolding necessary to build the skeleton of the ear and helped me deconstruct and then reconstruct it in the Field.

This is a hands-on piece that asks to be touched, sat on, walked through and played with. The eardrum is meant to be played like a drum and by using laundry line as a membrane to connect the skeletal structure of the ear, I intended to create the impression of the Ear as a stringed instrument. Perhaps in high winds the ear sings or moans as the strings vibrate.

The pink Eardrum is a re-purposed satellite dish. All the news, views and entertainment that have been transmitted through this dish over the years add another subtle level of meaning to the ear as a communication device. Like a steel drum, the concave surface of the satellite dish has different notes depending on where you strike it.

Then there's the earring. Ring the bell. I hear it as a call to mindfulness.

I invite visitors to Fieldwork to think about using this ear as an auditorium where you can listen quietly, eavesdrop on nature, play the drum, tell stories, stage a music jam or an outdoor concert, create an event, have fun.

July 16
I just paid my first visit to the ear, almost a month since the opening of Fieldwork summer 2013. When I installed the ear the cedar structure was golden, the colour of cedar when first debarked.

Almost a month later the ear has turned to silver. After one month of rain and heat. This process will continue until the silver greys. Is this reverse alchemy?

Sheila Macdonald - Jul 26, 2013

Some beautiful details of Laura Hale's installation at FIELDWORK this year.  As time passes the tents will be 'going back to the land' - fading and slowly devolving.

susie osler - Jul 8, 2013