2017 marks an exciting milestone for Fieldwork! We are celebrating our 10th anniversary this year with Soundwork - an exhibition of 6 new installations that incorporate sound. We hope you will journey out this season with friends and family to experience the diverse ways that artists think about, and use sound in their creative work at Fieldwork.

 

Soundwork: Opens Saturday, May 13. 2-5pm.

An afternoon of artists' talks, a tour, performances and workshops.

INSTALLATIONS BY:

Mixed Metaphors (Jesse Stewart & Matt Edwards)

Hilary Martin & Ranjit Bhatnagar

Annette Hegel & Deborah Margo

Matt Rogalsky & Laura Cameron

Doug Van Nort

Nicola Oddy

 

Schedule:

2pm - Opening remarks. Artist introductions

2:30 - Singwalk (with Diana Smith for Nicola Oddy)

3:00 - Listening workshop (with Doug Van Nort)

3:30 - Castorimba Performance (with Gayle Young, Reinhard Reitzenstein)

4:00 - Performance of Erratic Grass (with Mixed Metaphors - Jesse Stewart and Matt Edwards)

4:30 - refreshments/wrap up

 

Explore art in nature along our field and forest trails. Fieldwork is open to the public all year long, free of charge. This exhibiton as well as many ongoing installations from previous years are yours to discover.

 

More information about this year's installations will be posted on the website and on our social media channels in the coming weeks so please follow us and share our pages with your friends.  Facebook, Twitter and Instagram

 

  

Fieldwork has been funded by the Ontario Arts Council since 2008.  We also rely on the generosity of our supporters. We appreciate donations of any size.  Please contact us if you would like to discuss donating.


 

ABOUT US:

Fieldwork  is open to the public daily, all year and free of charge.  Just park and walk.
Note: Please remember that it is a natural setting and there are bugs (including ticks).  Be sure to dress accordingly and cover up.
Directions to the project are
here.

Since its inception in 2008, Fieldwork has been run by a team of artists (The Collective) that volunteer their time and energy to make Fieldwork a vibrant and dynamic destination for the creation and experience of site-specific artwork in and around a field in eastern Ontario, close to the towns of Perth and Maberly.

Fieldwork hosts work by local, national and international artists at various stages of their careers and invites the public to visit and explore the artwork all year long. 

The Collective looks after the site, co-ordinates and promotes projects, shares administrative duties and makes joint curatorial decisions. From time to time the Collective members also create their own Fieldwork installations.

The Fieldwork Collective welcomes proposals from interested artists and circulates a public call for proposals annually in January.  Suggestions and proposals for events or workshops are also welcomed from the local community, schools and arts organizations that are interested in fostering connections, dialogue and creative action between people, art, and nature. Please contact us at fieldworkproject@gmail.com

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.

susie osler - Mar 28, 2017
susie osler fieldwork winter installation
susie osler fieldwork winter installation
susie osler fieldwork winter installation
susie osler fieldwork winter installation
susie osler fieldwork winter installation

It is amazing what one can do in an hour with a chain saw, a back hoe, a shovel, and a big, beautiful, old, dead pine tree. My neighbour, Dave, leant his expertise and machinery to the cause yesterday and dragged a gorgeous old pine pole from a swampy roadside spot just down the road, to its winter home in the Field. This 'beacon' will become part of my winter installation 'Winter Gestures/Beacon Whispers' which is beginning to take shape.  More detailed information about the goings on in the field this winter will be coming so check back to see what's happening and how you can participate. 

Here, for now, are some pictures of the beacon being 'relocated' to the Field.

susie osler - Dec 4, 2008
 susie osler winter 2008/09 fieldwork installation
 susie osler winter 2008/09 fieldwork installation
 susie osler winter 2008/09 fieldwork installation
 susie osler winter 2008/09 fieldwork installation
 susie osler winter 2008/09 fieldwork installation

It snowed last night and all day today leaving a field of white wet snow blanketing the ground. What better time to draw some preliminary ’sketches’ and ‘limber up’ for my upcoming field work! These pictures are a taste of things to come.Snow (providing there is some) will provide the canvas, gallery space, and (some of the material) I use to explore both psychological and physical realms of winter. Check back for more developments!  

Snow Bales 

I made a couple of seed balls with wildflower seeds, clay, and compost that I used as the nucleus of the snow ‘bales’. The hope is that when they melt, a small cluster of seeds will be left to sprout in the field next spring. 

susie osler - Nov 28, 2008
fieldwork photo chris grosset migrascoping microscope migratory birds
fieldwork photo chris grosset migrascoping microscope migratory birds

I’ve just returned from a quick trip up to Iqaluit Nunavut.  The day before my trip I took these pictures of microscope on a cool but sunny morning.  When I arrived in Iqaluit the next day there was snow already on the ground.  It shouldn’t have surprised me to see snow in the arctic in September, but it did.  Perhaps I’ve been thinking about climate change too much while working on these sculptures.

microscope was the last of the three sculptures to move from concept into a sculptural form.  I sketched and re-sketched this image of an elongated "S" curve, and then one day I added legs to one of the sketches and the image of a dinosaur skeleton emerged. 

It seemed appropriate to build on this form when thinking about a future of environmental change and adaptation/extinction scenarios for species of birds.  Museums are full of the reconstructed bones of ancient creatures.  To give the sculpture a structure, I found six dead cedar trees standing at the edge of a friend’s farm field.  I cut two of these trees into equal length sections, and then I notched each log and bolted them back together to form the spine of the sculpture.  The other trees have gentle curves and were set aside for the legs.  For the head and tail of the creature, I carved two spheres from laminated cedar 4x4 using my chainsaw.  The spheres are oriented north/south in the field. 

The sphere closest to the ground is on the south end and it contains the microscope lens.  This sphere represents eastern Ontario.  The surface is a natural, lightly burnt finish.  Looking through the lens…well, I’m not going to tell you what you’ll see.  At the opening of migra-scopes several people wanted me to explain this piece, particularly what they saw through the lens.  I couldn’t answer their requests that day because the answer seemed so obvious to me.  If I explained it, would they be satisfied with my answer?

At the head of the great beast is a sphere painted in layers of blue.  This sphere, oriented to the north, represents the arctic (more specifically Southampton Island).  The surface of this globe is covered with small ceramic birds.  Each bird is unique.  I pinched each bird from white clay (I made 250 in total for use in the three sculptures).  From a distance the birds are meant to give the impression of clouds (as if seeing our Earth from space).  On Southampton Island I’ve seen huge flocks of snow geese, but I wasn’t thinking about any particular species of bird when I made these pieces.  These white birds represent all migratory birds.

This is a big sculpture.  I haven’t measured its height yet, but despite its narrow skeleton, it has a big presence in the field.  I’m looking forward to hearing what you think about this one - what did you see in the microscope lens?  What else do you think is going on in this piece?  Send me a comment - Chris G.

chris grosset - Sep 10, 2008