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.


Mixed Metaphors (Jesse Stewart & Matt Edwards)

Hilary Martin & Ranjit Bhatnagar

Annette Hegel & Deborah Margo

Matt Rogalsky & Laura Cameron

Doug Van Nort

Nicola Oddy



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.



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

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

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

Uta Riccius' installation Subdivision was created this spring with the help of students in the art program at CEGEP Heritage College in Gatineau.  It features several intriguing 'nests' made from extruded foam that are located in the trees close to the road.  Above are photos of her concept drawings and some of the finished pieces.  About her installation she writes:

I have created a subdivision, that transforms the fields and forests of FIELDWORK into a new potential development site. However, in this case the homes are temporary shelters for animal and insect species. Similar to what can be found on an actual subdivision site, I have provided different types of model homes for the critters to choose from: condo communities, cluster homes and row houses all of which are woven from extruded foam. I designed a map of the surrounding land, that is zoned into different areas, with fictitious streets and numbered property lots.

As humans, we dominate cities and, as we continue to sprawl outwards into the surrounding suburbs, less and less space for all other species remains available. Animals and insects are in constant competition with city dwellers trying to control and eradicate them. The natural migration patterns of species is not only affected by development, but also by climate change, as animals are having to adapt to the changing physical and environmental landscapes.

Many of my projects include some form of community involvement that encourages audience participation, thereby engaging the creative process, and  providing an opportunity to showcase the work within an exhibition context.

For this project, I invite you to complete the 'colonization' of subdivisions on the landscape by participating in the virtual subdivision of FIELDWORK by doing the following:

1.  Photograph one of the model home/nests of your choosing
2.  Select a lot number from the map of the FIELDWORK subdivision that corresponds to where you want to locate your model home
3.  Email me at oldbrookehomes@gmail.com with the desired site number in the subject line and the photograph included with a message
4.  Tell your friends about this opportunity and watch how the subdivision grows!

By clicking on the map icon in the bottom right hand corner of www.utariccius.com website a larger updated version of the Google earthmap of the subdivision will appear. Click on the flags located on the lots to see the photos sent by you- the participants!















This project  could not have been created without the help from the following students of the Visual Arts Program at CEGEP Heritage College in Quebec: Allison Beattie, Emanuelle Cotton-Dumouchel, Sarah Demers, Zoë Kirschner, Teia Lindfors, Samuel Gagnon, Jasmine Guest, Maxim Lamirande, Katie Léger, Gabriela Maguina, Curtis Marchand, Maia Moresoli, Simon Noël, Devin Adam Perry, Katrina Racicot, Juan Pablo Ramirez,Teferi Ramsay,Taylor Reid, Ana Melissa Sanchez Velis, Kimberly Saucier-Begin, Julianna Savard, Kayla Walcott and Jordan Wawatie. And thank you to the team who helped install the work on a cool June day a week before the opening: Samuel Gagnon, Jasmine Guest, Katie Léger, Teferi Ramsay and Ana Melissa Sanchez Velis.

Thank you to Steve too for the technical help.
Thank you toFIELDWORK for providing the trees and the exhibition space to showcase the work!

- Uta Riccius

susie osler - Jul 8, 2013

I arrived at FIELDWORK not knowing exactly what I was going to create for my installation. I did know I wanted it to be a site-specific, ephemeral artwork that responded to the local landscape, that it would evolve back into the environment with time and that I would use objects directly from the FIELDWORK landscape. I also arrived with the idea to use the pup tent structure as a starting point but I did not know what materials I would find to use in the creation of my artwork. The site and landscape would inform the material content of my work.

I had one week to finish my piece so time was a factor. I spent the first day walking the entire FIELDWORK area to get a sense of the landscape and what grew there. I was looking for multiples, patterns, textures and materials that I could work with and manipulate and also items that interested and inspired me. I explored, took photos and gathered items. I spent my second day exploring the collected items, altering, testing and manipulating them to see how they would react once removed from their environment. What would they look like when dried and shriveled? How much time did I have to work with them before they shriveled up? Did I have to keep them wet to work with them? There was not a lot of time for research and development and not a lot of room for altering my plans once the commitment was made of the choice of materials.

The materials I ended up using in my three pup tents were:
#1. Willow and dead leaves (Beech, Oak and Maple)
#2. Horse tail and Maple keys
#3. Birch bark and Pine bows

The pup tent structures and assemblage of materials onto the structures was done inside the barn studio then the completed pieces were transported across the road to the FIELDWORK site. When I got them outside and on site the scale of the pieces totally changed.  Susie helped me on the placement of the three pieces and suggested different orientations and configurations. We tucked them in under a beautiful pine tree, which gave them a sense of belonging, purpose and scale.

It is also important to me that there is some sort of public interaction with my artwork. Repose invites interaction by its very shape, a tent. I hope the viewer will intuitively feel the impulse to enter the shelter; a classic structure and shape that evokes memories of childhood couch cushion forts and backyard overnight camping adventures. I am anticipating that people will spontaneously want to enter the pup tent and interact with it, bending down and entering it, crawling through or spending some time relaxing in it. The experience of the pieces is extremely different from the outside than from the inside. The viewer will recognize the natural materials used in the creation of each of the artworks as familiar, from the surrounding landscape, but experience these familiar materials and foliage in a new way by the manipulation of its form.

Land art is my preferred type of art to create. I love the exploration and discovery of landscape and the challenge of collaborating with the found materials to create a new form. I am also excited about witnessing and documenting the evolution and change of the materials in unexpected and uncontrollable ways and the idea that the work will return to the landscape that it came from. Thank you Susie Osler and FIELDWORK for this amazing place.

- Laura Hale


More of Laura's work can be found on her website

Laura Hale - Jul 8, 2013


Uta Riccius at FIELDWORK 2013 - photo by Julie Druker


We had a teriffic day in May with lots of visitors to the May 18 opening of FIELDWORK's new installations.  Pictured to the left is Uta Riccius in front of part of her installation "Subdivision"

Julie Druker from the Frontenac News came out and wrote a super article about the new installations on the site. 

Here is the link:  http://www.frontenacnews.ca/2013/13-21_may_30/fieldwork_13-21.html

(Photo credit Julie Druker)






susie osler - Jul 7, 2013