WEEK 4 - ENCLOSURES & FIELDS

 Enclosure: Physical or metaphorical boundaries, such as walls, fences, or divisions that may speak to restriction, containment, or the privatisation of shared spaces

Fields: Physical or metaphoric open spaces that may speak to freedom, interconnectedness, shared resources, community, collaboration, or the blending of boundaries

Enclosure may evoke a sense of security or alternatively confinement.

Reading Notes: Enclosures and Fields

Excerpts from Li, W. (2023). Presence and absence: Reflective art practice on thesite. Communications in Humanities Research, 3, 734-741.

Michael Heizer’s earthwork City opened in September 2022 after 50 years of construction – a revolt against the gallery system.

He says, “One of the implications of earth art might be to remove completely the commodity-status of a work of art and to allow a return to the idea of art as.... more of a religion”

Heizer remains indifferent toward conscious efforts in protecting the environment. Additionally, these he also disregards context for his creation – there is no apparent meaning behind the destruction.

It is argued that Heizer’s work is a place or form of exposure – comprised with concrete and the large shifting (digging) of ground has been achieved through contemporary devices. This obliterated landscape establishes and a unique or rather uncanny experience through the restricting views on the horizon when walking through the site – such visual limitations create a lack of sense of size.

Personal Observations:

This particular earthwork is a brutalist manifestation that unfortunately contributes nothing other than to serve as a spectacle – even more so, this site is accessible to those of higher economic status. Although I do appreciate the aesthetics of the art – personally, I love slate/concrete/ rock designs, and the sky view provides a beautiful scene of the smooth and rounded design.

The apathetic tone towards the environment is disheartening – however it comes down to generational gaps and ignorance – new artists are more educated in the matter. This is a blatant choice on the Artists part and lacks depth without conceptual alignment – this piece had the potential to reach masses.

Studio Process: Enclosure

I opted to explore ‘enclosure’ through this experimentation – which led to an ornamental sculpture. At the beginning of each session, I envision organic/abstract shapes and how I can compel a design that serves purpose and meaning. The material itself prompted thought – the Planar (sheet metal) although firm was still flexible for movement, so I was able to transform it into a silhouette of curvature. The panels wrapped around in a spiralling manner as though a bird’s wing would cover its young. The abstraction contains a centre piece that is encapsulated by the petals – in a delicate yet comforting scene that softly mimics that of a flower budding.



Final composition - catching sunlight

Design Ideas:


Artwork Review: Ernesto Neto

Ernesto Neto (born 1964 in Rio de Janeiro, Brazil) is a contemporary artist who has garnered recognition for his immersive and sensorial installations. Homage to his heritage, Neto’s practice is grounded in Brazilian Neo-Concretism, a movement that emphasises the viewer’s physical interaction with the art. 

Gaia MotherTree (2018) features biomorphic forms, organic material, with visceral sensations, and spiritual connection.

The sculptural piece is enriched by both compositional and conceptual value. Enveloping Zurich’s main train station, this monumental giant serves also as a venue for mediation and engagement. The structure mimics a towering tree in form but also reverences a temple - connecting to nature and spirituality. This is achieved through the rounded and organic shaping. Texture is embedded through the soft, crochet weaving which combines a palette of earthy tones - orches, greens and brown - symbolic of the natural enviroment and a gesture of growth. Notably, the tree is intertwined with spices to encapsulate an aroma that entices one's senses. This touch incorporates the earth's terrain - truth to material.

Reflection:

Despite the  sculptures vast invasion it separates itself from the hustle of the outward environment - evoking a sense of security and comfort as it cascades those inside the space.


Ernesto Neto

Gaia MotherTree, 2018

Material: woven cotten fabric, 420kg spices & plant seed

Dimesions: Height 20m., Area 40m x 38m


Neto, E. (2018). Gaia MotherTree [woven cotton fabric, 420kg of spices
(turmeric, cloves, cumin, black pepper), plant seeds, Installation].
 Zurich Main Station, Switzerland. Photo by Mark Niedermann.



Artwork Review: James Turrell

Within, Without (2010)

“My work is about space and the light that inhabits it. It is about how you confront that space and plumb it with vision. It is about your seeing, like the wordless thought that comes from looking into fire” (The National Gallery of Australia, 2014).

This piece was built in the garden of the National Gallery of Australia (NGA) in Canberra in 2010.  Turrell reveals the immensity of the natural world and the beauty of celestial architecture which features a square based pyramid that encloses the central basalt stupa. 

Turrell manipulates natural and artificial light through negative space - this is created from the open oculus above the stupa that frames the sky, transforming it into a dynamic landscape that casts lines with shadow and light. 

This is a space that offers peace and tranquillity - a site that is ethereal and still. The colour palette ranges from red ochre walls and basalt stone ground to represent the Australian landscape, to the bright turquoise pooling, adding contrast.

Turrell’s Sky spaces, 'Within Without' is reverent of enclosure - submerging individuals in a dome that sheilds from the outside. It truly is an outer-worldly sensation.


James Turrell

Within, Without, 2010

Material: Concrete & basalt stupa, water, earth

Site: National Gallery of Australia, Canberra

Dimesions: N/A


Turrell, J. (2010). Within, Without [concrete & basalt stupa, water, earth, installation]. National Gallery of Australia, Canberra. Photo by John Gollings. 

 






Reference List:

Collabcubed. (2011, July 13). James Turrell: Within Without. CollabCubed. https://collabcubed.com/2011/07/13/james-turrell-within-without/

Li, W. (2023). Presence and absence: Reflective art practice on thesite. Communications in Humanities Research, 3, 734-741.

Neto, E. (2018). Gaia MotherTree (ürich main station, Zürich, Switzerland) [Woven cotton fabric, 420kg of spices (turmeric, cloves, cumin, black pepper), plant seeds].

Public Delivery Organization. (2025, April 16). Ernesto Neto’s Gaia Mother Tree crochet work & 420kg of spices. Publicdelivery.org. https://publicdelivery.org/ernesto-neto-gaia-mother/

Taggart, E. (2018, July 18). 65-Foot-Tall Hand-Crocheted Tree “Grows” Inside Zurich’s Central Train Station. My Modern Met. https://mymodernmet.com/crochet-tree-textile-sculpture-ernesto-neto/

The National Gallery of Australia. (2014, December). James Turrell: Within WIthout . National Gallery of Australia. https://nga.gov.au/art-artists/sculpture-garden/james-turrell-within-without-2010/

Varady, S. (2018, May 21). Canberra: “Within without” (Australia). STEPHENVARADY_ARCHITRAVELLER. https://stephenvaradyarchitraveller.com/2018/05/21/canberra-within-without-australia/

XIBT Contemporary Art Magazine. (2025). Ernesto Neto: Weaving Sensory Worlds. Xibtmagazine.com. https://www.xibtmagazine.com/2025/03/ernesto-neto-weaving-sensory-worlds/

Zupan-Rupp, K., Schmidt, H., & VernissageTV. (2025). Ernesto Neto: GaiaMotherTree / Fondation Beyeler at Zürich Main Station. Bing.com. https://www.bing.com/videos/search?q=ernesto%20neto%20artworks&view=detail&mid=07FFA8CF93DE6C58FABF07FFA8CF93DE6C58FABF&ajaxhist=0




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