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Sunday, 19 May 2013


Lyndal Osborne and John Freeman. Counterpoint. 2009
Val-David, Quebec.
Outdoor installation using the natural woods, PVC tubes, pigmented prints
on polyester film, rebar and foam.

Forty-one synthetic trees are "planted" in a grid within a clearing, within a natural forest.  The false takes up residence within the true. The art within the wild. The approach is concealed.

Lyndal Osborne and John Freeman. Counterpoint. 2009

Peter von Tiesenhausen. Sanctuary. 2012
Outdoor installation at Leighton Art Centre, Calgary, Alberta.
Comprised of 1000 poles harvested from the artist's land in northern Alberta
in the wake of the Mountain Pine Beetle devastation.

One thousand dead trees resurrected in the foothills of the Rockies, forming alleys that lead the eye to the mountains beyond. Or upwards to the sky. Imposing a human perspective on the landscape. Creating an approach to the sacred.

Bord Gais Energy Theatre, Dublin. Martha Schwartz Partners.

Outdoor installation in front of the Bord Gáis Energy Theatre in Dublin. 2010

Red "trees" mark the approach to a theatre in Dublin. Creating obstacles, forcing indirection. Creating context. Lit at night like torches, lighting the way to the celebration within.

Dale Chihuly. Red Reeds. Glass.
Frederik Meijer Sculpture Gardens, Grand Rapids, Michigan.

Spiky reeds of glass -- shards -- growing in a garden. Reaching upward, red slivers piercing the air. Impaling the sky. Approaching the light.

See more works by Peter von Tiesenhausen in the following posts on this blog: singed; burning man; and a book of days.  See more of Lyndal Osborne at spinners; or collecting as art practice.

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