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Land artist Jon Foreman finds comfort in arranging stones in eye-pleasing formations on the beach. He calls his practice u201cSculpt the Worldu201d
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Erythrean Moon, 2020 Erythrean Spiral, 2020
Erythrean Spiral, 2020 Land artist Jon Foreman lives in Pembrokeshire, Wales, which is home to a generous coastline. Foreman finds comfort in arranging stones in eye-pleasing formations on the beach. His practice, which he calls Sculpt the World, showcases rocks fashioned into swirling patterns as well as giant circles containing an array of rainbow-esque hues
Repercutio, 2020 Flumen, 2019
Circumversio (2019) Introversio, 2020
Jon Foreman (British, 1992) Sculpt the World Warped Colour, 2020
Jon Foreman (British, 1992) Effluo, 2020
Jon Foreman (British, 1992) Sculpt the World Lunar Rotation, 2020 Gyri Radii, 2019
Inmutatio, 2019 Obnatus, 2019
Otherworldly, 2019 Triplex Deorsum, 2020 Quadra Effluo, 2020
Praefluus, 2019 Jon Foreman (British, 1992) Sculpt the World
Jon Foreman (British, 1992) The Spiraling Void, 2020
Jon Foreman (British, 1992) Sculpt the World
Jon Foreman (British, 1992) Sculpt the World Silex Flos, 2020
Jon Foreman (British, 1992) Triplex Duo, 2020
Text & pictures: Internet All copyrights belong to their respective owners Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda https://ma-planete.com/michaelasanda 2020 Sound: Roger Whittaker - Born Free; A Perfect Day
Land art, variously known as Earth art, environmental art, and Earthworks, is an art movement that emerged in the 1960s and 1970s, largely associated with Great Britain and the United States but also includes examples from many countries. As a trend, "land art" expanded boundaries of art by the materials used and the siting of the works. The materials used were often the materials of the Earth, including the soil, rocks, vegetation, and water found on-site, and the sites of the works were often distant from population centers. Though sometimes fairly inaccessible, photo documentation was commonly brought back to the urban art gallery. Concerns of the art movement centered around rejection of the commercialization of art-making and enthusiasm with an emergent ecological movement. The art movement coincided with the popularity of the rejection of urban living and its counterpart, an enthusiasm for that which is rural. Included in these inclinations were spiritual yearnings concerning the planet Earth as home to humanity. In the 1960s and 1970s land art protested "ruthless commercialization" of art in America. During this period, exponents of land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial art market, although photographic documentation was often presented in normal gallery spaces. Land art was inspired by minimal art and conceptual art but also by modern movements such as De Stijl, Cubism, minimalism and the work of Constantin Brâncuși and Joseph Beuys. Many of the artists associated with land art had been involved with minimal art and conceptual art. The Earth art of the 1960s were sometimes reminiscent the much older land works, Stonehenge, the Pyramids, Native American mounds, the Nazca Lines in Peru, Carnac stones and Native American burial grounds, and often evoked the spirituality of such archeological sites. Although the precise meaning of each construction varied, the underlying aim of this novel type of visual art was to create artistic imagery using earth, rocks, soil and other natural material, with a view to increasing our sensibility towards our environment.
