At present, I am working on a new research format based on simple principles and study cases. My process revolves around local materials, community engagement, and site-specificity. Through my research practice, I have built the first installation (study case) in Denmark and here at Taattisten Tila, I presented the second implementation.

The site-specific installation is situated outside the gallery space. Consisting of 90 adobe earth bricks creating a 2 mt clay plastered entranceway to the forest, The Gate invites the audience to walk through, taking the forest path into nature.* The building process involved an open workshop and as well the participation of the other residents and residency staff, making it a communal process. The materials used are strictly local, the soil and sand from a 50 mt radius of the installation site and the clay from the neighboring lake.

* In this context, we can consider the neighboring forest as a natural environment in opposition to artificial interventions such as the farm, gallery space, and the installation itself.

Sustainable Art Practices: Towards a Socio-Ecological Methodology within Site-Specific, Land, and Installation Art
Case study: The Gate

The growing need for the implementation of sustainable practices extends to the field of crafts and arts. Sustainability must become an integral part of the creative process, just as it is in architecture and design, in contrast to the typical emphasis placed on materials in art production, where they are often given secondary consideration.

The research project aims to question normative approaches to installation, site-specific, and land art, focusing on the use of sustainable materials within the local community, and examining constraints within the production process and visual outcomes.

Site-specificity is the core of the approach, involving a comprehensive understanding and incorporation of the local environment, its history, and identity. This is achieved through a sociological approach, engaging with workshops with the community and ultimately working from, with, and for the surroundings where the project is situated.

The workshops and the data collected serve as a medium for disseminating knowledge, creating community engagement, and ultimately pointing towards a sustainable and regenerative future.

Project supported by the Danish Art Foundation and Culture Moves Europe

At present, I am working on a new research format based on simple principles and study cases. My process revolves around local materials, community engagement, and site-specificity. Through my research practice, I have built the first installation (study case) in Denmark and here at Taattisten Tila, I presented the second implementation.

The site-specific installation is situated outside the gallery space. Consisting of 90 adobe earth bricks creating a 2 mt clay plastered entranceway to the forest, The Gate invites the audience to walk through, taking the forest path into nature.* The building process involved an open workshop and as well the participation of the other residents and residency staff, making it a communal process. The materials used are strictly local, the soil and sand from a 50 mt radius of the installation site and the clay from the neighboring lake.

* In this context, we can consider the neighboring forest as a natural environment in opposition to artificial interventions such as the farm, gallery space, and the installation itself.

Sustainable Art Practices: Towards a Socio-Ecological Methodology within Site-Specific, Land, and Installation Art
Case study: The Gate

The growing need for the implementation of sustainable practices extends to the field of crafts and arts. Sustainability must become an integral part of the creative process, just as it is in architecture and design, in contrast to the typical emphasis placed on materials in art production, where they are often given secondary consideration.

The research project aims to question normative approaches to installation, site-specific, and land art, focusing on the use of sustainable materials within the local community, and examining constraints within the production process and visual outcomes.

Site-specificity is the core of the approach, involving a comprehensive understanding and incorporation of the local environment, its history, and identity. This is achieved through a sociological approach, engaging with workshops with the community and ultimately working from, with, and for the surroundings where the project is situated.

The workshops and the data collected serve as a medium for disseminating knowledge, creating community engagement, and ultimately pointing towards a sustainable and regenerative future.

Project supported by the Danish Art Foundation and Culture Moves Europe