There is a continuity in Patrick Dougherty's work that I love. His vision of himself as a woodsman first makes the relationship to his material, site-gathered trees and vines, more intimate.
The concept of "drawing in space" with materials found on site is marvelous. He says, "Sticks are both tree branch anda line with which to draw." That kind of 3-dimensional awareness is translated as he is working and making each installation site-specific allows for his energy to join with the site. I was particularlyl drawn to "Holy Rope" which is at Rinjyo-in Temple, Japan. The contrast that the author makes between Japanese artists and American artists is thought-provoking. The author talks about Japanese artists working with nature in "a precise and highly controlled way. ... This contrasts the way many North American artists conceive space as a free areas to work in." While I understand what the author is saying, I think there are many North American artists who approach their artwork with precision and control.
I also like the idea Dougherty presents on the transience of his work. It speaks to value, both intrinsic and concrete, and presents a question that I struggle with constantly. Who is the authority that assigns "value" to a piece of artwork, in essence, giving a definition of artwork.
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Lois,
ReplyDeleteNice contrast there between the author (John Grande's) voice and the voice of Patrick Dougherty, embeded in your comment. Once wonders in a sense how much is the form-making he gravitates towards and how much of the decisions come from the site and the materials, or are these even separable?
We'll get to see if he works with his ear to the Earth!
ReplyDeleteI wondered that as well, if Dougherty brings the concept to the area and allows for a fluid interchange between himself and the land or if he leaves the concept somewhat nebulous and negotiates the construction with the visual language he finds on-site... Maybe both? It would be an interesting conversation to have with Patrick.
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