Introduction

Tucked into a quiet forest park on Chongming Island, Chongming frames a view of a canal and a small alluvial landform that mirrors the island itself. This lens reflects the constant interplay of land and water, inviting viewers to contemplate the delicate balance of nature and the forces that shape it.

Site & Placement

The lens is hidden along a forest path, directing attention to the canal’s subtle currents and the land it divides. The bench, situated 12 feet from the lens, encourages visitors to pause and immerse themselves in the tranquil rhythm of the scene.

Impermanence & Integration

As an alluvial island shaped by shifting waters, Chongming is a fitting location for this ephemeral lens. Constructed from branches, the lens will eventually return to the land, echoing the natural processes that formed the island and continue to shape it.

Reflection

Chongming offers a meditative space to reflect on the impermanence of land and the forces that transform it. The work’s fleeting existence underscores the beauty of change, inviting viewers to appreciate the subtle, ongoing dance of nature.

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

"Looking Glass" (Earth Lens 001)

"Folsom" (Earth Lens 002)

"Sanctuary" (Earth Lens 003)

"Platte" (Earth Lens 004)

"Grandfather" (Earth Lens 005)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

Introduction

Situated on Myanmar’s Grandfather Beach, this lens captures the dramatic shape of a steep, rocky hill that mirrors the arduous road leading to this remote location. Grandfather invites viewers to reflect on the connection between journey and destination, highlighting the tension and beauty of paths less traveled.

Site & Placement

The lens is positioned at the west end of the beach, focusing on the sharp hill rising above the shoreline. Its teardrop shape accentuates the rocky prominence, emphasizing its similarity to the road that winds toward the beach. A bench, placed 12 feet away, provides a place for viewers to absorb the rugged beauty of the scene.

Impermanence & Integration

Crafted from driftwood, branches, and stone, Grandfather is a fleeting presence in this timeless landscape. Its brief existence reflects the challenges and ephemerality of the journey it highlights, blending into the environment as it gradually succumbs to the elements.

Reflection

Grandfather invites viewers to consider the parallels between the physical journey to reach the beach and life’s broader paths. It stands as a reminder that even the most challenging routes can lead to moments of profound beauty.

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

"Looking Glass" (Earth Lens 001)

"Folsom" (Earth Lens 002)

"Sanctuary" (Earth Lens 003)

"Platte" (Earth Lens 004)

COMING SOON: "Chongming" (Earth Lens 006)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

Introduction

Platte captures a tranquil bend of the South Platte River, where the steady flow of water meets the rugged backdrop of Waterton Canyon. This lens offers a moment of respite, encouraging visitors to step away from the river’s busy recreational activities and focus on the quiet beauty of this secluded scene.

Site & Placement

Positioned on the west bank of the South Platte River, the lens directs attention to the water’s gentle curves and the canyon rising in the background. A bench placed 12 feet away provides the perfect spot for reflection, emphasizing the interplay of movement and stillness in the landscape.

Impermanence & Integration

The lens, constructed from branches and stone, mirrors the ever-changing nature of the river itself. As it stands, it frames a single moment within the flow of time, but its materials will soon be reclaimed by the earth, echoing the river’s constant reshaping of the land.

Reflection

Platte invites viewers to contemplate the river’s journey—its constancy in motion and its quiet persistence. The work becomes a metaphor for life’s flow, urging us to find beauty in the transient and the enduring alike.

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

"Looking Glass" (Earth Lens 001)

"Folsom" (Earth Lens 002)

"Sanctuary" (Earth Lens 003)

COMING SOON: "Grandfather" (Earth Lens 005)

COMING SOON: "Chongming" (Earth Lens 006)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

This project was exhibited in 2015 in Boulder, Colorado.

Artist Statement

“A Line Made By Walking” (2015) is a site-specific piece created in Boulder, CO, where my body weight etched a temporary line into the earth. This work pays homage to Richard Long’s seminal 1967 piece, where a simple act of walking through the landscape left a profound trace. In my version, the line created by my movement forces the viewer to engage with the impermanence of human intervention on the land. The project prompts a reflection on the subtle yet lasting impacts we have on the environment, even through seemingly minimal actions.

As part of my larger “Rockway” project, this case study explores the concept of ‘line’ in both literal and metaphorical ways. The line is not just a physical mark, but also a representation of time, movement, and the dialogue between the body and the land. Walking, in this context, becomes a way of marking time—an act that is as ephemeral as the mark it leaves behind. The work questions the tension between permanence and transience, asking the viewer to consider how we interact with the land, both intentionally and unknowingly, and how those interactions leave traces that may soon fade but never completely disappear.

Photos

More Land Art:

Earth Lens Series

"Looking Glass"

"Het Bonhe"

"Rockway"

"Invasive"

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Introduction

Sanctuary offers a layered view of resilience, juxtaposing the green expanses of the Sanctuary Golf Course with the majesty of Pikes Peak and the scars of past destruction. Framed by the lens, this work explores the tension between human intervention and nature’s cycles of renewal.

Site & Placement

Perched at Daniels Park in Castle Pines, the lens focuses on the rolling terrain of the golf course, leading the eye to the distant peak. The surrounding brush, which once burned in a major fire, adds depth to the narrative of renewal. A bench, positioned for an unobstructed view, invites visitors to sit and reflect on the land’s capacity to heal and endure.

Impermanence & Integration

As an ephemeral installation, Sanctuary embodies nature’s cycles of destruction and rebirth. The materials—branches and rock—will eventually decay and return to the earth, a process that mirrors the recovery of the landscape itself after fire. This impermanence underscores the delicate balance between human influence and natural forces.

Reflection

Sanctuary serves as a reminder of both the fragility and resilience of the world around us. It invites viewers to pause and consider the interplay of destruction and growth, human and natural, as they gaze upon a scene shaped by both time and transformation

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

"Looking Glass" (Earth Lens 001)

"Folsom" (Earth Lens 002)

COMING SOON: "Platte" (Earth Lens 004)

COMING SOON: "Grandfather" (Earth Lens 005)

COMING SOON: "Chongming" (Earth Lens 006)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

Introduction

From atop Flagstaff Mountain, Folsom frames Boulder’s iconic Folsom Field, a symbol of youth, learning, and community. This lens offers a moment of reflection on the brevity of the college experience and the transient nature of life, inviting viewers to connect with the campus and its fleeting but impactful moments.

Site & Placement

The lens is strategically placed to frame the stadium, blending the vibrant life of the campus with Boulder’s vast and enduring natural landscape. The bench, situated 6 feet from the lens, offers a space to sit and contemplate the juxtaposition of permanence and change, of structure and wilderness.

Impermanence & Integration

Constructed from branches and rock, Folsom is designed to fade into the mountain landscape after only a short time. Its impermanence echoes the fleeting nature of the college years, reminding viewers that growth and transformation are rooted in moments that pass all too quickly.

Reflection

Through its brief presence, Folsom captures the delicate interplay between human experiences and the enduring landscapes that frame them. It invites viewers to celebrate the vibrant present while acknowledging the inevitability of change.

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

"Looking Glass" (Earth Lens 001)

COMING SOON: "Sanctuary" (Earth Lens 003)

COMING SOON: "Platte" (Earth Lens 004)

COMING SOON: "Grandfather" (Earth Lens 005)

COMING SOON: "Chongming" (Earth Lens 006)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

Introduction

Nestled deep in the forest near Boulder, "Looking Glass" invites viewers to rediscover the quiet beauty of overlooked natural details. By framing the play of light, texture, and shadow through a 4-foot circular lens, the piece shifts focus to the microcosms of the forest, drawing attention to a small and overlooked waterfall.

Site & Placement

The lens is perched amid a cluster of trees, emphasizing a quiet patch of the forest that often goes unnoticed. Positioned 22 feet from the lens, a carefully placed bench offers a perfect vantage point, guiding visitors to linger, observe, and absorb the layered simplicity of the scene.

Impermanence & Integration

True to the ethos of the Earth Lens series, Looking Glass exists only briefly. Its natural materials—branches, wood, and rock—blend seamlessly into the forest and will eventually be reclaimed by it. The fleeting presence of the lens reflects the transient beauty of life, encouraging viewers to appreciate the details that often escape notice in the rush of time.

Reflection

In its short life, Looking Glass offers a moment of stillness and clarity, a chance to peer into the intimate world of the forest. The work becomes a lens not just for the environment but also for introspection, reminding viewers of the quiet wonders that surround them every day.

Photos

More from the 'Earth Lens' Series:

Earth Lens Series: Artist Statement + List of Works

COMING SOON: "Folsom" (Earth Lens 002)

COMING SOON: "Sanctuary" (Earth Lens 003)

COMING SOON: "Platte" (Earth Lens 004)

COMING SOON: "Grandfather" (Earth Lens 005)

COMING SOON: "Chongming" (Earth Lens 006)

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

For the Official Stooki Sound Afterparty in Boulder, CO, I took the unconventional venue of a kitchen on The Hill and transformed it into an immersive environment for Toybox and Tesfa’s performances. The space was custom-mapped with projections that interacted seamlessly with the surroundings, turning the kitchen into a dynamic, visual landscape. I added retrofitted props to deepen the visual experience, giving the projections a multi-dimensional quality. This innovative approach created a unique atmosphere, enhancing the performance while blurring the lines between physical space and digital art.

Event Photos

Recap Video

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Other Immersive Experiences by Hes

Light Pollution [2015]

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

This project was first exhibited in 2015 in Boulder, Colorado.

Prints available on request. DM for inquiries on the sculpture.

Artist Statement

Organimetal: Where Industry Meets Nature

Organimetal examines the paradoxical relationship between human industry and the natural world, reflecting on humanity’s dual role as both creator and disruptor. This work fuses bold industrial materials, such as sheet metal and rivets, with an organic form, evoking the tension between the rigid, mechanical qualities of human innovation and the fluid, unpredictable patterns of nature.

At the heart of this sculpture lies a critique of the way human industry often seeks to dominate the natural world while still drawing inspiration from it.

The form’s flowing, natural curves juxtapose the cold, utilitarian surface of the metal, highlighting this inherent contradiction. The industrial materials, traditionally associated with mass production and control, are reimagined here as part of a delicate, organic structure, prompting viewers to question the impact of industry on the Earth.

This sculpture serves as both an artistic exploration and a personal milestone. It represents my second foray into metalworking and the first piece to ignite my love for the medium. As viewers engage with Organimetal, they are encouraged to reflect on their own perceptions of progress, balance, and the unintended consequences of our attempts to shape the world around us.

Photos

Other Sculptures by Hes

Quarantine [2016]

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All images are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

This project was created and first exhibited in 2015 in Boulder, CO.

Artist Statement

Untoward Equilibrium is an experimental short film that delves into the complex and often strained relationship between humans and the natural world. Through a dynamic interplay of visuals, sound, and digital manipulation, the film investigates themes of migration, cultural destruction, and the often futile efforts to rebuild in the face of inevitable change. Utilizing tools such as VDMX 5, iMovie, and the APC40, I aimed to weave a narrative that reflects the cyclical and untidy balance between human intervention and the forces of nature.

The film’s abstract visuals and layered soundscapes evoke a sense of unease, suggesting that the equilibrium between the two is never quite stable. It examines the patterns of regime changes, revolutions, and war, exploring how these human conflicts mirror the predator-prey dynamics of the natural world.

Just as predators and prey shape ecosystems through cycles of survival and dominance, human societies grapple with cycles of power, upheaval, and renewal.

Through this lens, the work considers ongoing processes of disintegration and reconstruction, drawing parallels between societal collapse, cultural upheaval, and the relentless forces of nature. By blending the organic with the synthetic, Untoward Equilibrium reflects the fragility of human civilizations and the environments we inhabit, questioning whether true harmony between the two is ever achievable, or if we are destined to remain in a perpetual state of imbalance. This film seeks to provoke reflection on how the forces of war, revolution, and ecological interplay shape our understanding of the world and our place within it.

Stills from the film

Watch ‘Untoward Equilibrium’

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All images and video are credit of Hes, but you are free to download and use for any purpose. If you find joy from my art, please feel free to send a zap. Enjoy life on a Bitcoin standard.

The Earth Lens series is a harmonious fusion of art and nature, inviting unknowing viewers to step beyond the ordinary and immerse themselves in the lost intricacies of the surrounding landscape. These interactive earthworks serve as portals to the natural world, drawing us into a deeper connection with land around us; while forcing us to consider the impermanence of the world around.

Each unique Earth Lens is meticulously crafted and placed with an eye for perspective. The choice of location is deliberate, aligning with a prominent or unique feature of the land chosen to highlight. Whether perched atop a hill, nestled within a forest, or overlooking a serene lake, every lens captures a unique viewpoint. The curvature of the frame guides our gaze, emphasizing certain elements—a distant mountain peak, a winding river, or a cluster of wildflowers.

Accompanying each Earth Lens lies a small bench, providing the viewer with an invitation to linger. Positioned precisely where the lens frames its most captivating view, the bench beckons viewers to sit and absorb the work. Take a seat, and time slows down.

Where did this work came from? How long it has been standing? Who built it? The bench becomes a vessel for contemplation, a place to savor the beauty before us and question the permanence of time.

As the sun traverses the sky, Earth Lenses orchestrate a symphony of light. Through this interplay, we discover that art and nature are not separate entities but interconnected threads in the grand tapestry of existence. In the quietude of an Earth Lens, we rediscover wonder. These humble yet profound installations remind us that beauty lies not only in the grand vistas but also in the delicate details—the curve of a petal, the ripple on water, the whisper of wind through grass. So, take a seat, peer through the lens, and let the Earth reveal its magic.

Impermanence

As an artist, I am drawn to the ephemeral nature of the natural world and the impermanence of the structures that inhabit it. My Earth Lens series is a reflection of this fascination, as each installation is intentionally designed to be temporary, existing for only a brief period of time before being reclaimed by the natural world.

This impermanence is a deliberate choice, as I believe it allows the work to become an integral part of the landscape itself, rather than simply a static monument. By placing the lenses in unique and dynamic locations, I aim to create a sense of continuity and connection between the art and the environment, even as the art itself is in a state of flux. In this sense, the Earth Lens series is not a fixed or static entity, but rather a dynamic and evolving process.

It is a reminder that beauty and meaning are not fixed, but rather are constantly being reinterpreted and recontextualized. By embracing the impermanence of the natural world, and the impermanence of the art itself, I hope to create a sense of wonder and awe, and to inspire viewers to slow down, observe, and appreciate the beauty that's all around us, even as it's constantly changing.

List of works in the series:

001- 'Looking Glass'. Boulder, USA [2016]

002- 'Folsom'. Boulder, USA [2016]

003- 'Sanctuary'. Castle Pines, USA [2016]

004- 'Platte'. Littleton, USA. [2017]

005- 'Grandfather'. Dawei, Myanmar [2020]

006- 'Chongming'. Shanghai, China [2021]

Originally published in 2016 by Hes.

Republished to habla.news/u/hes@nostrplebs.com on 11/27/2024 with slight edits.

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This project was presented in 2015 in Boulder, Colorado. Images and video remain property of Hes.

Artist Statement

Light Pollution: Group Exhibition

"Light Pollution" is a group exhibition that investigates the influence of artificial light on the natural environment. As part of this exhibition, I transformed the CU Boulder campus's Engineering Complex into a dynamic canvas through projection mapping. My contribution, a 100ft+ projection on the complex's tallest spire, featured the video "Superintended Vanquishment". This piece showcased engineering failures caused by natural forces, prompting viewers to contemplate the environmental repercussions of human activities and the potential consequences of nature's retaliation. The projection not only illuminates the impact of light pollution on our surroundings, but also prompts a deeper reflection on our relationship with the natural world and the power of nature over humans.

The "Light Pollution" group exhibition was a thought-provoking and visually stunning exploration of the impact of artificial light on the natural environment. Through the use of projection mapping, video content, and immersive sound design, the artists aimed to create an unforgettable experience that would inspire viewers to think more deeply about our relationship with the environment and the impact of humans on the natural world.

Superintended Vanquishment: Short Film

‘Superintended Vanquishment’ is a digital media project that showcases modern engineering failures onto the very building where the future engineers of tomorrow are studying. The Engineering Complex at CU Boulder serves as the backdrop for this thought-provoking piece. The irony lies in the fact that the video, which depicts engineering disasters caused by natural forces, is projected onto the building where students are learning about engineering.

By using this content, I wanted to challenge viewers to think about the consequences of our actions on the environment and the delicate balance between human development and natural systems.

This project ties into the theme of light pollution by highlighting the impact of artificial light on both humans and nature. While humans have made great strides in engineering, nature still holds the power to reclaim what's hers. The video features scenes of engineering failures, such as a dam collapsing due to a flood, a building destroyed by an earthquake, and a bridge washed away by a landslide. The film serves as a reminder of the fragility of human creations and the power of nature.

The projection itself is striking, with the video mapped onto the Engineering Complex's tallest spire. The lighting effects and surround sound speakers create an immersive experience for viewers, allowing them to feel as if they're part of the scene. This visual and auditory display invites viewers to reflect on the consequences of human actions on the environment and the delicate balance between human development and natural systems.

Ultimately, the project underscores the notion that, despite our technological advancements, nature will always have the final say.

Watch ‘Superintended Vanquishment’

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Originally published in 2015 by Hes.

Republished to habla.news/u/hes@nostrplebs.com on 11/28/2024.

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This project was first presented in 2022 in Littleton, Colorado. Images remain property of Hes. Prints available on request.

Artist Statement

Нет войне: No to War

"Нет войне" is an environmental art project created by continuously walking back and forth for several hours until the grass lay flat. Each letter measures roughly 12’ x 6’. The letters have been slightly exaggerated in Adobe Lightroom for digital clarity. The phrase "Нет войне" translates to "No to War."

The piece aims to give a voice to the citizens around the world standing up against tyranny and destruction. Nature always overruns land art with time. It overruns the rubbles of a war-torn country. It will overrun civilization long after we are gone. This earthwork may only be visible for a couple of weeks; the signs may only be held up for a couple of seconds; the remnants of a devastating war may only be visible for a couple of decades. But one thing remains true: human lives will never be restored. Facts should never be forgotten. Invasions should never be tolerated. Freedom will prevail.

The artwork reflects on the impermanence of human constructs, whether they are artistic expressions or the scars left by warfare. It serves as a testament to the strength and determination of those who oppose oppression and violence.

Through this work, I aim to not only capture a moment of protest but also invite viewers to reflect on the broader implications of war and peace. The piece is a call to action, urging us to remember the human cost of war and to strive for a world where freedom and peace prevail.

Follow-up images regarding the status of the land will be provided over time. Hopefully, the war will be over before the piece fades away.

Additional Photos

Month 1 Update

The war expands. The piece stands.

Month 4 Update

The war continues. The piece fades.

Month 12 Update

The war rages on. The piece is gone.

More Land Art

Invasive (Site/Non-Site) - [2016]

Quarantine - [2016]

Rockway (Micro v. Macro) - [2016]

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Originally published in 2022 by Hes.

Republished to habla.news/u/hes@nostrplebs.com on 7/5/2024.

Republished with updates to Website on 12/15/2024.

This project was first presented in 2016 in Boulder, Colorado. Images remain property of Connor Hesen. Prints available on request.

Site // Teller Lake Number 5

Non-site // University of Colorado Visual Arts Complex

Artist Statement

Invasive: Chaos and Order

"Invasive" is an environmental art project inspired by the concept of "Site / Non-Site," developed by Robert Smithson, a pioneer of Land art in the 1960s. A Site is a location outside the gallery, where the natural materials are collected and documented. A Non-Site is a body of objects and documentation inside the gallery, where the natural materials are transformed and displayed as sculpture.

The project is centered around Teller Lake #5, a location where human intervention has disrupted the natural balance of the ecosystem. Uneasy yet harmonious, eerie yet relaxing. Tall trees invade the path leading to the lake and begin to take over. Broken glass protrudes into walkways. Large slabs of concrete displaced on the beach. In 2013, goldfish are introduced to the lake by man, multiplying rapidly and threatening native species. The ecosystem is broken and infested. Man begins to plot solutions to this problem. In 2015, hungry pelicans arrive and consume most of the goldfish, restoring order to the lake without human intervention. Nature wins again.

The Site features large slabs of concrete on the beach, presumably left by human activity. One of these slabs is in perfect alignment with the lake, creating an unexpected visual connection.

The Non-Site of this project is located in the University of Colorado Visual Arts Complex stairwell, where the materials and impressions from the Site are reinterpreted and re-contextualized.

The Non-Site consists of the concrete slab found at Teller Lake, with a circular dirt ring, representing the slab and the circle found at the Site. The slab is raised off the floor by a cinder block, offering an abstract view of the piece from above. The work also includes photographs and maps of the Site, as well as samples from the area and an eerie audio-track ringing through the echoey space.

"Invasive" delves into the complex relationship between humans and nature by examining the impact of human intervention on Teller Lake #5. The project highlights the tension between the natural and artificial, and encourages viewers to think about the consequences of our actions on the environment. By exploring this issue, "Invasive" invites us to consider the delicate balance between nature and human activity, and how our choices can have far-reaching effects on the world around us.

Additional Photos

Originally published in 2016 by Connor Hesen.

Republished to habla.news/u/hes@nostrplebs.com on 6/30/2024 with slight edits.

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Video and Film

Lightning Storefront

(Box) pallet, pallet wood, spray paint, nails [48” x 24” x 24”]

This project was first presented in 2016 in Boulder, Colorado. Prints available on request.

Artist Statement

Quarantine: Examining the Impact of Globalization

“Quarantine” examines one node in the complex network of human globalization. The work reflects on the repercussions of global trade and encourages discussion about the benefits - and tradeoffs - that globalization has brought the human species.

At the core of the project lies the Emerald Ash Borer (EAB), an invasive insect that has left a trail of devastation across millions of ash trees in the United States. Native to Asia, the EAB hitchhiked its way onto American soil through wooden packing materials. It made its debut in Boulder in 2013 - threatening the existence of nearly 100,000 ash trees in the area. To curb further spread, the federal government imposed a quarantine on all ash wood from affected regions.

As one contemplates the interplay between the various elements of the piece, they should aim to explore their own moral frameworks and seek to dive deeper into questions on progress, connection, and preservation.

“Quarantine” is presented through two elements, each narrating a unique chapter of this ecological saga:

The ash wood panel aims to mimic the characteristics of the EAB’s destruction. The panel is adorned with a font that mimics the signs of infestation and illustrates the relentless assault this tiny creature is causing.

The text is rendered in midnight black, creating a deliberate contrast to that of which it lies—a dialogue between organic and artificial. The word “Quarantine” is displayed as the focal point of the panel to demonstrate a literal interpretation of ‘quarantine on ash’. As viewers engage with the panel they confront the dual forces. Nature’s vulnerabilities and humanity’s impact.

The box stands as a tangible representation of the method of infestation. It symbolizes not only containment, but also the globalized trade that facilitated the EAB’s journey in the first place. Its worn and gritty appearance mirrors the ecological (and economic) damages caused by this innocuous-seeming insect. On one side of the box, a bright red symbol hints at a potential warning to the destination of the ill-fated crate. The top reads 'destruction' in all bold caps. Something feels off.

Globalization, while propelling forward incredible human progress and prosperity, has also created undeniable disruptions to ecosystems and biodiversity around the globe. The EAB saga serves as just one case study into the larger topic at hand, revealing the unintended consequences of our interconnected world.

Additional Photos

Other Sculptures by Hes

Organimetal [2015]

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(Macro) "St. Louis" // photo collage on foam board [16" x 20"]

This project was first presented in 2016, as a diptych installation at the group exhibition, "There to Here: Investigative Topographies from Land and Environmental Art" in Boulder, Colorado. Images remain property of Hes, but prints can be purchased via DM.

Artist Statement

Rockway: A Reflection on Roads and Nature

“Rockway” examines the concept of Micro v. Macro through the central theme of line; acting as a reflection on ideas of movement and connectivity in today's world. A line, simply defined as the connection between two points, takes on a profound new meaning in our urban landscape. The roads we have constructed, like arteries of the land, connect us to vast possibility. What happens when human progress and creation intersect with the natural world, and what role does that play in our lives?

Boulder Creek (pictured above) explores this intersection at the micro-level, focusing heavily on the delicate balance between humans and their environment. Stumbling upon the nearly 160-foot earthwork presents the viewer with an unnatural line, composed of stones, meandering through the pristine natural landscape. It evokes the winding roads through the mountains nearby one takes to get here- a stark contrast against the wilderness where it sits.

The earthwork employs a singular free-flowing, curvilinear line, representing a departure from the rigid angles of the surrounding landscape. This choice symbolizes more than just movement. It delves into the relationship between the towering skyscrapers, flowing highways, and gridded cities we inhabit. As the eye follows the work from start to finish, it encounters straight lines—those of trees and rocks—interrupting the flow, much like the complex highway systems and cities we build to connect ourselves around the globe.

St. Louis (pictured above) explores the concept of line at the macro-level. In this piece, movement remains a central theme, but the intent shifts. The collage aims to create an unrealistic, yet harmonious, urban highway system. Lines intersect, diverge, and rejoin in nearly impossible ways; calling into question what exactly our future might look like. Each line signifies the movement of humans—from place to place, from birth to departure.

The city of St. Louis holds personal significance. It’s my birthplace, my starting point. The curved form of the line embodies movement and fluidity, echoing my own journey. Highways connect us to places, people, and experiences. They weave our stories, even as they reshape the landscape.

Step back, and the piece appears a unified whole. But lean in and scrutinize the details, and you’ll discover individual clippings and rigid overlaps from the satellite photos it is composed of. Each stone and curve. Each road and line — force us to consider the tale of movement, connection, and balance. "Rockway" invites us step back and dig deeper into the connections we [ourselves] hold with the land; and what responsibility we [as a whole] have in encouraging continued prosperity, while maintaining the delicate balance holding it all together.

Additional Photos

More Land Art

Invasive (Site/Non-Site) - [2016]

Quarantine - [2016]

Earth Lens Series - [2016-Present]

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Originally published in 2016 by Hes. Republished at habla.news/u/hes@nostrplebs.com/1708400183541 on 2/19/2024.