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.

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Other Sculptures by Hes

Quarantine [2016]

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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 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]

More from Hes

Art

Store

Travel Guides

Photography

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.

(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]

Find Me Elsewhere

Website

Store

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