Land art and site specific sculpture - land art uses the environment and its scale as its material. Concrete art is expressed in material itself with which the artist introduces her non-representational objective. Public art can be viewed and accessed by observers.
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Actually It's not important whether I can be called a landscape architect, environmental designer or even a sculptor for that matter. My work overlaps many fields. I do feel that, as an artist, my works should go beyond just the designing itself. For artists there are no boudaries - only for art historians.

Adding one's sculpture to a landscape can be very exiting (see Henry Moore). Creating a landscape around a sculpture needs more explaining: this can be a dangerous undertaking because it is an unnatural act to have a sculpture first and then pretend surroundings for it. You would be trying to marry two totally different entities.

One of my first projects started out by the architect asking me to make a sculpture for a garden with a pond which he had sketched (DSW project - my first environmental sculpture project, a form of urban land art). But, I was free to design the pond myself - he added that I would even be free to design the whole garden. I couldn't put it in words then, but I did understand that it would not work - to design a sculpture and then a garden to complement it. So I decided to make an environment in which I could imagine myself being there - using elements from my surroundings which had individual qualities of their own: traditional pruned linden trees, traditional natural stone curbstones, mowed grass planes, moving water, an impenetrable lava stone field and elements which I created myself - combining them into a kind of environmental assemblage of items which melted together into a visual theatrical spectacle with a contemplative Zen garden-like appeal. Maybe there are better ways to formulate this, but this is what came out of my keyboard now. I remember showing my initial sketch to Henry Moore in Italy the summer of 1970. He told me that he appreciated the fact that I had incorporated elements which I shaped myself into this environment.

At that time I had already started to doubt whether this was actually an indispensable thing. Why shouldn't one be able to create a totally new visual and spatial experience by only using existing material and objects?

In 1971 I started another environmental/landscape project into which I introduced a bronze sculptural element of my own - the Walburg project. After this the only landscape-like project into which I introduced a sculptural element was the Suvanto Puisto park-project. I wonder if Henry Moore's words had that great an impact on me. I suppose I sometimes feel the necessity of having a dominant central object, which cannot be an existing recognizable object from our daily environment with which we are already acquainted. It would have too much implied meaning of itself (although I do use them as secondary elements of an environment just because of this inherent symbolism). Still a sculptural object made by my own hand should not have to tell more than it actually is either - it should remain very elementary and reflect its presence on its surroundings.

I will have to think about this a lot more, but not too much - for when I find the solution, I may not have the satisfaction I need anymore. And again - I remember Henry Moore telling me that C. G. Jung wrote The Archetypal world of Henry Moore; but he did not actually want to read it and find out why he was doing what he did.
 



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