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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sculptor - Lucien den Arend

ROUNDABOUT SPECIFIC SCULPTURE

A roundabout is one of the few places where anything placed on it can normally be viewed only from predetermined viewpoints. Another limitation is the short time slot allotted to experience the situation. These apparent constraints limit the possibilities we have; at the same time they can, and should, be used to our advantage. The void within a roundabout is usually filled with something natural or is often used to exhibit a sculpture. Art, however, is generally meant to be observed for a period of time and preferably processed or even assimilated — at least as far as the artist is concerned.

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Art on a roundabout has specific possibilities which differ from those in other situations or settings. The observer does not choose to stop; the encounter is unavoidable yet brief. Art made specifically for the road environment should therefore not be too demanding, whereas in other situations it can be as complex as necessary or may even requireor at least invite touching it. To the contrary a work on a roundabout is approached from one direction and perceived while moving around it, the views continuously evolving as part of a predetermined pattern imposed by traffic movement.

This movement animates the sculpture. The work unfolds in time rather than through a single spatial experience alone. Depending on the country, this sequence may develop clockwise or counter-clockwise, a condition that becomes significant when direction or progression forms part of the artistic concept. The spatial quality of three-dimensional art alone is, in the case of a roundabout, not sufficient in itself. There is much more to utilize than regarding a roundabout merely as a place to locate art.

A roundabout should therefore not be understood simply as a pedestal in traffic space, but as a dynamic viewing system in which speed, sequence and memory become part of the work itself. The projects shown here include sculptures developed specifically for roundabout situations, as well as an earlier work later incorporated into such an environment, illustrating another common approach to the use of art in traffic space.


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