The Commission
| By John Paul Burgess |
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materials: bubble wrap, acrylic lead, moss, paper, photo transfer, plastic, sedum, sponge, wax
ABOUT THE ARTIST
Welcome to The Commission, a new section in which we lend page space to local artists of all mediums to do with as they see fit. Our first commissioned piece comes from Gregory Euclide, a Minneapolis-based artist whose two- and three-dimensional landscapes meditate on the various ways in which we experience nature and how said experiences are shaped by idealized imagery–classic landscape paintings, for example.
Euclide’s work often emulates one’s tactile experience of the land. To really appreciate his art, you must physically walk around and investigate it from all angles.
(which is why we shot a video; see below.)
“In pieces like this,” Euclide explains, “I’ve ripped sections out of old paintings and introduced new elements because it reminds me of how I think of landscape in terms of a conglomeration of all the different experiences I’ve had in the land.” In reference to “How often levels left pools...” he was thinking in particular about Minnesota’s north shore.
“When you walk along the rocks up there,” says Euclide, “you see all these things squirming around inside small tide pools, and it’s interesting to me how life can just spring out these little pockets of nothing. So I wanted to create this little bubble-wrapped pocket of space that felt like a protected nook, and then inside you find this stuff bursting forth.”
How Often Levels Left Pools and Began to Claim Their Own Protection: Video Tour from METRO Magazine on Vimeo.
ABOUT THE ARTIST
Welcome to The Commission, a new section in which we lend page space to local artists of all mediums to do with as they see fit. Our first commissioned piece comes from Gregory Euclide, a Minneapolis-based artist whose two- and three-dimensional landscapes meditate on the various ways in which we experience nature and how said experiences are shaped by idealized imagery–classic landscape paintings, for example.
Euclide’s work often emulates one’s tactile experience of the land. To really appreciate his art, you must physically walk around and investigate it from all angles.
(which is why we shot a video; see below.)
“In pieces like this,” Euclide explains, “I’ve ripped sections out of old paintings and introduced new elements because it reminds me of how I think of landscape in terms of a conglomeration of all the different experiences I’ve had in the land.” In reference to “How often levels left pools...” he was thinking in particular about Minnesota’s north shore.
“When you walk along the rocks up there,” says Euclide, “you see all these things squirming around inside small tide pools, and it’s interesting to me how life can just spring out these little pockets of nothing. So I wanted to create this little bubble-wrapped pocket of space that felt like a protected nook, and then inside you find this stuff bursting forth.”
How Often Levels Left Pools and Began to Claim Their Own Protection: Video Tour from METRO Magazine on Vimeo.
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