How should we approach the walks through landscape carried out by Hamish Fulton since 1969 to envisage them? How should we reflect on the singularity of his itineraries, in the context ofhis highly personal relationship between artistic practice and nature? How are we to discern the aesthetic dimension of these walks that Fulton has always been reluctant to consider as ‘works’ along the lines of those by Land Art practitioners, with whom theoretical laziness tends too conveniently to associate him? How can we envisage the unrepeatable nature of an in situexperience that is not anecdotally linked to place? The stroller is a typically modern figure. A figure that despite being conceived by Baudelaire beneath the mask of the flâneuras an essentially metropolitan phenomenon, is rooted in a certain form of relating to the physical space that precedes urban space.
espaivisor presents a selection of works Hamish Fulton thought of as his “retirement”. Never shown in public or just once, at his 2002 retrospective in Tate Britain, these works have not been offered for sale before. In them, one could adumbrate his prescient exploration of art, nature, walking and meditation, forging a strange relationship with space that, unlike physicists or painters, makes no pretensions to contain the immensity of space and its enigmas in the pages of a book or in a framed canvas.
We also have Fulton’s first mural from 1973, after which he decided that “each piece of art I make should contain a text on the walk.” The stand includes Fulton’s signature works rendered with black and white photographs and texts redolent of what he sees and hears on his walks in nature. The selection is rounded off by painted-wood sculptures related with the silhouette of the walked landscape.
Finally, the work shown in a display case uses text, image and drawing to describe the routes followed by pilgrims for centuries in Kent.
Hamish Fulton was born in London in 1946, he lives and works in Canterbury, UK.