This project was first presented in 2022 in Littleton, Colorado. Images remain property of Connor Hesen. 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

More Land Art

Invasive (Site/Non-Site) - [2016]

Quarantine - [2016]

Rockway (Micro v. Macro) - [2016]

Find Me Elsewhere

Writings

Portfolio

[Film](hes ⚡️)

Store

Originally published in 2022 by Connor Hesen.

Republished to habla.news/u/hes@nostrplebs.com on 7/5/2024.

Find more of my work at connorhesen.net

(Box) pallet, pallet wood, spray paint, nails [48” x 24” x 24”]

This project was first presented in 2016 in Boulder, Colorado. Images remain property of Connor Hesen. 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

Originally published in 2016 by Connor Hesen.

Republished to habla.news/u/hes@nostrplebs.com on 2/27/2024 with slight edits.

Find more of my work at connorhesen.net

(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 Connor Hesen, 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

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

Find more of my work at connorhesen.net