Long’s formative piece, finished in 1967, was created in a field, somewhere between St. Martin’s and Bristol in the UK. Long made this trail himself by walking back and forth for hours in order to flatten the turf. He then took a photo of his completed work.
Despite the perceived simplicity of the work, it makes comment on performative art practice, repetition, nature, motion and relativity.
Long has commented on his work:
“Nature has always been recorded by artists, from prehistoric cave paintings to twentieth-century landscape photography. I too wanted to make nature the subject of my work, but in new ways.”
The use of the natural environment and the impermanence of the work are two aspects which fascinate me and I hope to take on in my work. I also have his interpretation that we can anonymously leave our mark on a landscape, which lends well to my concept of mystery in my work.
“I can make it in a very remote place, almost secretly or in an isolated way. Maybe no one sees it” -Long.
Higgins, C 2012, Richard Long: ‘It was the swinging 60s. To be walking lines in fields was a bit different’ , The Guardian, <http://www.theguardian.com/artanddesign/2012/jun/15/richard-long-swinging-60s-interview> accessed 26/10/15
Tate, 2007, ‘Richard Long: A Line Made by Walking’, <http://www.tate.org.uk/art/artworks/long-a-line-made-by-walking-ar00142> accessed 26/10/15