(still exists – relatively intact – but is packed up in storage, as the construction is not suitable for being outside all year)
In 1996, when TICKON in collaboration with Kunsthallen Brandts, Odense, and the Botanical Garden in Copenhagen held a conference entitled "Art, Nature, Science", Chris Drury erected a glass dome in the Botanical Garden.
When the artist stood in the Botanical Garden for the first time, he immediately understood that the garden itself was a living land art sculpture created by botanists and gardeners. Therefore, he did not want to offer enough sculpture that would simply appear as decoration in the scientific and cultural considerations that lie behind such a botanical collection. Instead, he wanted to give an idea of the "inner" nature.
The dome, which was a purchased dome-shaped greenhouse, had the windows painted dark blue on the inside and in this he scratched in the paint his three-dimensional drawings, inspired by impressions of mushroom spores.
The drawing runs in radial lines from top to bottom, so that the visitor experiences them as a three-dimensional vaulted light drawing in the order: WAVE – WIND / WAVE – MIND / MIND – WIND / WIND – MIND / MIND – WAVE / WIND – WAVE from Chris Drury's the philosopher that a wave does not exist in itself; it is movement in water created by wind… that wind does not exist in itself; it is movement in air created by differences in temperature and pressure… that mind does not exist by itself; it is a movement of thoughts…
"Without wind, there are no waves on the lake, which becomes a mirror that reflects earth and sky. When the mind dies, the mind becomes a mirror that reflects the universe”, he formulated it at the time.
Artist: Chris Drury / See more of Drury's work here.
Year: 1996
Chris Drury is English, but born in Sri Lanka in 1948. Educated at Camberwell School of Art in England. His preferred form is the dome, the half-dome, which he has experimented with in works of art all over the world. Sometimes he ends all traces of his works himself, so that they only exist in photos for posterity. At other times his semi-domes, which are often modeled on the stupas of the East, are allowed to remain standing. Such as. his work, Linden Cloud Chamber, I TICKON.