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  • About this site.

    This is the website of visual artist/writer Eddy van Mourik. Exploration of the landscape is a big theme in Eddy’s work. A storyteller at heart, he retells his own or others experiences of the landscape. He is interested in where imagined or remembered places overlap or compete with the real and by capturing this he unveils our relation to the landscape as highly subjective and intrinsically poetic. On this site he presents his findings in the field. The material is often supportive of the journal Eddy publishes: FIELD

NT 251732 @ Kanocene

NT 251732

As his final project for the interdisciplinary art and architecture MFA degree Art, Space and Nature Eddy van Mourik presents: NT 251732, his contribution to the ASN degree show: Kanocene.

This work is based on open source Ordnance Survey elevation data and portrays a heavily deconstructed landscape that mirrors the landform that Edinburgh is built on.

Made out of paper, this 3.5 metre long piece is suspended in the exhibition space. This technique draws heavily on Eddy’s experience as a designer of virtual worlds for computer games.

Edinburgh College of Art Degree Show 2011
10 – 19 June, Mon – Thurs 10am to 8pm; Fri – Sun 10am – 5pm
Edinburgh College of Art, Evolution House, 78 Westport, Edinburgh EH1 2LE
Admission Free

Posted in Edinburgh, city, landscape, mapping, place | 2 Comments

Changeable Places: Dutch Landscapes

Originally posted on the Changeable Places blog

Initially, looking at the changeable places site takes me back to Dutch Landscapes. The urban sprawl around Rotterdam in particular. I grew up on the edge of Rotterdam and as an avid cyclist I used to enjoy the Dutch countryside almost every day. Ten years later I found myself utterly and completely lost in giant housing estates wandering around, feeling quite lost for quite a while. The shock hit home properly when I turned a corner and suddenly recognised where I was, not more than a mile from where I grew up. In an area I used to cycle through every day.
In general, I think the Dutch perspective on Landscape is an interesting one. It was originally a large flat expanse of brackish marsh that by its very nature was featureless and therefore malleable, in essence it is one of those few places where Le Corbusiers fantasies about the made landscape of modernity were actually applied on a large scale.  The underlying land was completely erased in the process. Personally, by nature I am more like Le Corbusiers pack donkey, at the mercy of the shape of the landscape, finding the way of least resistance. And I think this is why I somehow feel lost in my own native landscape and much more at home in for instance the British one.
I once created a series of works about finding the source of the river Rotte, Rotterdams namesake and the river I grew up next to. As I found out the source was actually a windmill pumping up water from the surrounding polder. This windmill, however does not predate the naming of the city of Rotterdam. The question is what came before. And it is this kind of conundrum that one encounters constantly when looking at the history of the Dutch landscape.

I like the mention of looking forward. I tend to question conservation. Instinctually it makes sense to think we need to protect what we have. But if we need a new paradigm to save ourselves on this world it is not one of protecting what we have but understanding the source and consequences of our actions and understanding the world as a process. We simply do not live in a static world and so many environmental conservation practises (e.g. felling of non-native species etc.) are not actually sustainable and seem to be diametrically opposed to what ecological thinking has to offer. It would, I think, not be so bad if there were more permaculturists and landscape ecologists involved in the making of policy concerning our landscape.

And following this train of thought I am also thinking of how changeable places relate to the opposite: static places. So many British landscapes are conserved to look the way Constable painted them. They are caught in a perpetual past. In a sense they are an image of a landscape.

Furthermore in terms of changeable places I am very interested to look at places where the actual land use does not comply with planning laws, e.g. what the state has decided that land is meant to be used for. Having lived in Devon for a while I have become more and more aware of people using land for habitation that is neither owned by them nor designated to be used as such. I am interested to look at how these semi nomadic dwellers perceive their environment, their sense of place and expanding that to their place in society. I am thinking this is deserving of its own blog post though, so more soon.
Eddy van Mourik

Posted in ecology, landscape, memory, place | Leave a comment

On being lost.

On March tenth I took First year ASN students on an overnight trip to the borders. We stayed in Minchmoor bothy where they would do some field study relating to their upcoming exhibition Arboretum in Patriot Hall Gallery.

As part of this field study I ran a brief workshop On being lost.

 On being lost

 We walk into the forest. We form a circle under the trees. Please have your sketchbook ready. Please close your eyes.
.   .   .

Before you arrived at the bothy.
Before you walked into this forest.
Before you left Edinburgh to come here.
Before you started studying at ECA.
Where were you?
And before that?
Where were you?
And before.
.   .   .
Does that place still exist? How far away is it?
How long ago?
With your eyes still closed, please draw a line from there to here. Think of the directions you took. You can weave in names or words if you want to. But keep your eyes on your memories.
.   .   .
So here you are back in the forest. And everything is in the past.
We are in another place. A hidden place.
You could come here alone.
.   .   .
What would you do here?
Would you come to think?
What would you think about?
Would you come here with your boyfriend or your girlfriend? Or a secret friend?
Would you like to get lost here?
Would you want to meet a stranger here?
What would the stranger tell you?
Would you want to come here with a bottle of whisky?
Would you come here to cry?
Would you come here to bury something? What would you bury?
Would you come here to carve something into a tree? What would you carve?
Would you come here to hide?
Would you come here to cut down a Christmas tree? With who?
Would you come here to shoot something?
.   .   .
But none of that today.
And soon you will leave this cold and dark day behind and be at home, warm.
Please draw another line from here to there.

 
On being lost
A line from here to there by Catriona Gilbert.

 

‘Rooted tight under a branch not to get wet, with the group.  

But the group was not important anymore, nor was the rain or the writing pad I was trying to blindly jot down whatever was going through my mind. I could not help it, for me the forest became a desert, where re discovering the sense of being was a just conclusion to the natural response of this familiar and yet alien environment.’ 

Joseph Calleja in response to the workshop.

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I HAD BEEN WALKING THROUGH SNOWY MOUNTAINS

I HAD JUST TURNED AROUND TO LOOK BACK TO CORROUR STATION STILL PEAKING OUT ABOVE THE MOOR. I HAD WALKED THROUGH THE BOG, ALONG THE RAILROADTRACK. I HAD SAT DOWN ON THE TRACK TO LOCH TREIG TO HAVE SOME LUNCH. I HAD BEEN THINKING ABOUT A TALK I WAS PREPARING. I HAD CHECKED TO SEE IF I HAD ANY RECEPTION. I HAD MOVED ASIDE FOR A CAR PULLING A GOLFCART WITH CATERPILLAR WHEELS. I HAD WALKED DOWN TO LOCH TREIG. I HAD BEEN CAREFULLY CROSSING THE HIGH BRIDGE WITH THE HOLES. I HAD FOUND THE PATH THROUGH THE GLEN ALONG TORR GARBH. I HAD STARED INTO THE SUN FOR TOO LONG. I HAD SAT UNDER A TREE UNTIL IT BECAME COLD. I HAD BEEN FEELING LIKE I WAS IN AN ANIMATION. I HAD BEEN PLANNING TO WRITE THIS TEXT. I HAD FOUND THE  BOTHY IN A WIDE EMPTY GLEN WITH GRASS AND PINK SUN. I HAD CHECKED FOR RECEPTION. I HAD READ ABOUT THE PEOPLE THAT USED TO LIVE HERE BEFORE THE GLENS WERE CLEARED.  I HAD JUST WOKEN UP IN THE BOTHY. I HAD HUNG UP MY SLEEPING BAG TO DRY OFF THE CONDENSATION. I HAD BEEN BY THE EMPTY HOUSE TO GET SOME WATER FROM THE RIVER. I HAD LEFT MOST OF MY THINGS BEHIND. I WAS TRYING TO FORD THE COLD RIVER. I HAD WONDERED IF IT WAS SAFE TO CLIMB BINNEIN MOR. I HAD WALKED ALONE BETWEEN SNOWY MOUNTAINS. I HAD WONDERED IF I SHOULD CLIMB UP THE GLEN TO THE LEFT. I HAD HAD LUNCH LOOKING DOWN INTO GLEN NEVIS. I HAD WALKED BACK UP THE GLEN TOWARDS THE BOTHY. I HAD SAT IN FRONT OF THE BOTHY DRINKING TEA AND WATCHING THE STORM ROLL IN. I HAD POORED SOME WHISKY. I HAD SLEPT. I HAD CROSSED OVER THROUGH RAIN AND SNOW TO LAIRIG LEACACH AND SMILED. I HAD MADE SOME COFFEE IN A BOTHY. I HAD BEEN SPEAKING TO THE MAN WITH THE GUN AND HIS TWO ENGLISH COMPANIONS. I HAD gvBEEN SPEAKING TO THE MAN FROM SOMERSET WHO HAD TO GO AND PICK UP THE CARCASS IN THE GOLFCART WITH THE CATERPILLAR WHEELS. I HAD BEEN WALKING DOWN THE GLEN THROUGH POORING RAIN AND NEAR DARKNESS. I HAD WALKED INTO SPEAN BRIDGE AND FOUND SOMEWHERE DRY. I HAD HAD A BEER AND HAD SAT OBSERVING FOUR ENGLISH GUYS CHATTING UP A RELUCTANT SCOTTISH LASS WHILE WAITING FOR THE TRAIN.

An art installation in Tent Gallery, Edinburgh, resulting from a walk through a highland landscape. Reflecting on the sense of being “in history”, in a landscape suspended in a perpetual past. 

IHBWTSM

An installation by Eddy van Mourik exploring further the relationship between time, walking and writing.

Private viewing: Tent Gallery, Evolution House. Corner of Lawson Street and West Port. Jan 13th 17:00-19:00

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Portfolio Anno 2011

(Apologies for the horrible formatting. Will be fixed as soon as I can work on this on a computer other than my ancient netbook.)

Sgurr Nan Gillean; Mountain of Young Men – 2008 I spent most of my childhood years meticulously painting British landscapes from pictures in travel guides, fantasizing about how one day I would visit. Years later, when I received a grant to spend on a research project I finally decided to visit some of these places I had painted. What followed was a rather bizarre and confusing experience of place.

The imagined landscape of my youth is the one I entered when I got off the bus on the Isle of Skye. I wandered around, now an adult, and told my younger self:  “Don’t worry I’m here now and so will you one day”. In essence I conversed with my younger self and this became a feedback loop where I walked through both the imagined landscape and real landscape at the same time. Afterwards I wrote a series of reminders on post-it notes that together recapture the journey. These were presented at DPC 2 at the former Photo Museum in Rotterdam where they could be read in chronological order, like a journey, or randomly from a pile where people could also pick their favourite to take home with them. These notes were combined with video footage of me wandering around on the flanks of the Mountain of Young Men.Sgurr nan Gillean; Mountain of Young Men 2

SNG postitsSgurr nan Gillean; Mountain of Young Men 4Sgurr nan Gillean; Mountain of Young Men 3Sgurr nan Gillean; Mountain of Young Men 5

FIELD 2009 – Present FIELD is a monthly journal published by artist/writer Eddy van Mourik based on field visits in Scotland and the wider world. For a brief description of the project go here.

FIELD 1: Orkney
FIELD 1: Orkney (Cuilags)FIELD 1: Orkney (Ward Hill)

50 Walks - Using the raw data from ten different researchers, mostly within the university/BHF Centre for Cardiovascular Science, Eddy generated 50 lines. Placed in a 3d space, in proximity to those which are most closely related these lines form a network of relations and as such, can be imagined to make up a landscape. Result of BHF Core Artist in Residence award 2010.

50 walks 50 walks 50 walks

Installed!

50 walks: Map+legend

NT 251732 - This work is based on open source Ordnance Survey elevation data and portrays a heavily deconstructed landscape that mirrors the landform that Edinburgh is built on.
Made out of paper, this 3.5 metre long piece is suspended in the exhibition space. This technique draws heavily on Eddy’s experience as a designer of virtual worlds for computer games.

Art Space + Nature degree show 2011: Kanocene

NT 251732

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Wrapping up the BHF Core Artist in Residence award 2010 at the Queens Medical Research Institute.

Earlier this year I received the BHF Core Artist in Residence award 2010. The resulting project is now finished and the final piece was officially presented to the public earlier this week, following a talk I gave about my experiences as an artist working at the Queens Medical Research Institute.

50 lines

How can we truly comprehend this world of complex relations, where everything is affected by everything and nothing stands on its own?

For Eddy, the practise of mapping and the process of walking, of moving through space and time and of drawing out a single line, a single viewpoint, enables him to attempt to understand this complex environment.

During his time at the QMRI he soon realised that the way the research is conducted here is rather parallel to walking. The researcher eliminates, and reduces down to the comprehensible quantities, which run as a line through a world of unknown relations.

This was the starting point for 50 walks. Using the raw data from ten different researchers, mostly within the university/BHF Centre for Cardiovascular Science, Eddy generated 50 lines. Placed in a 3d space, in proximity to those which are most closely related these lines form a network of relations and as such, can be imagined to make up a landscape.

Following the artist’s ministrations, the model you see before you, although based on scientific data, is no longer a sound scientific model. It is rather more an invitation. An invitation to imagine science as a whole and to think of the research conducted here in a spatial way. Who are my neighbours? How far apart are we? Where are the obstacles? And where do we connect?

50 walks 50 walks 50 walks

Installed!

50 walks: Map+legend

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Little Yellow Book: Extract 5

How can we truly understand this world? A world where some lives flicker by in the space of seconds and where others labour slowly through the millennia, where the breath of one organism can be the lifeblood of the other and where either depend on hundreds of other factors for their survival. This is a world where everything has an impact and dependencies run from the microscopic to the colossal, the biological to the political, the geological to the virtual, across the different strata that make up our world It is never completely comprehensible to us but it is our nature to try to understand and control everything around us. In science one does this mostly by reducing everything to its smallest element so it can be expressed in a set of numbers and the brain can encompass it. In life one simply follows a line. We move forward, always, and draw a line through this world of complexity. This line we understand. It is a cross section, a map. It is one line of cause and effect, of effort, of energy, tracing an ever changing viewpoint through time and space.
In my art practise I have always equated this line with a walk, a journey. But in my time at the QMRI I have been introduced to lines of another sort: Data, a series of numbers, is a line that is not so different. It is a line of understanding traversing the unknown. I am looking more and more at these lines of data as elements of a map and thus as a spatial, sculptural entity. How do they relate to each other? What is the space in between? What occupies the space between a line representing the effects of diesel particles on vessel contraction and a line representing the size of the placenta of mice with different levels of stress hormones?
I am playing around revisiting old visual experiments and connecting data from the QMRI:

Morningside; Line

Morningside; Line

Innocent Railway; Line

Innocent railway tunnel; Line

South Devon; Lines

Devon; Lines

Elidir Fawr; Lines

Elidir Fawr; Lines

Elidir Fawr; Lines 2

Elidir Fawr; Lines 2

Rat vessels, diesel with ACh/SOD; Lines

Rat vessels, diesel with ACh/SOD; Lines
rat vessels diesel with ACh and SOD2

Posted in the QMRI | Leave a comment

Revisiting Rotterdam

Revisiting some older work in preparation for a mapping workshop I will be running for Cupar Arts Festival later this autumn.

Posted in Rotterdam | Leave a comment

Little Yellow Book: Extract 4

In science it is becoming more and more common to work with very complex sets of data and if people continue to look at whole systems that trend will continue. Through several conversations at the QMRI it became clear that there is a need for new ways of looking at these complex datasets. And seemingly the best way is to create visual representations. Different ways of representing data visually will result in new interpretations. It seems like there may be a McLuhan-esque shift happening  where science moves beyond the world of the number and into the world of the visual.
As this process is very much aided by software that interprets the data and presents the researcher with the synergies it finds there is a certain control that is lost. The scientist moves into the realms of computer aided thought.  A less defined realm. A certain absolute “grasp” is lost and traded for something that to me feels more intuitive or open.

Posted in the QMRI | Leave a comment

Little Yellow Book: Extract 3

I am very interested in this process called emergence. It seems there is ground to be covered considering its relevance to creative practise and fieldwork.
My own parameters of what makes a successful work of art seem to be very similar to what would be termed “emergent”. It results from the artist finding, manipulating, or maybe even creating a certain system which results in something new coming into being.
The difficulty is that one cannot “create” a system. A system never stands on its own but interacts with and results from everything around it.  So it could be said that to attempt to create an emergence is pretentious, you’d equate the artistic process with wielding the hand of God.  But I think through play an artist, or anyone in a creative practise, can create a driving force, an energy that can create new interactions and potentially something “emergent”.
The main question I ask myself is whether it is more effective to work in a goal oriented fashion, you imagine a final outcome and then set out to create it, or work in a more process oriented way, where you push an idea forward from a certain beginning point and makes adjustments and discoveries as you go. In terms of making a work that has “emergent” properties I feel the second way is much more effective. You are able to make new discoveries that where inconceivable prior to doing the work. Yet it is very hard to fit this way of working into a professional arts practise where any funding body will naturally want to know the exact outcome prior to deciding to fund your project. It is also quite hard to keep a momentum if one doesn’t know the purpose.
This is one of the areas where the similarities between arts practise and scientific research are striking. But in science there seems to more of an awareness of the parameters, the rules of the game seem much clearer.

Emergence on Wikipedia

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