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Anne Louise Blicher creates site specific works that subvert classical landscape’s ideals of patriarchy and ownership in favor feminist multitude and ecological balance. Blicher’s work seeks to change the static postcard view of landscape by rendering nature as a sensed landscape, an ecology of dynamic parts in complex interaction with their surroundings” (Deric Carner, curator & project manager, Elizabeth Foundation for the Arts, NYC)



Sometimes it is recession to lie down on the earth…in order to get to the ‘motif’, that is to say, the percept. Percepts can be telescopic or microscopic, giving characters and landscapes giant dimensions as if they were swollen by a life that no lived perception can attain.

(Deleuze og Guattari, 1991)

My work is research and text based rooted in a conceptual figurative painting and printmaking practise. I negotiate environmental concerns and seek new ways of representing nature today through a dwelling embodiment questioning the picturesque landscape tradition, which has placed us outside the frame as if nature does not involve us. I replace vast horizons with close-up bodily investigations of the landscape transforming the relation between horizontal and vertical dimensions.
In a time where climate changes can be seen as the ultimate product of human design, it does not any longer make sense to make this kind of division between humans and nonhumans. For all humans are 90 % microbial. As such I work from a broad understanding of nature of things originating from the Old English þing meaning an assembly embracing the geological, biological, and meteorological environment and the inherent character or moral essence in all of this asking questions such as: Can a garden function as a system of thoughts in line with Emanuele Coccia’s Cosmic Garden, where the atmosphere is the core not the earth? Can natural processes and metamorphic forces be used as agents in new climatic sustainable infrastructures?

By observing, touching, interacting with and drawing a thing you get to know it in a new and more intimate way characterized by a feeling of nearness; of ‘thinging’, as Heidegger puts it, creating a state of both rootedness and flow, a kind of dwelling-mobility’. The soul of my work is it’s ability to connect these inner and outer worlds evoking a feeling of intimacy through a sensible and subtle aesthetics possessing a multi sensory nature based on a direct involvement with the terrain.

I unfold site specific stories of things, which I modulate into visual compositions that oscillate between abstraction and representation. I work from detailed realistic studies of things such as rocks, ruins, plants, and objects, which I let grow and unfold into various states of flux through actual folds in the material as well as generative filters creating visual entropic patterns of fractals and reflections. This proces is a way for me to link geometry with the body similar to the way some native populations associate geometric patterns with sensory manifestations. AS such the geometric forms in my work embody a sensory symbolism of site specific notations of temperatures, flavours, odours, sounds and tactilities.

I am inspired by graphic anthropology as as a method to enter into the inner life of things using the imagination and intuition as cognitive tools. This means that a line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see, as John Berger argues. It is an imaginary documentation technique based on field observations and post site transscriptions of site specific data like maps, photos, film scenes and diagrams, as a way to heighten the awareness of the surroundings similar to Goethe’s use of fantasy to explore the archetype, the ur-phenomenon.

My interest in the embodied experience has recently let me to test new grounds with sculptural objects and to explore the use of graphic anthropology not only as a thinking tool but as a way to plan and run graphic sensory notation activations to empower people to become more physically, socially, and environmentally conscious through an embodied engagement with the terrain. I am interested in digging deeper into the state of ‘thinging with the land’ and dwelling mobile embodiment, which recent health research describes as the deepest possibility of existential well-being, testing artistic experiences in between rootedness and flow that pairs the feeling of being home with that of being on an adventure in order to empower people to create positive changes, as home is the place for which we normally take responsibility.