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)
”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)
I work within critical plant studies as a further development of the post-humanist thinking. My work is research-based rooted in a conceptual painting practice oscillating between figurations and abstractions. I rethink the physical environment as virtual by transcribing existing site-specific research data like diagrams and photos into entropic patterns of fractals and supposed mirrorings, combining classical painting technology and the impression of new media. Like the way Benjamin Bratton talks about a New Copernican Turn, where artificiality, astronomy, and automation form the basis of an alternative planetarity. Instead of reviving ideas of ‘nature,’ the artificial is reclaimed not as in ‘fake,’ but rather as a foundation.
I negotiate environmental concerns and seek new ways of representing nature today which question the eighteenth-century picturesque landscape aesthetics that locates the viewer outside of the picture, and outside of the relationship being depicted as if nature does not involve us.Today where human-made climate changes make geological imprints it does not make sense anymore to see the landscape as something framed, we can watch at a distance.We have to rethink our relationship to objects and other forms of life and natural processes that we share this planet with. For all humans are 90 % microbial. Microbes or microorganisms constitute an extremely wide and diverse category, including eukaryotes, prokaryotes, and even viruses making it more relevant than never in these corona times. As a kind of Shamanic beings they enter into bodies, soils, clouds and artefacts, and affect the fertility of the soil, dynamics of the sea and the rivers, and the climate.
I replace vast horizons with close-up bodily investigations of the landscape transforming the relation between horizontal and vertical dimensions. 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 similar to the way some native populations associate geometric patterns with sensory manifestations of site specific notations of temperatures, flavours, odours, sounds and tactilities. I’m inspired by Buckminster Fuller’s holistic description of a cosmometry as well. How nature and the universe employ a particular set of energetic relationships that are at the foundation of the way nature designs organic geometric structures and systems of high integrity and sustainability. As such I try to create works of nature patterns that subvert classical landscape’s ideals in favour of sustainable balance rendering nature as a sensed ecology. My hope is to develop new value-patterns of associations, which make room for more sustainable values bringing the vast horizons and the adventure closer to ‘home’ as home is for which we take responsibility.