“Imogen Wright utilises the landscape to communicate and reflect marks, movements and acts of chance, created by natural environments. Wright is interested in analysing the human impact of the artist, and tries to limit human interference, in an attempt to capture uninterrupted impressions of the natural landscape. These concepts have best been communicated through sculpture, printmaking, photography, painting and drawing.”

The Mynydd Preseli series was created by burying two steel plates and three copper plates across the Preseli Hills in Pembrokeshire, at different elevations. The metal plates were uncovered after 2 years, leaving to resulting objects to become an artefact of the landscape – a ‘canvas’ for the environment to have interacted with, and therefore becoming an extension of the location.

The catalyst behind my practice was developed from Vilem Flusser’s idea that objects are extensions of the people/beings that affect them, “tearing them from the natural world”. This was expanded on when I started researching for my dissertation, from which point more theories came in to broaden my interpretation of landscape art. I began to discuss the differences between art object as a true reflection of a landscape and the art object being a projection of what the artist/human agent assumes it should be. This allowed me to question my role as a human agent and how it might affect my discoveries: questioning the ‘natural-ness’ of the works, whilst considering the human as an ‘interference’. Karen Barad’s idea of Intra-action has also played a huge role in trying to define and interpret the series of interactions that myself, the object and the landscape have gone/are going through – concluding that I have no control nor conscious input in the process – the true intra-action is through the chain of interactions, all affecting one another.