Chris Drury (1948-) is a British artist who creates site-specific land art and installation art using natural materials which are locally sourced. He also produces videos, sculpture, mixed media works, prints, and paintings. His work explores the connection between realms – nature and culture, microcosm and macrocosm, the inner and the outer, the fluid and the static. He likes to work collaboratively – with scientists, technicians, native peoples, anthropologists, geologists – and his work reflects on the nature of place and of humans within that.
Drury came of age at a time of land art giants such as Robert Smithson (1938-73). Like Smithson, his art addresses our relationship to the natural world, meditating on ecological, historical, and cultural themes. Winnemucca Whirlwind (2008), a work 300 feet across and based on a native American basket design, was raked by hand (over 18 hours) into the dry lakebed of Lake Winnemucca, Nevada. Although placed on Government land, it was only visible from a high point on the Paiute Indian Reservation. The work eventually disappeared into the dusty desert air, leaving nothing behind. ‘The drawing metaphorically reclaimed the land for the Paiute Nation since all of the land was once their hunting grounds. In the 1800’s Winnemucca was a shallow lake, rich in fish and wildfowl, but in the early 1900’s the government diverted part of the Truckee river, which flows into Pyramid and Winnemucca lakes, for irrigation of farming lands. This ecologically insane idea resulted in Pyramid Lake dropping 80 feet and Winnemucca drying out. The devastation this caused to vital Paiute fisheries is still felt today and the Paiute Nation continue to fight for their water and fishery rights through the courts’ (http://chrisdrury.co.uk/winnemucca-whirlwind/#)
Carbon Sink (2011), placed on the grounds of the University of Wyoming, hit a raw nerve with the local coal industry and state legislators – Wyoming is home to the US’s largest coal mine and the state benefits from the taxes on this industry. Carbon Sink is a tangible, concrete metaphor of the destruction of forests by pine beetles due to climate change. The piece, 14m in diameter, is made from beetle-killed pine logs and coal. Both these materials, once living trees, died during times of climate warming. At present, the burning of fossils fuels is giving rise to ‘warmer winters in the Rockies, as a result the pine beetle survive the winters and the forests in the Rockies are dying from New Mexico to British Columbia – a catastrophic event…Children born now will never know what a wild Mountain Forest looks like, and there will be fires and erosion in the mountains which will effect all living things’ (http://chrisdrury.co.uk/carbon-sink/)
As well as large outdoor works with environmental and cultural resonance, Drury creates impressive sculptures and installations for galleries, again from natural materials. Mushroom Cloud (2010, 2.3m x5m) was made from 6000 dried fungi slices set in acrylic and suspended by nylon wire from a steel shell at The Malaga Costa Barn, Sella Arts, Sella Valley, Italy. A beautiful, haunting work that looms above the viewer and draws associations between natural and human realms – the mushroom and the atomic bomb.
Heart of Stone (2004, 500x830x30 cm), exhibited in the Stephen Lacey Galley, London, uses thousands of fragments of slate laid within a wood frame. The whirlpool form of Heart of Stone is taken from blood flow patterns in the heart, and is similar to a public artwork Drury created at the Russell Hall Hospital, Dudley, UK.