(RE)CONSTRUCTION (2026)
Anthony Heinz May (US) spent a month working on Hestøya island during autumn 2026.
May´s site-specific wood work can be found in four different locations on the island, based on the four cardinal directions.
The sculptures were created through a process of up-cycling tree limbs and/or trunks in development and rearranging of the wood taken from trees (and tree parts) and then transforming them into units, before reattaching the trees together to present a confused assemblage of nature with a fragmented and almost pixelated looking result.
The work pays homage to dead and dying trees and interrogates how natural interconnectivity is sidelined for human definitions of progress, and technological artificiality associated with it.
Through his sculptures May focuses and blurs lines between reality and the artificial using four-dimensional puzzles to portray fragmentation of geological time found in nature. These rearranged natural forms present the ephemerality of human time, while suggesting dehumanization as originally formed through relationships humans created with Earth as if existing solely for human exhaustion.
May´s site-specific wood work can be found in four different locations on the island, based on the four cardinal directions.
The sculptures were created through a process of up-cycling tree limbs and/or trunks in development and rearranging of the wood taken from trees (and tree parts) and then transforming them into units, before reattaching the trees together to present a confused assemblage of nature with a fragmented and almost pixelated looking result.
The work pays homage to dead and dying trees and interrogates how natural interconnectivity is sidelined for human definitions of progress, and technological artificiality associated with it.
Through his sculptures May focuses and blurs lines between reality and the artificial using four-dimensional puzzles to portray fragmentation of geological time found in nature. These rearranged natural forms present the ephemerality of human time, while suggesting dehumanization as originally formed through relationships humans created with Earth as if existing solely for human exhaustion.
Photo: Maria Konstanse Bruun and Tomas Westgård
|
ANTHONY HEINZ MAY (US)Anthony Heinz May spent the majority of his life in the Pacific NW, exploring relationships between nature, humans and technology. As an Oregonian he seeks various natural and human-built environments as location for public installations of sculpture, to highlight human intervention in natural
spaces. His material includes dead and dying trees, insect patterns and natural cycles that foster artistic insight and inspiration for his creations. The art he create facilitates interrogation of human history where its legacy leaves nature in dire straits, continually sidelined for how humans define progress and deep technological artificiality associated with it. In his artistic puzzles, he uses a genre of art called eco-aestheticism to support dehumanization as originating through relations humans developed with Earth/nature as existing solely for human exhaustion. Artist website |