Ashley Parker: Visualisation

La Cour's Landscape 1 La Cour's Landscapes 2 La Cour's Landscapes 3 La Cour's Landscapes 4 La Cour's Landscapes 5

Ashley Parker

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La Cour’s Landscapes

As of May 2014 there were a total of 5,371 wind turbines across the UK, with more being created each year in the governments attempt to have twenty percent of all UK energy being from renewable sources by 2020. The public’s opinion on the subject of wind power can differ greatly from person to person. Many people believe that wind power is the perfect form of renewable energy, and only see the installation of these structures as a positive impact on the world. However, for the people who live in a community surrounded by these machines, the discussion as to whether they’re really the perfect source of renewable energy may no longer matter. Problems for these communities arise such as the visual and audio impact they create, this often making it feel as though the wind farm has infected the landscape these people live in.

By manipulating British landscape paintings predating the early 19th century. La Cour’s Landscapes aims to portray this intrusion a wind farm can have on the landscape, usually untouched by the industrial world. Hopefully making people question the visual and aesthetic impact that wind farms have on the landscape.

La Cour’s Landscapes is a project that is very personal to me, as I can view two recently installed wind farms from where I live. As I started exploring these spaces I quickly found that from one wind farm, I could usually see at least one more, and it soon ended up being that I could connect all the wind farms through sight. I felt like the rural places that I grew up in were being rapidly infected. This project was a way for me to portray how I felt about the intrusion of wind farms on the landscape I grew up in.

I consider La Cour’s Landscapes to be a photographic project, where I digitally imposed my own photographs of wind turbines into Landscape paintings. These images were edited in so that they both simultaneously stood out, yet blended in with their surroundings; obviously not being part of the original painting, yet being mindful of their surroundings so they appear to have actually existed.  The idea was that people would look at these images and actually believe they were a painting for a while, then have to reconsider when it occurs to them that the turbine shouldn’t be there, it’s not from that time era, it’s not welcome in the landscape.  The images works much better a physical piece that has been printed and framed, as the high quality canvas paper makes it look as though it was really painted and the garish golden frame makes the work appear as though it belongs in a museum collection.


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