Bio
After two decades of making ephemeral nature art, Richard Shilling has established himself as one of the better known nature artists that followed in the wake of some of the early pioneers such as Chris Drury, Andy Goldsworthy and Richard Long. Currently based in the North-West of England and the South-West of Scotland, Shilling's core work still focuses closely on making short lasting sculptures made from natural materials found in-situ but also includes making larger scale installations at various international events.
Known for his bright and colourful, richly illuminated photography, especially when working with leaves, Shilling has been invited to work in various places and environments around the world and regularly appears at art events and festivals abroad and at home.
Known for his bright and colourful, richly illuminated photography, especially when working with leaves, Shilling has been invited to work in various places and environments around the world and regularly appears at art events and festivals abroad and at home.
"My personal art practice consists of attempts to deeply connect to natural spaces, to pursue and touch into the subtle nuances, cycles and processes of the environment and through this, to explore themes relating to impermanence and the nature of existence.
Primarily the mode I use is through creation of objects from ephemeral natural materials gathered in-situ but I try to channel a broader perspective of the environment: both on short and long timescales: for example subtle changes in the wind, humidity and ambient light through to how working with leaves from one particular tree, over multiple seasons will reveal environmental changes over a longer period.
There is a great deal of experimentation in new places and environments; with collaborations and community work being particularly fruitful. I document my work in photos and films as 99% of my work disappears back into the environment soon after it is made."
Primarily the mode I use is through creation of objects from ephemeral natural materials gathered in-situ but I try to channel a broader perspective of the environment: both on short and long timescales: for example subtle changes in the wind, humidity and ambient light through to how working with leaves from one particular tree, over multiple seasons will reveal environmental changes over a longer period.
There is a great deal of experimentation in new places and environments; with collaborations and community work being particularly fruitful. I document my work in photos and films as 99% of my work disappears back into the environment soon after it is made."