Journal of Art and Design

The history of natural art can be traced back to the 25.000 year old cave pictures found
in France and Spain, to the megalithic stone structures such as Stonehenge, which was
built in several stages around 2000 B.C., and countless examples such as these. Inspiration
from nature lies behind every culture, and is the source of many artistic practices. However,
the purposes of producing these examples which we are confronted with in the historic
process are events connected to customs of belief, such as magic, protection, hunting and
the imitation of nature. As for other practices, the objectives of why they were done still
remain a mystery.

Following the 1960’s, together with the transformation in the social structure and in line
with the artistic movements which emerged with the aim of rejecting to produce exhibition
objects for galleries and institutions, the relationship between art and nature has also
started to acquire a new dimension. Performances carried out in open spaces were defined
according to their different purposeful breaking points under the headings of “Land Art”,
“Earth Art”, “Environmental Art”, “Eco Art”, and “Ecological Art”. These headings consist
of various applications, such as making use of open spaces in nature and natural materials,
raising environmental awareness, restoration, recycling, renewal, and projects unique to
the locality.

As part of this study, we aim to emphasize the difference between these practices which
cannot be demarcated along explicit lines and which are produced with an environmental
sensitivity with the purpose to create awareness and those scientific projects based on
interdisciplinary cooperation which propose radical solution suggestions to ecological
problems. In particular, we will deal with “Environmental Art” and “Ecological Art”
practices in terms of purpose and material integrity, on the basis of exemplary work of art
from particular two artists.