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Land art is an art movement in which landscape and the work of art are inextricably linked. It is also an art form that is created in nature, using natural materials such as soil, rock (bed rock, boulders, stones), organic media (logs, branches, leaves), and water with introduced materials such as concrete, metal, asphalt, or mineral pigments. Sculptures are not placed in the landscape, rather, the landscape is the means of their creation. Often earth moving equipment is involved. The works frequently exist in the open, located well away from civilization, left to change and erode under natural conditions.

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Laura J. Antebi has travelled the world for artistic inspiration during the past fifteen years, journeying through Europe, Africa, the Middle & Far East and the New World. Using a variety of media, recycled materials, wires and processes Laura creates artworks and sculptural pieces that convey the spiritual essence and capture the spontaneity of the natural world. See some of her astonishing wire sculptures which capture the principle of stillness in motion that is so powerfully conveyed by the animal kingdom.

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Connecticut-based Amy Eisenfeld Genser creates elaborate reef structures adhered to canvas using rolls of colored paper and acrylic paint. The sources of her work are textures, patterns, and grids. She looks for forms that can be repeated to create a pattern when they are joined. Her work tries to capture the essence of an experience or an image she has seen. Amy often looks to the natural world for inspiration. She is fascinated by the flow of water, the organization of beehives, and the organic irregularity of plants, flowers, rock formations, barnacles, moss, and seaweed. Aerial views of our landscape can also be compelling; it is interesting how the organization of our landscape becomes quilt-like when viewed from above.

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Four Graces in front of Jean-Baptiste Regnault’s The Three Graces at Musée du Louvre

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As a psychotherapist, one of the themes that often emerges in my work with patients is commitment. In dealing with relationship issues, for example, the depth of a commitment is tested by fears about the future, questions about trust and fidelity, and concerns about the tension between dependence and independence.

Likewise, patients with children struggle daily with the commitment to the rigors of parenthood: the emotional and financial responsibilities, the sharp changes in life-style, the balancing of one’s needs with those of one’s child.

For my creative patients, this same level of commitment is required. I believe the relationship a writer, director or actor has with his or her work is analogous to that of any committed relationship, with the same joys and frustrations, pleasures and demands. And, like all relationships, a commitment to one’s creative endeavors needs to be nurtured, tended.

What does a commitment to your creative self entail? The same things as a commitment to a mate, a partner, or a child. The following come to mind:

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