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These examples are to show you how far artists do go - they use chance, nature, physics, chemistry, accidents etc.

You do not have to go as far as these artists - you should, though, be as interesting as you can with your use of materials and techniques.
A really, really good idea if you are stuck (or just want a really good idea) is to make an arrangement of stones, mud, sand, water, flowers and berries (like Andy Goldsworthy) etc then make art about it. Set it up then photograph it, draw, paint it make it in plaster or clay etc.
Actual Art
The artists consider the future of the work to be as important as its present, relinquishing control over the work to nature.
Robert DuGrenier, whose hand-blown glass pieces are permanently part of the trees, as they grow into and become one with the sculptures;
Untitled by Robert DuGrenier, two hermit crabs that have moved into hand-blown glass shells
Untitled by Robert DuGrenier, hand blown glass sculptures on tree
hand-blown glass "sea" shells, that living hermit crabs move into and take as their homes;[12] and a glass beehive, that is home to thousands of Italian honey bees who busy themselves making wax & honey sculptures, as programmed into the construction of the hive, by the artist.[13]
  • Merrill Wagner, using steel, allowed to rust in patterns, slate & rocks, weathered with pigments;[17]

  • Tery Fugate-Wilcox, uses water-soluble paint & rain to make ever-changing painting on canvas; 220px-Fugate-Wilcox-RYB magnify-clip
  • "RYB" by Tery Fugate-Wilcox, vegetable pigments & rain on canvas, 48" x 60"

Called the “Avatar of Actualism”[18] He uses rain to make paintings of water-soluble paint; shotguns, explosives & lightning; dust in “dust drawings”; metals that oxidize, or diffuse together over thousands of years, the actuality of any material. His work is in the collections of the Guggenheim & Museum of Modern Art in NYC, the Wadsworth Athenium in Hartford, CT, the National Gallery of Australia & a 36-foot (11 m) sculpture purchased by the City of NY for J. Hood Wright Park, 176th St. NYC,[19]
"Winding" by Tony Reason, rust in encaustic on linen, 44" x 44"
Andy Goldsworthy - Environmental art
The materials used in Andy Goldsworthy's art often include brightly-coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. He has been quoted as saying, "I think it's incredibly brave to be working with flowers and leaves and petals. But I have to: I can't edit the materials I work with. My remit is to work with nature as a whole."[7] Goldsworthy is generally considered the founder of modern rock balancing. For his ephemeral works, Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials; however, for his permanent sculptures like "Roof", "Stone River" and "Three Cairns", "Moonlit Path" (Petworth, West Sussex, 2002) and "Chalk Stones" in the South Downs, near West Dean, West Sussex he has also employed the use of machine tools. To create "Roof", Goldsworthy worked with his assistant and five British dry-stone wallers, who were used to make sure the structure could withstand time and nature.
Photography plays a crucial role in his art due to its often ephemeral and transient state. According to Goldsworthy, "Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit."
Goldsworthy produced a commissioned work for the entry courtyard of San Francisco's
De Young Museum called "Drawn Stone", which echoes San Francisco's frequent earthquakes and their effects. His installation included a giant crack in the pavement that broke off into smaller cracks, and broken limestone, which could be used for benches. The smaller cracks were made with a hammer adding unpredictability to the work as he created it.[9]
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Port Townsend, Washington based Counsel Langley paints exquisitely painted works that will quench your thirst for abstraction, representation, texture, fluid brushstrokes, and experimental mark making all in one painting.
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