Land ~ Crops
Audi Magazine and Internet Article ~ Downton, Wiltshire, UK ~ 2016
I recently had the pleasure of working with vehicle manufacture Audi to create their iconic ‘rings’ logo. The commissioned work features in the Autumn edition of Audi Magazine (a publication sent out to car customers, and distributed across its UK dealerships), and on ‘Destination Audi’, a subsection of Audi’s website:
The 200ft wide piece of land art was created at harvest time in a field of wheat near to Salisbury, and took three hours to complete under the cover of darkness.
Art credit: Julian Richardson
Assisted by: Paul Burton & Mirka Stadtruckerova
Gyroscope Music Video ~ Alton Barnes, Wiltshire, UK ~ 2007
Arthur C. Clarke Documentary ~ Broad Hinton, Wiltshire, UK ~ 1994
Bythorn ‘Mandala’ ~ Cambridgeshire, UK ~ 1993
“Each summer gigantic works of art are sculpted into crop fields around the world. Often created under the cover of darkness, the elaborate patterns display a mathematical precision, and the formations demonstrate principles of sacred geometry and ancient symbology. Visitors travel from around the world to experience the magic of this sublime art form and to contemplate their philosophical meaning. The power of each piece of land art is magnified when observers are allowed to interpret the art as they wish ~ This way the arts mythology is able to expand in unlimited directions”
“The circle-makers who quietly toil away in the dead of night to create these elaborate patterns do so in order to amaze, inspire, or empower others. These creations are more than just flattened crop: Following on from the stone circle makers of old, the crop circle makers are effectively attempting to create sacred spaces for contemplation, a catalyst by which visitors can question life, the universe, and their place within it”
“But why is this happening at this specific juncture in time? Is there a higher purpose to the art which even the makers themselves are unaware of? Given the power of this secretive art form, it’s no surprise that those seeking answers should turn to divinity over the prosaic. The relationship between the creator and researcher is symbiotic ~ Each party relies on the other to facilitate the subjects continual evolution”
“As we gaze at these multifaceted jewels set within an ancient landscape we see reflections of our inner selves, with all our positive and negative traits expressed. This emotional attachment is part of the rich tapestry that makes crop circles such an amazing or (at times) frustrating subject to be a part of. The arts ambiguous nature leads people to demand ‘black or white’ answers, but to categorise or differentiate is counterproductive. Enjoy the art regardless of origin and the crop circles ability to raise the collective consciousness is no longer constricted by boundaries”
In an unedited interview from 2012, Julian Richardson recounts his crop circle journey – from becoming a teenage circle-maker in 1990, to experiencing high strangeness in the fields, and ruminating about the circles meaning and the collective consciousness.