Ephemeral Art

Sometimes, that which fades the fastest makes the boldest and most lasting impact. Artists have consistently been inspired by the concept of the ephemeral in art, that which is intended not to be preserved for posterity, but rather to dissipate imminently, carried away on the wind or the waves. Indeed, contemporary artists are embracing the ephemeral in art more than ever, and celebrating the liberation it offers, as well as the symbolic impact of that which is over in the blink of an eye. From pioneering land artists working with the glacial and temporary beauty of ice and sand, to singular contemporary pieces never replicated once completed and deconstructed, ephemeral art’s enduring appeal continues to fascinate, inspire, and astonish.

When experienced in situ, ephemeral art allows viewers to experience locations in new ways, and transmits a powerful message regarding the transient nature of the world we inhabit. By accentuating the impermanence of an artwork, and by extension, the impermanence of all that surrounds it, the ephemeral artist and viewer alike gain privileged access to layer upon layer of symbolism and significance. The artwork, the materials it is constructed from, and the space in which we encounter them are mere snapshots in time, soon to transform or disappear entirely, after which they exist in our shared memories alone.

While ephemeral artworks are most commonly associated with the artistic vernacular of the 20th and 21st centuries, their origins lie in esoteric traditions of times long since past. Indeed, the meditative art of mandalas, which hold a special place in Eastern visual cultures, could be upheld as early examples. Once the mandalas, often made from coloured sand, were completed, they would be scattered to the winds. The act of creation and the focus it provides was believed to be where the significance lay, not in the finished product.

Modern ephemeral art can be traced to the Berlin and New York art scenes of the 1960s. Joseph Beuys and his Fluxus Group, an influential DIY collective who staged happenings and disruptive performative pieces, believed that art should be experienced outside the canon of gallery spaces. Their legacy is felt in countless temporary outdoor exhibitions, drawing crowds to gaze in wonder at how spaces can be transformed. Examples such as Fujiko Nakaya’s Fog X FLO, in which amorphous clouds of mist pass through city centres and natural settings, take the essence of ephemera to their logical conclusion, and to genuinely awe-inspiring effect.

La Prairie