Hamish Fulton’s medium is walking: walking as an act of observation, as a means of experiencing the living world and our own place within it in the broadest sense of the term. It is about entering into the living world rather than observing it from a distance, through the lens of a certain discourse or aesthetic. An ultimately logical approach, since walking is the primary way in which human beings explore and have explored and understood their environment throughout history. In the Romantic era, walking became a means of reconnecting with God and/or nature. In the contemporary period, walking has also become synonymous with social and political activism. Walking is an encounter with history and culture. To walk is to observe and experience environmental changes, as well as geopolitical and geological boundaries. Hamish Fulton’s work is a form of resistance in the sense that his walks are an attempt to combat fragmentation, to challenge the artificial barriers that humans impose on the environment. It is just as much about exploration as it is about experience. His creative approach relates somewhat to that of the Norwegian philosopher Arne Naess (1912–2009), the founder of “deep ecology”, who built a cabin on an isolated plateau north of Oslo, Norway, far from industrial civilisation. The planks for his cabin were transported to the building site on the back of a donkey. It was to be a spartan place, yet essential in the truest sense of the word. It was here that Naess read, wrote, walked and climbed. Walking, mountains, connecting with the natural environment, listening to it to find your place within it: this is also the kind of experience that Hamish Fulton’s work refers to. A coincidence of timing? 1973 marked the beginning of Naess’s “deep ecology” and was also the year that Fulton coined the term “walking artist” to describe his artistic practice.