Lindsay Kelly BioArt Kitchen
A Discussion on Chapter 10 of BioArt Kitchen by Lindsay Kelly
There are some fascinating statements in the chapter. One is that “Outsiders led sanitation projects” and the fact that this unprofessional aspect became an “advantage for artists working today—pursuing bioremediation as art has allowed for flexibility and unexpected outcomes that would have been impossible,” in a sense creativity was triggered when a scientific aspect is less a concern than the aesthetics.
Considering the intersection and differentiation between biology, environment, and art, Harrison concerned with color fields, containment and chemical processes; the expression they have used to explain their piece Survival Piece No. 2: Notations on the Ecosystem of the Western Salt Works (with the Inclusion of Brine Shrimp) have incorporated the poetic romanticism, “How might we sculpt the earth—not as inert material, but as a complex living system?” The Harrisons' concept on "sculpt a site's ecology, takes sculpture as a conceptual framework for shaping the earth" has reminded me of Mary's Swale, where she has generated this fantastic ecosystem that addresses sustainability and ecological balance.
Although not a focus of the chapter, amongst all the artworks that have been talked about in the chapter, my favorite one is the land art piece Double Negative (1969-70) by Michael Heizer, "There is nothing there, yet it is still a sculpture." As a large-scale earth-as-material piece of work, this piece of work has raised a philosophical question about nothingness. Is there nothing or is there something? How are the spectators supposed to react to the land as an inert substance?
Considering the intersection and differentiation between biology, environment, and art, Harrison concerned with color fields, containment and chemical processes; the expression they have used to explain their piece Survival Piece No. 2: Notations on the Ecosystem of the Western Salt Works (with the Inclusion of Brine Shrimp) have incorporated the poetic romanticism, “How might we sculpt the earth—not as inert material, but as a complex living system?” The Harrisons' concept on "sculpt a site's ecology, takes sculpture as a conceptual framework for shaping the earth" has reminded me of Mary's Swale, where she has generated this fantastic ecosystem that addresses sustainability and ecological balance.
Although not a focus of the chapter, amongst all the artworks that have been talked about in the chapter, my favorite one is the land art piece Double Negative (1969-70) by Michael Heizer, "There is nothing there, yet it is still a sculpture." As a large-scale earth-as-material piece of work, this piece of work has raised a philosophical question about nothingness. Is there nothing or is there something? How are the spectators supposed to react to the land as an inert substance?
留言
張貼留言