Jason deCaires Taylor: Positive Impact on Environment

The man (left) that the sculpture is based on (right), the coral growing over the sculpture (right).   Silent Evolution (MUSA Collection, Cancun/IslaMujeres, Mexico), Jason deCaires Taylor, cement sculpture, http://www.underwatersculpture.com/pages/gallery/evolucion-silenciosa.html

Jason deCaires Taylor grew up in Europe and Asia and the coral reefs off Malaysia were his playground. It is no wonder therefore that he has created such an amazing display underneath the water. After this cultured start to life, he was educated in Kent, England and went on to graduate from the London Institute of Arts in 1998 with BA (Honours) in Sculpture and became a professional diving instructor and underwater naturalist.

Taylor was influenced by the works of Christo, Richard Long and Claes Oldenburg early in his career. These artists all created works which have an emphasis on the close connection of an object and its environment. Taylor once stated “I am interested in public art and how objects change in response to their environment” (Greaves-Gabbadon, Sarah, “Underwater Sculpures in Grenada”, “Caribbean Travel + Life”, November 2007). This belief has manifested in his works, most of which involve human figures in the ocean.

The underwater exhibition “Silent Evolution” was opened on the 26^th of November 2010, and is the fourth and final instalment in his submerged museum, consisting of over 400 concrete statues.  In the creation of this artwork, 120 tons of cement, sand and gravel were used, along with 120 hours of underwater work.

Taylor placed cement sculptures, which are attached to a cement base to reduce damage from waves, into the ocean (his two main exhibition sites are at Cancun, Mexico and Granada, West Indies), at around 5 to 8 metre’s depth. They were left until organisms formed upon them naturally. Coral spores attached themselves to the human forms and small crustaceans built their homes in their bespoke holes. As time progressed, fish swam through the sculptures, which provide food for them, and a place to lay their eggs onto their cement surfaces. By this time, the works have become corner-stones in the ecosystem.

Taylor can be compared to the Romanticism movement, as both share a distaste for the scientific rationalisation of nature. Taylor ressurtects the Romantic Movement’s idea that humans are just another organism living on the earth while highlighting the ephemerality of the human race.

A fish depositing eggs onto the work Dream Collector, Jason deCaires Taylorhttp://www.underwatersculpture.com/pages/gallery/coleccionista.html

Taylor’s sculptures are positioned in areas of the ocean where the sea bed is too soft to support any coral or plant life. The surfaces that Taylor creates are ideal for coral reefs, and organisms soon beginning to grow there. This radical project was supported by Mexico’s Nautical Association and the Ministry of Environment because it provided the perfect opportunity to divert the 750, 000 tourists who visit the Cancun Marine Park, without losing the $36 million the travellers bring.

Taylor was extremely moved by the statistic that 80% of coral reefs will be permanently lost by the year 2050 and other shocking predictions of the future of the oceans. His response to this was to make forms that had no impact on the ocean and existed in harmony with the earth. The cement he used had to be very specific, and of the right pH level to sustain coral throughout the seasons.

 As for the shape of his forms, Taylor explains that “I have chosen to focus on human forms for many reasons, firstly the shape of an object is rapidly changed underwater and if you begin with an abstract form it generally becomes completely unrecognizable very quickly.” (deCaires Taylor,2010, Environmental Graffitti.com)  he goes on to elaborate “Also, I am trying to portray how human intervention or interaction with nature can be positive and sustainable, an icon of how we can live in a symbiotic relationship with nature” (deCaires Taylor, 2010, Environmental Graffitti.com). 

This really is an inspiring way to understand nature and the differences between the way that humans are treating it and should be treating it. The underlying message of the necessity for care for creation in the artwork is subtle. The positioning of the sculptures in water not only relays a message, it also enables a whole new avenue of interaction between viewer and environment.

The view when swimming amongst the artwork, Silent Evolution (MUSA Collection, Cancun/IslaMujeres, Mexico), Jason deCaires Taylor, cement sculpture, http://www.underwatersculpture.com/pages/gallery/evolucion-silenciosa.html

Underwater, the crowd of statues looks very silent and calm, as all of the people have their eyes closed, arms clasped and none are interacting with another, creating a somewhat disconnected appearance. The way that all of these people are standing, shrouded in their own lives, lends to a sense of unity amongst them. Each individual statue seems to have their own pain, from a pregnant woman clutching at her belly, to a child looking cold and lost; they are all part of a huge artwork in the middle of an abyss. As if it is all of these people against the rest of the world.

 

An aerial view of Silent Evolution (MUSA Collection, Cancun/IslaMujeres, Mexico), Jason deCaires Taylor, cement sculpture, http://www.underwatersculpture.com/pages/gallery/evolucion-silenciosa.html

This appearance of unity is strengthened viewed from above. The whole artwork looks almost completely unrecognisable from this aerial view, Taylor has positioned the statues and the plinths they are on to form two curves. These curves look similar to two hands reaching for the other, and so the negative space in between the two ‘hands’ becomes a focal point, as if there is some longing for the two to touch, although they never will.  ‘Silent Evolution’ contrasts from the clear blue of the water, into a dark shadow, and the curves create rhythm, so the viewer’s eye moves from one side of the form to the other, and then back to the beginning.

The only way to fully appreciate this work is to view it underwater, forcing the audience to be immersed in the ocean and to bring the problems facing the reefs to the audience’s attention, providing an educational aspect to the complex installation.

When viewing objects underwater, they can appear up to 25% larger than usual and light moves in different ways underwater, depending on the angle that it is viewed at. Colours can be distorted into a kaleidoscope, making each viewing experience unique to the individual beholding it

‘Silent Evolution’ is an incredible series of artworks, and I am remarkably impressed by Taylor’s concept. The works are beautiful without the underlying message, but when one adds the environment that the work is exhibited in, another level is added again. Couple this with the role it plays for the ocean, creating a place for life to form where it would have otherwise not, the artwork becomes truly impressive.

Another dimension is added to the already multifaceted artwork by the amount of awareness of conservation of the oceans that is created by the people who view the works. I believe that Jason deCaires Taylor is an astounding artist who should be commended for the wonderful work that he has done for the oceans.

The Holy Man, Jason deCaires Taylor, cement sculpture, http://www.underwatersculpture.com/pages/gallery/latest-works.html