1. Human and non-human animals live in a finite world. Whether the oceans the sky or a landmass, there is only so much space. The human animal is an effective competitor and has a continually expanding population. As the human animal population expands it collapses the volumes within which non-human animals live. This displaces non-human animals. As such, all non-human animals live in continually shrinking spaces. The art below explores the relationship between ravens and glass. What are the implications of the anthropogenic, material world and non-human animals?
2. All spaces occupied by non-human animals are designed (affected) by humans. The spaces occupied by non-human animals have a variety of names: zoo exhibit, conservation area, protected area, island. These spaces have “inputs” and “outputs”. Regardless of name or designation zoo exhibits and conservation areas are the same – designed and shrinking spaces, with controlled quantity and quality of inputs and outputs, and a finite number of non-human animals that can be supported. The art below creates a mini-drama to provoke questioning: Why are 3 birds approaching a nest? Why is it empty? What happens next? What do we know about the lives of these “others”?
3. Animals can thus occupy displaced ecologies or in situ ecologies. In situ ecologies, for the time being, require less intervention from human animals to maintain. A green roof, a fish tank, a zoo exhibit are all displaced ecologies. The care and maintenance of displaced ecologies require more resources than in situ (connected) ecologies. The painting below uses forms taken from abandoned polar bear exhibit to mimic landscapes. What is a “real” landscape? What is a “fake” landscape? What effects do artificial landscapes and containment have on the psychology and evolution of non-human animals? Are all conservation spaces really just zoos?
4. Human animals control the quantity and quality of inputs and outputs for non-human animal habitats. In a sense all animal spaces have “bars” that regulate – some things are kept out and some things are allowed through. Water is one of the resources that moves between the anthropogenic “bars” that divide landscapes. But if this resource is corrupted it means that the corruption flows along with it. What language is required to help us “read” the value of water? What symbols and signs can we perceive when we comes to understanding or approaching nature? Is perception without action of any value? Does all nature have to become “symbolic” to be “counted”?
5. If the quality of input is less than optimal for a given non-human animal species this is a form of “competition”. Pollution is a form of competition. Waste is a form of competition. Noise is a form of competition. The photograph below is an art povera found object moment referencing the recent spate of whales dying from ingested plastic. The “poverty” here is very real – non-human animals are impoverished by many of our human activities. The “found” aspect is really about the “discarded” – waste is a form of competition.
6. Ultimately, all non-human animals will be faced with extinction, captivity or domestication. Here, the organic curve and resplendent colours of a reef are juxtaposed against the rectinilear shadows of urbanity.
7. When engaged in competition human animals usually choose themselves over non-human animals. In this series I used clouds as a metaphor for the “self”. Our heritage as a species allows us to float above the landscape, in dynamic tension with the hydrological cycle. We shift and change shape taking up evaporating water molecules only to have them condense to be released back to the earth. Can something like a cloud – so light and airy – be bruised?
8. We are all animals and subject to the laws of ecology. The world can survive without economy but it cannot survive without ecology. Ecology trumps economy. Below, the inverted sky, and sea with melting ice, are intersected by a meat bridge where only three of the four legs of a polar bear can be seen. What is this bear “worth”? What is its “value”?
9. Given the above the issues relevant to zoos and “captivity” are the same for “the wild” and conservation areas. Human animals need to think more holistically and along longer time frames. Icebergs, taken from the iconic Canadian “Group of Seven” painter Lawren Harris’s work, exist against a hazy sky while a loon sinks into the depths – escaping but connected.
10. The number and diversity of non-human animals should be viewed as positive correlate of the probability of human animal survival. These dodos are derived from a skeleton seen at the Smithsonion Museum in Washington, D.C., about the same time I discovered I was, in part, of aboriginal ancestry. My family had erased or rendered this aspect of my life extinct. The rift between what we think versus who we really are can obfuscate meaning. Our collective distancing from ecological truths needs to be shrunk.
My web site is dandoesdesign.