with sea creatures
Prior to sculpting the prickly lifeforms that comprise her Marine Abstracts series, Marguerita Hagan plunged into the waters surrounding the Cayman Islands to get a glimpse of the coral and sponges inhabiting the region. “My research is important to my work, whether from seeing firsthand like diving, which manifested the sponge and coral-inspired Marine Abstracts, or visiting labs and working with my scientist friends,” the Philadelphia-based artist says. “I am passionate about learning, and I immerse myself into the life of each piece/species.”
Mimicking the porous bodies of the aquatic creatures, the resulting works are amorphous in shape and hand-built in sweeping gestures from low-fire clay. Hagan subjects the ceramic forms to anywhere between three and eight rounds of firing in the kiln before they’re airbrushed with pastel glazes. Pocked with holes and covered in tiny bristles arranged with meticulous precision, each piece can take months to complete.
When presented in a gallery space, Hagan contextualizes many of her works by pairing them with animated projections, creating holistic installations that situate individual sculptures within a larger ecosystem. It’s a way to generate conversation about interdependence and the need to protect these fragile forms, the artist says, explaining the concept further:
Microscopic marine organisms form the basis of all life on our planet and connect in exquisite systems or colonies. These one-cell plankton gems, our primary producers provide over 50% of the oxygen for the planet with light from the sun. Rich diversity and reciprocal sharing power thriving communities and environments. This light-giving flow has enabled all life to thrive for eons…We are in a time of epic shifts and are responsible for the changes needed now. The work intends to uplift spirits, awareness, renewable action and timely sustainable investments for all life.
You can see many of the abstracted pieces shown here, alongside dozens of Hagan’s sculptures, as part of Biospheres, which is on view both in-person and virtually at HOT•BED in Philadelphia through May 8. For a larger collection of the artist’s works, check out her site and Instagram.
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In the early 18th century, publisher, bookseller, and apparent fish enthusiast Louis Renard compiled the seminal compendium of color-illustrated ichthyological studies. The volume contains more than 450 species rendered in vibrant hues that, while somewhat anatomically accurate, feature embellishments in color and characteristics. From beak-like mouths to extraordinarily patterned skins, the vast illustrations of marine life are unusual, bizarre, and sometimes psychedelic. One of the most fantastical illustrations even depicts a mermaid (shown below).
A digital copy of Renard’s work—which officially is titled Fishes, crayfish and crabs, of various colors and extraordinary figures, which one finds around the Moluccas islands and on the coasts of the Austral lands—is available in the Biodiversity Heritage Library, an incredible open-access digital archive. Overall, the library estimates that about 9 percent of the illustrations are fabricated, a detail that’s unsurprising considering the Dutch publisher never traveled to the East Indies to complete his studies. Instead, he copied 460 hand-colored copper engravings from other artists, many of which were contributed by soldier and painter Samuel Fallours who was based in Ambon, Indonesia. In a similarly duplicitous manner, the library also believes that Renard identified himself as a secret agent to the British crown as a way to sell more copies of his work.
The tome was published in three editions, and only 16 of the initial printing, which happened between 1718 and 1719, are known to exist. Thirty-four copies of the second version from 1754 remain, which is also the iteration shown here. There are just six books left from the third printing in 1782.
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Mexican photographer and anthropologist Anuar Patjane captures black and white moments of life underwater as a way to bring awareness to a part of the world most do not get a chance to see. Patjane searches for awe-inspiring snapshots to connect viewers with images of fish and other underwater animals. He hopes his photographs create an empathy towards these creatures and their environment while also expressing the impact that our choices have on their trajectory as species of the sea.
“With the [Underwater Realm] series, I try to drive our attention towards the beauty of our oceans a a truth usually unnoticed: We are brutally overfishing in our oceans, and our attention should be concentrated on the way we fish, as well as what we eat from the ocean,” he explains in an artist statement about the series. “We see and care when a forest is gone because it is visible to everybody, but we don’t see when we destroy life underwater.”
Patjane not only captures life underwater, but landscapes from all over the globe that may often go unnoticed. You can see more of his series, including images shot in Antarctica and Iceland, on his website and Instagram.
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This past April a massive 80-foot steel kraken was purposefully sunk into the Caribbean Sea on top of a decorated WW2 ship. The former Navy fuel barge and its monstrous passenger were placed underwater in order to jumpstart a new coral ecosystem, while also serving as a cutting-edge education center for marine researchers and local students from the surrounding British Virgin Islands. The project is titled the BVI Art Reef, and aims to use sculptures like the porous kraken as a base to grow transplanted coral.
The Kodiak Queen, formerly a Navy fuel barge named the YO-44, was discovered by British photographer Owen Buggy approximately two and a half years ago on the island of Tortola. Instead of letting the historic vessel get picked apart for scrap metal, Buggy approached former boss Sir Richard Branson about collaborating on a restorative art installation. Together with nonprofit Unite B.V.I., artist group Secret Samurai Productions, social justice entrepreneurial group Maverick1000, and ocean education nonprofit Beneath the Waves, the project was established as both an eco-friendly art installation, and a philanthropic measure to rehabilitate native marine species.
“It’s envisioned that within just a short space of time the ship and artwork will attract a myriad of sea creatures,” said Clive Petrovic who consults on the environmental impact of the BVI Art Reef. “Everything from corals to sea sponges, sharks and turtles will live on, in, and around the wreck. The ship will become valuable for future research by scientists and local students alike.”
To sink the massive ship, the project sought the help of the Commercial Dive Services who safely submerged the vessel off the coast of the island Virgin Gorda. It was the first time the ship had been in the water for nearly 17 years, and was lead to its final resting place by a bevy of boats and helicopters.
Filmmaker Rob Sorrenti filmed both the construction and sinking of the kraken and its ship. The full-length documentary is currently in post-production, with an estimated release early next year. You can watch a clip from the upcoming film below. For information on visiting the BVI Art Reef, and to learn more about its educational programs, visit the project’s website and Facebook.
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Washington-based woodcarver Jeffrey Michael Samudosky has been creating elaborate figural works from a variety of Pacific Northwest trees since he started his company JMS Wood Sculpture in 1998. One of his most recent projects is a replica of an Enteroctopus dofleini, or Giant Pacific Octopus, carved from a fallen Redwood given to him by Redwood Burl. The cephalopod’s tentacles curve and twist their way across areas which Samudosky left natural, including the entire back of the trunk which gives the illusion that the octopus is on top of the tree, rather than a part of it.
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Jorge Cervera Hauser produces intimate snapshots of underwater creatures, effortlessly capturing their magnificence as they glide through the sea in schools or pairs. Each image displays moments that look as if they were captured in a split-second, yet simultaneously appear dramatically staged. Most of the images included were taken either in Baja or the Mexican Caribbean, and the image of the shark gliding alone through turquoise water was taken at Tiger Beach in the Bahamas. No matter the location, each photograph was taken far away from human life and miles out in the open ocean.
The Mexico City-based artist is also a film producer, yet his true passion lies with the animals he captures within his photography. Along with a few friends he runs a marine conservation NGO called Pelagic Life, which aims to conserve the Mexican open ocean through eco-tourism. Through his organization Cervera Hauser produced the documentary “Mexico Pelagico” which has already been released in Mexico and will be available on Netflix June 1st. More images of Cervera Hauser’s underwater voyages can be seen on his online portfolio here.
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